Latest / To All the Men I've Tolerated Before / Summer Break: Women in Historical Film

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Summer Break: Women in Historical Film · To All the Men I've Tolerated Before

• 0:00
  Speaker 1: Hey, tolerators, it is officially our summer break for twenty
• 0:04
  Speaker 1: twenty five, and I just wanted to let you know
• 0:08
  Speaker 1: that the episode you're about to hear is either Patreon
• 0:12
  Speaker 1: exclusive content I'm making public an episode I thought it
• 0:17
  Speaker 1: would be fun to revisit from past years, or a
• 0:22
  Speaker 1: still comfy movie review with Julia Washington. I hope you
• 0:26
  Speaker 1: have a great summer with lots of great memories. I
• 0:30
  Speaker 1: hope you keep smiling instead of tolerating. And I will
• 0:34
  Speaker 1: see you in the fall with all new episodes of
• 0:38
  Speaker 1: To all the men I've tolerated before? Should men not
• 1:08
  Speaker 1: be telling my story? I don't know. Should we change
• 1:13
  Speaker 1: the topic of the meltdown to Netflix being childish?
• 1:16
  Speaker 2: No, I made notes for today, but also maybe whatever,
• 1:22
  Speaker 2: it's your show.
• 1:23
  Speaker 1: Okay, audience put a pin in it. At one point
• 1:25
  Speaker 1: we will just melt down that Netflix is childish. But
• 1:28
  Speaker 1: welcome Julia and a'l Renthia to the misogyny meltdown, And
• 1:31
  Speaker 1: thank you for being the fierce strong women who are
• 1:34
  Speaker 1: with me today to talk about other Feerce strong women.
• 1:38
  Speaker 2: Thank you for having us. Yeah, nobody could see me,
• 1:42
  Speaker 2: but I was doing the cure.
• 1:45
  Speaker 1: I will remind you that people can see you. The
• 1:47
  Speaker 1: Misogyny Meltdown is a video for Oh.
• 1:50
  Speaker 2: I should have put on my glasses and makeup.
• 1:54
  Speaker 3: I forgot about that, you're seeing out.
• 1:59
  Speaker 1: I have been posting clips video clips mind you on
• 2:03
  Speaker 1: the internet and I've been liking them. Okay, Well, so
• 2:09
  Speaker 1: having an International Women's Month the time of the year
• 2:12
  Speaker 1: where you really know how people care about you and
• 2:15
  Speaker 1: your work. Yeah, Performatively the time when you know, perform
• 2:20
  Speaker 1: when the performative actions come out, the performative actions. And
• 2:25
  Speaker 1: I was trying to think about it because I don't
• 2:27
  Speaker 1: think they ate. The Amy Winehouse movie comes out this month.
• 2:31
  Speaker 1: I think it comes out later this year.
• 2:33
  Speaker 2: I think it's a summer I think it's a summer film.
• 2:35
  Speaker 1: So I was like, what was our performative like movie
• 2:40
  Speaker 1: for March, and we didn't have one. We had Lisa
• 2:43
  Speaker 1: Frankenstein and Drive By Dolls and Love Lies Leading, which
• 2:46
  Speaker 1: are all I categorize them all as queer movies.
• 2:51
  Speaker 3: You know.
• 2:51
  Speaker 2: It's really offensive, though, is that Marky Mark has a
• 2:54
  Speaker 2: movie coming out about a dog that he finds while
• 2:57
  Speaker 2: he's running a race, And I'm just like, how dare
• 3:00
  Speaker 2: are you Marky Mark? Like you're trying to convert all
• 3:02
  Speaker 2: of us.
• 3:02
  Speaker 1: Stop it, and.
• 3:04
  Speaker 3: It's like the what is it? What's the other movie
• 3:06
  Speaker 3: about the dog that just came out like last year
• 3:10
  Speaker 3: and the dude from Magic Mike.
• 3:13
  Speaker 1: Yeah, yeah, Tatum, And he's in the army and the
• 3:16
  Speaker 1: dog helps him be in soldier, you know, because.
• 3:19
  Speaker 2: The dog's person get dies in during service, so he
• 3:24
  Speaker 2: has to take the dog home.
• 3:26
  Speaker 3: Yeah, which is basically just you're a delivery guy, you
• 3:32
  Speaker 3: know what I mean, like like military, I mean military propaganda,
• 3:38
  Speaker 3: man propaganda, one film, dog Propaganda's fine.
• 3:44
  Speaker 2: Yes, we'll take dog propaganda.
• 3:46
  Speaker 1: We love dogs.
• 3:47
  Speaker 2: We love dogs. With that said, well, you know, I guess.
• 3:51
  Speaker 3: Like the feminist thing for this month is probably Princess Kate.
• 3:54
  Speaker 2: Right, Oh my gosh, yes, where is Kate?
• 3:58
  Speaker 3: Like I wasn't really interested because I was, you know,
• 4:01
  Speaker 3: team Meghan and Diana, you know what I mean. But
• 4:06
  Speaker 3: now I'm gonna like the fantasy I have in my
• 4:09
  Speaker 3: head is that she's been cool the whole time. Yeah,
• 4:14
  Speaker 3: and it's been like you know what she's been. She's
• 4:17
  Speaker 3: like the she's like Somelma Blair and legally blonde. Okay, okay,
• 4:23
  Speaker 3: and Megan at first because she was buying into her
• 4:26
  Speaker 3: internalized misogyny. Okay, realizing that she was cool. She's right
• 4:31
  Speaker 3: away and maybe she's in Santa Barbara with them, Megan
• 4:36
  Speaker 3: and Harry.
• 4:37
  Speaker 2: And she can't take the kids because of the property
• 4:39
  Speaker 2: of the crown.
• 4:40
  Speaker 3: Yeah, and they're having a good time. They're having drinks
• 4:43
  Speaker 3: on their Lanai.
• 4:45
  Speaker 2: I'm not mad at this. Yeah, yeah, that's.
• 4:49
  Speaker 1: So much better because like my my innate Capricorn personality
• 4:56
  Speaker 1: of just having to be right and logical and the
• 4:58
  Speaker 1: most right answer. I'm like, she's sick and she's resting,
• 5:02
  Speaker 1: like she's like deathly ill.
• 5:05
  Speaker 2: And she is resting.
• 5:07
  Speaker 1: Like I'm not allowing myself to have any fun bits
• 5:10
  Speaker 1: about it. I did like when they were like, maybe
• 5:13
  Speaker 1: she's on the mask singer, I was like, I would
• 5:15
  Speaker 1: love that.
• 5:16
  Speaker 2: Yeah, that's your show. I love it. What are so?
• 5:19
  Speaker 1: I have some generalized tropes that I believe Hollywood, in
• 5:26
  Speaker 1: order to make our dumb dumb brains understand people put
• 5:32
  Speaker 1: historical women in even if they don't deserve to be
• 5:36
  Speaker 1: in that trope.
• 5:39
  Speaker 2: So like we have our historical.
• 5:41
  Speaker 1: Sluts, the hand Bolns, the Cleopatras, the Helen of Troyce
• 5:50
  Speaker 1: are sluts. We have our martyrs, the people who like
• 5:54
  Speaker 1: give up their family. I was trying to think about
• 5:58
  Speaker 1: this today because I was thinking about the RBG movie
• 6:02
  Speaker 1: that I did see and now and I looked at
• 6:05
  Speaker 1: the movie poster today and can I remember the name
• 6:08
  Speaker 1: of the movie?
• 6:09
  Speaker 2: No on the Niciss of Sex. Yes, Oh that's right.
• 6:13
  Speaker 3: That was like Masters of Sex. That's another show.
• 6:15
  Speaker 2: That's a different show, completely different.
• 6:21
  Speaker 1: And I just remember how and this happens a lot
• 6:25
  Speaker 1: with like historical women in film that at some point
• 6:29
  Speaker 1: they in every scene they have to remind you, like
• 6:32
  Speaker 1: this woman gets to be great at the expense of
• 6:35
  Speaker 1: her children and her family.
• 6:38
  Speaker 2: Aaron Brockovich.
• 6:39
  Speaker 1: Aaron Brockovich, I was like, men are never great at
• 6:43
  Speaker 1: the expense of me, whether or not I'm traumatized or not. Right,
• 6:47
  Speaker 1: men just get Oppenheimer just gets to make the bomb. Okay,
• 6:52
  Speaker 1: that okay. So my meltdown part.
• 6:56
  Speaker 2: Was literally outlining how Kitty Oppenheimer and Gene tap Blocks
• 7:01
  Speaker 2: Wikipedias are more interesting than their characters in Oppenheimer. So
• 7:09
  Speaker 2: I did not watch the which is which is fine
• 7:13
  Speaker 2: because I you know, you know, my opinion which was
• 7:16
  Speaker 2: I really wish I had that time back because I'm
• 7:18
  Speaker 2: so mad about the portrayal of these two women and
• 7:23
  Speaker 2: the lack of dimension that they had. Kitties like a
• 7:26
  Speaker 2: drunk who didn't want her kids the whole time, and
• 7:30
  Speaker 2: then Jean had Yes, she had psychiatry issues. But both
• 7:34
  Speaker 2: of these women are highly educated studying in fields that
• 7:38
  Speaker 2: are male dominated, resorted diminished to the drunk and the slut.
• 7:46
  Speaker 3: Yeah, I want to know more about the Communism thing, like,
• 7:52
  Speaker 3: like communism is such a scary thing to admit, and
• 7:55
  Speaker 3: like these two women, I mean, I'm sure we're so dedicated. Yeah,
• 8:00
  Speaker 3: So I'm like I'm interested in like these women that
• 8:02
  Speaker 3: were just like out and proud Communists and they're like,
• 8:05
  Speaker 3: yeah and so and still like having pretty I mean,
• 8:09
  Speaker 3: I would say, gene but pretty good lives. I suppose, well.
• 8:14
  Speaker 2: Yes, and minus so Jeane's psychology or mental illness aside.
• 8:21
  Speaker 2: They both grew up in families that were very educated,
• 8:25
  Speaker 2: like Kitty Oppenheimer's parents were highly educated and successful. Same
• 8:29
  Speaker 2: with Jeans. Her dad worked in something I don't remember,
• 8:32
  Speaker 2: but I was like, oh shit, Like these women are
• 8:34
  Speaker 2: upper middle class women. Like if this was Mona Lisa's smile,
• 8:38
  Speaker 2: these would be these women. But in the thirties right,
• 8:41
  Speaker 2: Like Kitty graduated from the University of Pennsylvania and received
• 8:46
  Speaker 2: a degree in botany in the nineteen thirties, Like Jean
• 8:52
  Speaker 2: went to Vasser and then Stanford Medical School and she
• 8:57
  Speaker 2: like studied to become a psychiatrist, Like like huge, So
• 9:03
  Speaker 2: Kitty got a research fellowship to UCLA, like big fucking deal,
• 9:09
  Speaker 2: Like literally not in the sarcastic way what we say
• 9:11
  Speaker 2: when men like sneeze, right, like yeah, like and so
• 9:15
  Speaker 2: they're so because in Ingian's Wikipedia, it's like, oh, she
• 9:19
  Speaker 2: struggled with sexuality, So then I immediately went with, oh,
• 9:23
  Speaker 2: did her mental health issues also stem from potentially being
• 9:27
  Speaker 2: a lesbian and like confused and scared by that because
• 9:31
  Speaker 2: it's the thirties.
• 9:33
  Speaker 3: Yeah, there was.
• 9:34
  Speaker 2: So much interesting stuff in both of their Wikipedia pages
• 9:38
  Speaker 2: that I'm just like, how dare you communism aside? How
• 9:44
  Speaker 2: dare you flatten these women to uphold j Robert Oppenneimer.
• 9:50
  Speaker 1: Some white man with a bomb and a dream.
• 9:54
  Speaker 3: I mean it was Killian Murphy.
• 9:55
  Speaker 2: So congratulation, I will congratulation. Excuse me, Like I need
• 10:02
  Speaker 2: the movie now.
• 10:04
  Speaker 3: I would find like another Oppenheimer where he's like in
• 10:08
  Speaker 3: the background, like Clint Eastwood building his bomb, Kitty and
• 10:13
  Speaker 3: Jean best friends. I mean, I want to hear more
• 10:17
  Speaker 3: about like how Kitty when she meets Oppenheimer and she's
• 10:22
  Speaker 3: clearly already married and she's like to go visit him
• 10:25
  Speaker 3: on his ranch and wherever you.
• 10:29
  Speaker 2: And yeah, also Christmas with you in Berkeley even though
• 10:32
  Speaker 2: you've invited both me and my husband, and my husband
• 10:35
  Speaker 2: said no, and I went anyway, like that fucking mood.
• 10:39
  Speaker 3: That's an amazing rock star. She's like, oh, I'm going
• 10:42
  Speaker 3: to get mine. Yeah, yeah, I'm going to ride horses.
• 10:48
  Speaker 2: He's like, so mad, Natalie, I was so mad. So
• 10:51
  Speaker 2: when you said, like, oh misogyny meltown for women's history,
• 10:54
  Speaker 2: monthers like I got my girls.
• 10:57
  Speaker 1: And as you know, like rest in Peace, who are
• 11:01
  Speaker 1: fallen where they have tried to make a series of women,
• 11:06
  Speaker 1: like television series based on these women who are on
• 11:09
  Speaker 1: like the fringe of history. So like pan am about
• 11:13
  Speaker 1: the Flight Stewardess one of my favorite Christina Ricci projects.
• 11:17
  Speaker 3: Yeah that was such a good show.
• 11:20
  Speaker 2: Yeah, it was so beautiful, Robe and Margo, Robbie.
• 11:25
  Speaker 1: Yeah, big names, good STORYLINESEP first season we made me
• 11:32
  Speaker 1: made it a season and a half. I don't know
• 11:34
  Speaker 1: if they gave it a full second.
• 11:36
  Speaker 2: I feel like it didn't it get wasn't it affected
• 11:39
  Speaker 2: by the writer strike?
• 11:40
  Speaker 3: Or did it?
• 11:40
  Speaker 2: Probably the writers strike now I don't remember the timeline,
• 11:44
  Speaker 2: but anyway, continue good.
• 11:47
  Speaker 1: Girl's Revolt about about the women journalists.
• 11:52
  Speaker 2: Also direction Panama is twenty eleven, so that was not
• 11:56
  Speaker 2: affected by the two thousand and seven writer strike. Continue, Sorry,
• 12:01
  Speaker 2: it was just haters.
• 12:02
  Speaker 1: The haters struck again one season the Girl Revolt. I
• 12:07
  Speaker 1: got one season, and I loved every moment of that show.
• 12:13
  Speaker 1: I feel like we're constantly like giving hope, like here
• 12:18
  Speaker 1: you go, Nadley, what about feminist journalisms from the journalists
• 12:24
  Speaker 1: from the seventies. And I'm like, yeah, no, I will
• 12:27
  Speaker 1: literally champion this show. And they're like just kidding, No
• 12:31
  Speaker 1: one cares about women.
• 12:36
  Speaker 3: I love it. Yeah, But there's like another tripe too,
• 12:39
  Speaker 3: like of like what like the quote unquote ballbuster.
• 12:43
  Speaker 2: Uh huh yeah, you know.
• 12:44
  Speaker 3: Like I don't need a man, blah blah blah. You've
• 12:47
  Speaker 3: got to show me how to be sensitive and lady
• 12:51
  Speaker 3: while I'm bringing this company.
• 12:52
  Speaker 1: Every added, every adaptation of Queen Elizabeth the first yes,
• 13:02
  Speaker 1: m hmm. Even the way that like female writers When
• 13:06
  Speaker 1: I read historical fiction about Queen Elizabeth the first it's
• 13:09
  Speaker 1: like she was so closed off. She knew that she
• 13:12
  Speaker 1: could never let a man near her and the Crown.
• 13:15
  Speaker 1: I was like, she was letting men get it in.
• 13:17
  Speaker 1: She just wasn't letting men like get to sit on
• 13:20
  Speaker 1: a fancy seat.
• 13:21
  Speaker 2: Yeah, they weren't planting the seed.
• 13:26
  Speaker 1: And yeah, like the Ballbuster, the we're only successful because
• 13:31
  Speaker 1: we won't let a man anywhere near us, which I'm
• 13:34
  Speaker 1: all for.
• 13:35
  Speaker 3: Yeah, or like that the rom com Two Weeks Notice. Yeah,
• 13:42
  Speaker 3: you know, she's like, I don't need anybody until I
• 13:45
  Speaker 3: need citizenship.
• 13:48
  Speaker 2: Oh yeah, proposal proposal yeah yeah. Like she's so evil
• 13:54
  Speaker 2: and awful and they even do things like signaling to
• 13:57
  Speaker 2: the audience because our hair is you know, they do
• 13:59
  Speaker 2: that uptight hair. And then as she grows, her hair
• 14:03
  Speaker 2: becomes more free flowing and flowy and long and luscious,
• 14:07
  Speaker 2: and you're just like, no, okay, we get it.
• 14:10
  Speaker 3: Are they both soundra bullock movies?
• 14:12
  Speaker 2: They are because the Two Weeks Notice it's two grand.
• 14:16
  Speaker 1: Ah, I do not remember the plot to Two Weeks.
• 14:20
  Speaker 2: She quits and he's like, I can't live without you?
• 14:22
  Speaker 2: How dare and like and in the sense of like,
• 14:26
  Speaker 2: you're my assistant, I can't live without you, and she's like,
• 14:28
  Speaker 2: I have no life, and he's like, but that's okay,
• 14:30
  Speaker 2: because you're my assistant and I can't.
• 14:31
  Speaker 1: Live without you.
• 14:32
  Speaker 2: And then in those two weeks they fall in love
• 14:38
  Speaker 2: rom Cops for the problem, and I love them so much.
• 14:41
  Speaker 3: I adore them. I adore them, my queen, my rom
• 14:46
  Speaker 3: com queen. And I don't know what like trope she
• 14:49
  Speaker 3: fits into because she's done like different ones. But Diane Lane, yes,
• 14:54
  Speaker 3: must love dogs, must love dogs, must love dogs. Under
• 14:59
  Speaker 3: the huskan Son, Oh yeah, und Son, I feel like
• 15:03
  Speaker 3: her thing. Her main trope is like woman who is
• 15:07
  Speaker 3: otherworldly beautiful, but I just can't find a man until yeah,
• 15:13
  Speaker 3: herself through men want to date her or whatever. Yeah, yeah,
• 15:18
  Speaker 3: unless people got a wrong.
• 15:24
  Speaker 2: It is if you're sick enough.
• 15:29
  Speaker 1: I also think number one, I'm I am excited to
• 15:33
  Speaker 1: cry my way through the Amy Winehouse movie.
• 15:37
  Speaker 2: Yeah, but also part.
• 15:38
  Speaker 1: Of me is like, will you only tell a female
• 15:43
  Speaker 1: artist's story, or truly any musician story through the lens
• 15:46
  Speaker 1: of their addiction, Because we've recently had whitneys, we had
• 15:51
  Speaker 1: al Renthia.
• 15:53
  Speaker 2: I was going to call you the Queen of Soul.
• 15:57
  Speaker 3: Actually, Aretha is on the list of names that I
• 16:01
  Speaker 3: get called No, I know, that's.
• 16:04
  Speaker 1: Why I feel like a dick. I'm like, I'm sure
• 16:05
  Speaker 1: people do that all the time. Aretha Franklin another movie
• 16:10
  Speaker 1: that I'm pretty sure I'm the only person in the
• 16:12
  Speaker 1: Midwest who saw it. Chelsea Davante's and I have talked
• 16:16
  Speaker 1: about how were the only two people on earth who
• 16:19
  Speaker 1: have seen the Whitney Houston biopic the latest one and
• 16:22
  Speaker 1: the best one.
• 16:23
  Speaker 3: I've seen it? And then with a friend and then
• 16:26
  Speaker 3: use that to introduce her because she had never seen
• 16:29
  Speaker 3: The Bodyguard. Yeah, And I was like, how can you
• 16:31
  Speaker 3: watch this and not seen The Bodyguard? Because The Bodyguard
• 16:34
  Speaker 3: is also a biopic? If we're honest with herself.
• 16:36
  Speaker 2: Oh yeah, yeah, okay, but wait, did you guys see
• 16:41
  Speaker 2: how Bobby Brown and his new wife got honored recently?
• 16:44
  Speaker 2: And I was like, how dare you know who else is?
• 16:48
  Speaker 2: How fucking dare you will never be redeemed in my books, sir,
• 16:55
  Speaker 2: No for.
• 16:56
  Speaker 3: Whitney, I will never forgive him.
• 16:59
  Speaker 1: But I went and saw the Whitney biopic with two
• 17:04
  Speaker 1: younger friends and the lights come up, and then that's
• 17:08
  Speaker 1: when Nambley likes to give her movie sermon, and she
• 17:10
  Speaker 1: looks at her two young woman friends and she's like,
• 17:13
  Speaker 1: what did we learn from this movie? What did we
• 17:15
  Speaker 1: learn from Whitney's sad, sad tale?
• 17:19
  Speaker 2: Never let your dad control your money?
• 17:21
  Speaker 1: And that's what they went with. I went right, and
• 17:23
  Speaker 1: now we know that he's responsible for her death because
• 17:26
  Speaker 1: if he had just let her live a beautiful lesbian
• 17:29
  Speaker 1: lifestyle with is her name Robin?
• 17:34
  Speaker 2: Yes?
• 17:35
  Speaker 1: With Robin, then Bobby Brown would have never been able
• 17:38
  Speaker 1: to touch her, let alone get her hopped up on
• 17:41
  Speaker 1: everything and start the spiral that was Whitney Houston. By
• 17:45
  Speaker 1: the time I was an adult and could comprehend Whitney Houston. Yeah,
• 17:50
  Speaker 1: homophobia kills is what I'm saying. It's true as like
• 17:56
  Speaker 1: a man once again killed a woman through homophobia.
• 18:02
  Speaker 2: That was my takeaway.
• 18:03
  Speaker 1: And every time I see them, every time I see
• 18:09
  Speaker 1: the Amy that was last month, Julia for February, I
• 18:12
  Speaker 1: gave a Valentide's Day. Every time I see the preview
• 18:18
  Speaker 1: for the Amy Winehouse movie, and I see it almost
• 18:21
  Speaker 1: once a week because I'm always at cheap movie night,
• 18:24
  Speaker 1: all I can think about is, why is this reading
• 18:26
  Speaker 1: like a Gothic romance because it is about like the
• 18:30
  Speaker 1: Back to Black album, which is about her horrific breakup
• 18:34
  Speaker 1: or whatever. But I was like, I don't want to
• 18:35
  Speaker 1: know anything about him. It turns out, yeah, and I
• 18:40
  Speaker 1: guess is that is that?
• 18:41
  Speaker 3: Is it a different guy than the Blake guy that
• 18:44
  Speaker 3: got her hooked on drugs or so?
• 18:47
  Speaker 1: I think an original guy. And again I was very
• 18:51
  Speaker 1: young when Amy Winehouse went through the biggest of her
• 18:55
  Speaker 1: Amy Winehouse climax and then eventually, you know, I think
• 19:01
  Speaker 1: her husband divorces her and then she's like, fuck it,
• 19:05
  Speaker 1: I'm going to live the life of a rock star.
• 19:07
  Speaker 1: And then some new guy probably does get her hooked
• 19:09
  Speaker 1: on something in her management.
• 19:11
  Speaker 3: I think it was like her last whoever, the guy
• 19:14
  Speaker 3: she was with blast I don't know if they actually
• 19:15
  Speaker 3: got married or not. And he got and she got
• 19:20
  Speaker 3: a tattoo on her chest of like a pocket and
• 19:24
  Speaker 3: it had like his name on it. Okayte It's weird
• 19:27
  Speaker 3: to like, like have seen that in real time, you know, happening, Yeah,
• 19:34
  Speaker 3: and like seeing her the scent into you know, till
• 19:37
  Speaker 3: the end. M h.
• 19:40
  Speaker 2: I remember exactly where I was too, because Amy Whitehouse
• 19:42
  Speaker 2: is a year older than me. Plus she's a part
• 19:44
  Speaker 2: of the twenty seven club, which is tragic in itself.
• 19:48
  Speaker 2: And I'm laying in my best friend's bed, she's visiting
• 19:51
  Speaker 2: hre Ad her mom's house, and I get a text
• 19:53
  Speaker 2: from my DJ friend, who's done all kinds of stuff
• 19:57
  Speaker 2: with his life, and he's like Amy white House di
• 20:00
  Speaker 2: and I was like, all right, what and he's like,
• 20:05
  Speaker 2: she's twenty seven, and I was like, and I think actually,
• 20:08
  Speaker 2: because of where her birthday falls in the year, I
• 20:11
  Speaker 2: was also twenty seven, like it was before it was
• 20:13
  Speaker 2: after my birthday, but before her twenty eighth birthday, so
• 20:17
  Speaker 2: we were both twenty seven, and like, it just was
• 20:21
  Speaker 2: the moment of like, this is so like, this is
• 20:24
  Speaker 2: I don't even know how to feel right now, because
• 20:28
  Speaker 2: her albums were something that were on repeat for me,
• 20:31
  Speaker 2: and I've mentioned before music isn't at the top of
• 20:34
  Speaker 2: my pop culture game, like I'm a book, movie, TV girl,
• 20:39
  Speaker 2: music is in there somewhere, and so like it just
• 20:43
  Speaker 2: was really hard. And so now anytime I consume anything
• 20:49
  Speaker 2: about Amy Winehouse, it is under the guise of this
• 20:53
  Speaker 2: documentary that I watched years and years and years ago,
• 20:56
  Speaker 2: probably in twenty thirteen, when Hulu was still a fun
• 20:59
  Speaker 2: place to be. They had done a music and eight
• 21:03
  Speaker 2: I think it was an eight part music documentary. I
• 21:05
  Speaker 2: forget what it was called, but they interviewed Mark Ronson
• 21:08
  Speaker 2: and I told you this in the DMS a while ago, Natalie,
• 21:11
  Speaker 2: I'm to say it here now. He convinces her not
• 21:15
  Speaker 2: to go to rehab, right, so she'll finish the album.
• 21:19
  Speaker 3: Oh that's right, He.
• 21:22
  Speaker 2: Admits it without blatantly saying it in this documentary Capitalism Kills.
• 21:31
  Speaker 2: And I'm sitting here like watching this and I'm like,
• 21:34
  Speaker 2: how the fuck am I supposed to like respect anything
• 21:38
  Speaker 2: you do now, Mark Ronson, because you are literally for
• 21:42
  Speaker 2: like because for me it was like where's the line
• 21:44
  Speaker 2: for artistry?
• 21:45
  Speaker 3: Then?
• 21:45
  Speaker 2: Because she literally needed help having having been in a
• 21:49
  Speaker 2: relationship with an addict. This is not a thing that
• 21:53
  Speaker 2: I find and endearing an endearing anecdote to tell a
• 21:58
  Speaker 2: documentary series, Yeah right, what.
• 22:02
  Speaker 1: A jackass to just be like yeah, I was just
• 22:05
  Speaker 1: kind of like to old Amy, like it doesn't have
• 22:07
  Speaker 1: to be right now.
• 22:08
  Speaker 2: I guess that was my bee who just like finished
• 22:14
  Speaker 2: the album and then like go kind of vibe was
• 22:16
  Speaker 2: the vibe and I.
• 22:17
  Speaker 3: Was just like what meanwhile, guy, like male musicians are
• 22:26
  Speaker 3: able to like, you know, build studios at their rehabs, right, yeah, finished.
• 22:32
  Speaker 2: You know right right. I was like so after that,
• 22:36
  Speaker 2: I was so, you know, all this praise that Mark
• 22:38
  Speaker 2: Ronson's getting for, I'm just ken and everything, and I'm
• 22:41
  Speaker 2: just like, you're the guy who killed Amy Winehouse.
• 22:44
  Speaker 3: I didn't think about that.
• 22:46
  Speaker 2: And some people, you know, people are like, oh, well,
• 22:48
  Speaker 2: you know, he was just doing his job whatever, blah
• 22:50
  Speaker 2: blah blah. Again that's quiet misogyny because you know, how
• 22:53
  Speaker 2: can we hold him a culpable But it's like when
• 22:56
  Speaker 2: it comes to addiction, I don't really have a whole
• 22:59
  Speaker 2: room in base for like well comments, because again I
• 23:04
  Speaker 2: dealt with an addict and it's not easy, it's not fun,
• 23:08
  Speaker 2: and it's you know, everything you do can be a
• 23:12
  Speaker 2: situation that sends them down a path of self destruction.
• 23:17
  Speaker 1: On the same kind of like wavelength, I just brought
• 23:20
  Speaker 1: it down. Yeah, Julia, you ruin my comedy show. No,
• 23:26
  Speaker 1: I was great, Julia.
• 23:30
  Speaker 2: Let's lighten it up a bit, shall we.
• 23:33
  Speaker 3: This is what you know, this is what we need
• 23:34
  Speaker 3: to talk about.
• 23:37
  Speaker 1: One taken advantage of I got it, I got I
• 23:40
  Speaker 1: got it. What are the better what are the better
• 23:42
  Speaker 1: biopics I've ever seen? I believe it's just called Norma Jane.
• 23:47
  Speaker 1: And I believe that I always because again, I was
• 23:49
  Speaker 1: a child with cable who was wildly unsupervised, and it
• 23:52
  Speaker 1: was before the TV would tell you what you were watching.
• 23:55
  Speaker 2: Oh uh huh uh huh, and you're like, what's this?
• 23:58
  Speaker 1: So I get the Norma Jean biopic of Marilyn Monroe
• 24:02
  Speaker 1: that only ran on TV on Lifetime. Oh right, right
• 24:07
  Speaker 1: and Bastard out of Carolina.
• 24:11
  Speaker 3: Wait, was was actually dreading that.
• 24:13
  Speaker 1: I think?
• 24:14
  Speaker 3: So I think I know what you're talking about. It
• 24:17
  Speaker 3: was like me and Norma Jean or something, Me and
• 24:19
  Speaker 3: Norma Jean.
• 24:20
  Speaker 2: Yeah, Norma Jean and Marilyn that's what it was called.
• 24:25
  Speaker 3: You know, I don't remember it.
• 24:27
  Speaker 1: It was good because I think all of the biopics
• 24:31
  Speaker 1: about Marilyn Monroe focus on the like, oh, the beautiful
• 24:36
  Speaker 1: wilted flower that we was robbed from us, like stolen
• 24:40
  Speaker 1: from us in the middle of the night or whatever.
• 24:42
  Speaker 1: And Norma Jean and Marylyn this movie on Lifetime. Shout out, Lifetime,
• 24:49
  Speaker 1: Shout out to all the kids with cable out there
• 24:51
  Speaker 1: not knowing what they're doing with it, keeping it real.
• 24:56
  Speaker 1: It was the only one that I think gave me
• 24:59
  Speaker 1: con text to the norma gene of it all and
• 25:03
  Speaker 1: Marilyn's actual childhood, Yeah, because it wasn't great and how
• 25:09
  Speaker 1: one becomes so trusting of the rich men around them. Yeah,
• 25:15
  Speaker 1: And I think that's important because I think, you know,
• 25:20
  Speaker 1: Marilyn is a myth though there's just like legends that
• 25:24
  Speaker 1: surround Marilyn Monroe. But at one point she was just
• 25:27
  Speaker 1: like a teenager living in like on the set of
• 25:33
  Speaker 1: Reba McIntyre's Fancy music video basically.
• 25:39
  Speaker 2: Well and too like you when she's coming of age.
• 25:42
  Speaker 2: In a way, it's also World War two, so it's
• 25:46
  Speaker 2: a World War two, so like there's that context as well, right,
• 25:50
  Speaker 2: like the it's when you have a global crisis as
• 25:55
  Speaker 2: your backdrop of trying to figure out how to survive,
• 25:58
  Speaker 2: it changes things.
• 26:00
  Speaker 1: I so when I went and saw here's a Broadway detour.
• 26:05
  Speaker 1: When I went and saw Come from Away for the
• 26:07
  Speaker 1: first time, I started to have like sense memories of
• 26:12
  Speaker 1: like nine to eleven, And no one that I went
• 26:16
  Speaker 1: was as affected by me by Come from Away as
• 26:19
  Speaker 1: I was. So I started asking people how old they
• 26:22
  Speaker 1: were for nine to eleven, and I had someone go
• 26:25
  Speaker 1: I think I had started kindergarten by then, and I
• 26:28
  Speaker 1: was like, fucking walk away from me by I was like,
• 26:31
  Speaker 1: this was literally like the millennial's strife and struggle. Like nothing, nothing,
• 26:37
  Speaker 1: including country music, was the same after nine to eleven.
• 26:43
  Speaker 2: It is true. I mean you can't. You can't currently
• 26:47
  Speaker 2: write anything in two thousand and one without somehow referencing
• 26:50
  Speaker 2: nine to eleven, right, even though like all the TV
• 26:54
  Speaker 2: and movies in that time period did that based in
• 26:57
  Speaker 2: New York did nothing to reference it at all. They
• 26:59
  Speaker 2: just ignored it. Now, if somebody were to write something
• 27:03
  Speaker 2: that's based in New York in two thousand and one,
• 27:06
  Speaker 2: people would be like, uh, you're gonna just ignore nine eleven.
• 27:09
  Speaker 1: Yeah, Julia, isn't Marilyn Monroe one of your legends heroes icons?
• 27:15
  Speaker 2: Yeah? I fashioned my senior year through the age of
• 27:18
  Speaker 2: twenty three look after her actually, and like anytime I
• 27:22
  Speaker 2: auditioned for anything, I sang a song from one of
• 27:25
  Speaker 2: her movies. Yeah, Like when I graduated from a punk
• 27:30
  Speaker 2: rock look, you know, everyone thought I was doing a
• 27:33
  Speaker 2: rockabilly look, but it was really my my norma Jeene
• 27:36
  Speaker 2: Baker as Marilyn Monroe.
• 27:40
  Speaker 3: I love that.
• 27:41
  Speaker 1: How do you feel when you watch because you watch
• 27:44
  Speaker 1: the latest one?
• 27:45
  Speaker 2: What right with? Yeah? Yeah, but that's also a piece
• 27:50
  Speaker 2: of fiction that they did not do a very good
• 27:52
  Speaker 2: job of helping people understand it was based on a
• 27:55
  Speaker 2: fiction novel, not a biopic. Yeah.
• 27:59
  Speaker 1: So how do you when you think about the way
• 28:01
  Speaker 1: that you know your icon of Marilyn Monroe is fashioned
• 28:06
  Speaker 1: for film and media and the way that we talked
• 28:09
  Speaker 1: about her and the way that we put quotes that
• 28:11
  Speaker 1: she did.
• 28:11
  Speaker 2: Not say on posters so college kids.
• 28:13
  Speaker 1: Can have her in her in their dorm room fully.
• 28:18
  Speaker 3: Shit when that happens, by the way, Yeah.
• 28:21
  Speaker 1: Sorry, it's like a I wrote that Marylyn never said that,
• 28:25
  Speaker 1: never said that. Yeah, so great, Like, how do you
• 28:32
  Speaker 1: feel do you feel like they they're respectful about it?
• 28:35
  Speaker 2: There's like always a.
• 28:36
  Speaker 1: Disrespect to the Marilyn Monroe for me, except for Smash,
• 28:40
  Speaker 1: Smash was perfect.
• 28:42
  Speaker 2: Yeah. I think people still to this day struggle with
• 28:45
  Speaker 2: their understanding of Maryland, like if you're on the cursory
• 28:48
  Speaker 2: of it, Like I when I tell you when my
• 28:51
  Speaker 2: mother realized that I had not seen how to Marry
• 28:54
  Speaker 2: a Millionaire? I was probably twelve years old and we
• 28:56
  Speaker 2: did classic movies for Family Film Night, and she realized
• 29:00
  Speaker 2: that that hadn't made it into the rotation, and we
• 29:03
  Speaker 2: went to Hollywood Video to rent How to Marry a Millionaire,
• 29:07
  Speaker 2: and that just sort of set off everything. I consumed
• 29:10
  Speaker 2: every single movie of hers, multiple movies or multiple you know,
• 29:16
  Speaker 2: times over anything that compiled her music on a CD.
• 29:21
  Speaker 2: I bought books about her. I bought and I think
• 29:25
  Speaker 2: when you do a deeper dive on her in that
• 29:28
  Speaker 2: way at such a formative age, you really do for me.
• 29:32
  Speaker 2: It was clear that she was misunderstood. She just wanted
• 29:36
  Speaker 2: to be loved. No one ever gave her unconditional kindness
• 29:39
  Speaker 2: because she was pretty, so there's always something attached to it.
• 29:43
  Speaker 2: And that element of it I understood because I was
• 29:45
  Speaker 2: also a very pretty teenager. And you add exotic to
• 29:50
  Speaker 2: it because I look like I could be ethnic. Ooh,
• 29:54
  Speaker 2: you're so exotic looking element to it.
• 29:57
  Speaker 3: Yeah.
• 29:58
  Speaker 2: Now to this day of someone said the look exotic
• 30:00
  Speaker 2: and I'm like, fuck you, like that is toxic. But
• 30:05
  Speaker 2: because you know, I understood that whole like trying to
• 30:08
  Speaker 2: manipulate you because they don't think that there's a lot
• 30:11
  Speaker 2: going on there. The difference is is I had, you know,
• 30:14
  Speaker 2: a pretty solid foundation in the sense of my parents
• 30:17
  Speaker 2: were incredibly paranoid about everybody, So there's always that seed
• 30:21
  Speaker 2: of like I don't trust in there.
• 30:23
  Speaker 3: Yeah.
• 30:24
  Speaker 2: And I think people look at Marilyn Monroe and they
• 30:28
  Speaker 2: see what they want to see. They don't see the woman.
• 30:31
  Speaker 2: They don't see her pain or her strife in a
• 30:34
  Speaker 2: way that's relatable. They see her and want to see.
• 30:38
  Speaker 2: They have a preconceived notion about her already, and how
• 30:41
  Speaker 2: they see her is just reaffirming that preconceived notion.
• 30:45
  Speaker 3: I think like people always see her as I mean,
• 30:49
  Speaker 3: there's another trope, you know, all lost, right. Yeah, I
• 30:54
  Speaker 3: think people view her in the way that like how
• 30:58
  Speaker 3: I think she would have been saved, like you know
• 31:04
  Speaker 3: what I mean, Like if they're like, you're not looking
• 31:05
  Speaker 3: at like the complete picture of all the things that
• 31:08
  Speaker 3: affected her, They're like, Okay, if if they're like a
• 31:11
  Speaker 3: Jackie Kennedy, stand this woman is so loose that she
• 31:15
  Speaker 3: would sleeve with someone else's husband and his brother allegedly allegedly, right,
• 31:21
  Speaker 3: And then if you're like not allegedly sorry, and if
• 31:26
  Speaker 3: you're Hugh Hefner, like you think, oh, I can save
• 31:30
  Speaker 3: her by locking her away and you know, whatever mansion
• 31:35
  Speaker 3: he had in his imagination and then buying a burial
• 31:38
  Speaker 3: plot to continue. Like I'm looking at that level of protection,
• 31:43
  Speaker 3: right Yeah. When I saw her grave for the first
• 31:46
  Speaker 3: time and I saw him right next to it, it
• 31:49
  Speaker 3: made me enraged. I was just like, this is insane,
• 31:53
  Speaker 3: Like you don't want to be buried with He can't
• 31:55
  Speaker 3: be bared by any of his wives or with any
• 31:58
  Speaker 3: of his wives.
• 31:59
  Speaker 1: Mm hm.
• 32:00
  Speaker 3: He chose her and yeah, seventy five thousand for a privilege,
• 32:04
  Speaker 3: and I'm like, it's so gross.
• 32:06
  Speaker 2: Yeah, And when you think about her relationship with Joeomaggio
• 32:10
  Speaker 2: and how because even up until the end of her
• 32:12
  Speaker 2: life he was still very involved with her, even though
• 32:16
  Speaker 2: it wasn't romantic, right, Like, so like even Jodomaggio has
• 32:21
  Speaker 2: this element of like I tried to save you, but
• 32:27
  Speaker 2: he still kind of was there in the background to
• 32:29
  Speaker 2: like protect her because I know his debt. Her death
• 32:32
  Speaker 2: was hard on him and it almost reads to me
• 32:35
  Speaker 2: like I failed because he wasn't able to keep her
• 32:39
  Speaker 2: from you know, this self explosion that happened. And we
• 32:45
  Speaker 2: love a tragic sex spot.
• 32:47
  Speaker 1: You do, we did.
• 32:50
  Speaker 3: It's like, oh, if she had just been loved. It's
• 32:52
  Speaker 3: almost like Chris Rock had that pajoke about keeping your
• 32:56
  Speaker 3: daughter off of the pole, which is stupid, and it's
• 33:00
  Speaker 3: kind of like that, like, oh, she ended up in
• 33:04
  Speaker 3: like a wayward path because a man, whoever the right
• 33:09
  Speaker 3: man was, didn't come along to save her. They just
• 33:13
  Speaker 3: passed around. Not be true, but still no one was
• 33:18
  Speaker 3: actually like looking for looking out for her. They were
• 33:22
  Speaker 3: trying to like affirm their own masculinity and masculinity and
• 33:27
  Speaker 3: being able to protect this like little bird.
• 33:30
  Speaker 1: Yeah.
• 33:30
  Speaker 2: Yeah, because they only saw the gorgeous bleached blonde sex pot.
• 33:36
  Speaker 2: They never saw the woman behind that. So then when
• 33:39
  Speaker 2: the woman behind that doesn't live up to the imagery,
• 33:43
  Speaker 2: it's a whole separate thing. And I'm convinced that Joe
• 33:45
  Speaker 2: Demagio is the only one that actually saw her beyond
• 33:49
  Speaker 2: the blonde, which is why he remained so loyal even
• 33:53
  Speaker 2: after their divorce. That's my theory.
• 33:56
  Speaker 3: Well, and it's Arthur Miller. Was he was he abusive
• 34:00
  Speaker 3: to her?
• 34:02
  Speaker 2: Listen, Arthur, Arthur. Her relationship, their relationship is interesting and interesting.
• 34:08
  Speaker 2: I mean, girl, why why did you do that to yourself?
• 34:12
  Speaker 3: Well? Maybe because she's like, oh this is a smart guy.
• 34:15
  Speaker 2: And it's a different type, right, because he's an author
• 34:18
  Speaker 2: and he's an intellectual and like, yeah, yeah.
• 34:22
  Speaker 3: It's not like the flashy like Frank Sinatra, like the
• 34:27
  Speaker 3: big celebrity like Joe Debajo. He's this nerdy dude who
• 34:31
  Speaker 3: whites plays in New York. That's really like the three
• 34:34
  Speaker 3: things I know about him, and maybe if I marry
• 34:40
  Speaker 3: it seemed like Mary, if I marry him finally settling
• 34:45
  Speaker 3: down and having like a mature relationship and also ends
• 34:49
  Speaker 3: up being terrible.
• 34:51
  Speaker 2: Well, and they were married a while too, like six
• 34:55
  Speaker 2: years is pretty I feel like a pretty long time.
• 34:59
  Speaker 1: I feel like we're kind instantly given me the advice
• 35:02
  Speaker 1: as women who remain unmarried and single to be like,
• 35:06
  Speaker 1: we'll go against your type. And it's like, sure, I'll
• 35:09
  Speaker 1: go against my type and my gut, and then I'll
• 35:13
  Speaker 1: be in the most volatile, violent relationship of my life
• 35:17
  Speaker 1: and I'll be like, but he read, I don't understand.
• 35:22
  Speaker 3: He went to college and he owns like stocks and bond.
• 35:30
  Speaker 1: And I feel like, especially like, I mean, I am
• 35:34
  Speaker 1: probably one of the furthest things away from the sex
• 35:37
  Speaker 1: pot that it was Marilyn Monroe. But I feel like
• 35:39
  Speaker 1: when you're a beautiful woman who's just been like dumbed
• 35:45
  Speaker 1: down by the world, and you'll go, I know, I'll
• 35:47
  Speaker 1: finally marry an intellectual. Then they bring all of their
• 35:52
  Speaker 1: intellectual nerd bullshit and in cell behavior into your marriage
• 35:56
  Speaker 1: and you're like, why aren't you just happy? I'm pretty
• 35:58
  Speaker 1: I don't understand.
• 36:01
  Speaker 2: Yeah, And if I remember correctly, like his career wasn't
• 36:04
  Speaker 2: doing super great, but her career was, Oh, there goes
• 36:08
  Speaker 2: there it is, remember correctly, like I was there. No,
• 36:12
  Speaker 2: I'm trying to remember based on intel I obtained when
• 36:17
  Speaker 2: Marilyn wrote.
• 36:18
  Speaker 1: Me, and she's like, I just don't know what it is.
• 36:21
  Speaker 2: Yeah, those postcards came. But I think too, like Natalie
• 36:26
  Speaker 2: to your point with the whole like just you know,
• 36:29
  Speaker 2: I mean, for lack of a better word, settle for
• 36:31
  Speaker 2: something that you wouldn't normally go for. One of the
• 36:35
  Speaker 2: things that you know, I left Enemies to Lovers. That
• 36:39
  Speaker 2: is one that I love. But more recently it's actually
• 36:42
  Speaker 2: starting to make me very uncomfortable because the way it's
• 36:44
  Speaker 2: being written, where the enemy the male and the male
• 36:48
  Speaker 2: in the scenario is pushing in such a way where
• 36:51
  Speaker 2: you're just like, why are you pushing her like that, like,
• 36:54
  Speaker 2: why are you emotionally attacking her in that way? This
• 36:58
  Speaker 2: is who she is. You can kind of hate each
• 37:01
  Speaker 2: other because I mean we all love Brian bruchettice Well,
• 37:03
  Speaker 2: I don't know if everybody does, but like you can
• 37:06
  Speaker 2: have that initial conflict and it not feel like you're
• 37:10
  Speaker 2: attacking me and my character. That truly feels like hatred
• 37:15
  Speaker 2: and not just putting on airs because you're hiding affection, right,
• 37:20
  Speaker 2: And does that make sense? Like I feel like the
• 37:22
  Speaker 2: the hating part is so much more aggressive now right.
• 37:26
  Speaker 1: I hate what we tell women is romantic because I
• 37:29
  Speaker 1: see red flax like red meen. I do think that
• 37:33
  Speaker 1: historical fiction and historical fiction movies set us all up
• 37:38
  Speaker 1: for believing that, like when men have bad behaviors, that
• 37:42
  Speaker 1: is something that we endure and we are like powerful
• 37:45
  Speaker 1: despite of. And it's because every time think about how
• 37:51
  Speaker 1: like Avida, the Tutors, anything that has to do with
• 37:57
  Speaker 1: Marie Antoinette, those women, those men had to like lean
• 38:01
  Speaker 1: sexual sexuality forward and then be like, but this is
• 38:06
  Speaker 1: how I get my bag. And I was obsessed with
• 38:09
  Speaker 1: those stories growing up. I was like, yeah, a slut
• 38:12
  Speaker 1: for a job, like a slut to get myself out
• 38:15
  Speaker 1: of here, a slut, to like make sure that I'm
• 38:18
  Speaker 1: living in the McMansion, Like I commenced a college professor
• 38:23
  Speaker 1: against his better judgment for my Latin American class to
• 38:29
  Speaker 1: let me do my big research paper, my like final
• 38:32
  Speaker 1: project on Ava Parone instead of whatever the fuck his
• 38:36
  Speaker 1: name was.
• 38:39
  Speaker 3: I don't even know his name.
• 38:43
  Speaker 1: His name is Proon, his name is Eva Peron's husband,
• 38:46
  Speaker 1: his name is Madonna's husband. And Avida was like, there
• 38:52
  Speaker 1: was one summer in my house where we somehow got
• 38:55
  Speaker 1: HBO for free and we watched Welcome to the Dollhouse,
• 38:59
  Speaker 1: the Virgin Suicie and Avida on a loop.
• 39:03
  Speaker 2: Loop videos for a week.
• 39:05
  Speaker 3: That's a big that's a big movie.
• 39:12
  Speaker 2: Yeah, I'm fine, I turned out great. I'm everything's fine here.
• 39:19
  Speaker 2: It all behind the curtains.
• 39:22
  Speaker 1: It all led me here, and it's fine. And I
• 39:25
  Speaker 1: love the movie a Vida and I love the music
• 39:28
  Speaker 1: from Avida. And my sister betrayed me and went and
• 39:30
  Speaker 1: saw Avida on stage without me because her father in
• 39:34
  Speaker 1: law bought tickets, And that's misogyny.
• 39:38
  Speaker 2: You gotta say, what about my sister? About my sister
• 39:42
  Speaker 2: buy a ticket for myself? And I said that.
• 39:43
  Speaker 1: I was like, you didn't tell you your father in law,
• 39:46
  Speaker 1: You and pony and fight the patriarchy that day and
• 39:49
  Speaker 1: be like that was really nice, Papa, whereas Natalie's sisterhood
• 39:57
  Speaker 1: is everlasting misogyny, misogyne. But anyways, so I you can't
• 40:07
  Speaker 1: find historical documents on Ava Perone or I don't even
• 40:12
  Speaker 1: actually know if she did anything as the first lady.
• 40:15
  Speaker 2: Of Argentina or whatnot.
• 40:16
  Speaker 1: And my professor was like, of course you're not finding
• 40:20
  Speaker 1: any sources or anything about her. What means you think
• 40:24
  Speaker 1: she's important? I was like Madonna played her in a movie, yeah, Pelopone. Yeah,
• 40:34
  Speaker 1: I was like, I don't number when we don't even
• 40:36
  Speaker 1: know his first name. I don't see he didn't even
• 40:39
  Speaker 1: get Antonio Banderas to play him. Antonio Banderas played the
• 40:43
  Speaker 1: other guy.
• 40:44
  Speaker 2: The other guy.
• 40:46
  Speaker 3: I think the fascinating story too, is like all the
• 40:49
  Speaker 3: stuff that happened to her body, Yeah, this list, and
• 40:53
  Speaker 3: it's like that's a movie. I want to see this whole.
• 40:56
  Speaker 3: I want to see like an ocean's eleven level.
• 41:00
  Speaker 1: A national treasure.
• 41:03
  Speaker 3: Yes, this chick's body going from South America to Europe
• 41:08
  Speaker 3: to Africa to back to South America, her face gets
• 41:11
  Speaker 3: caved in.
• 41:13
  Speaker 2: Yeah, where is that movie? Yeah, you know, another historical
• 41:18
  Speaker 2: figure that there's way too much information about the men
• 41:21
  Speaker 2: and not enough about the women. The age murders. Oh okay, yeah, okay.
• 41:28
  Speaker 2: And I bring that up again because Killers of the
• 41:30
  Speaker 2: Flower Moon another Oscar nominated movie that was contender against Oppenheimer.
• 41:35
  Speaker 2: And since we brought up Oppenheimer and their lack of
• 41:38
  Speaker 2: well developed female characters, I find that I was left
• 41:43
  Speaker 2: after three and a half hours of this Martin Scorsese
• 41:46
  Speaker 2: movie going no, but I need to know more about Molly,
• 41:49
  Speaker 2: and unfortunately, her Wikipedia isn't very extensive. So there's this
• 41:56
  Speaker 2: three and a half hour movie about how white men
• 41:59
  Speaker 2: literally stole from indigenous people on purpose, and then when
• 42:05
  Speaker 2: you go to their Wikipedia you find out they were
• 42:07
  Speaker 2: acquitted in the sixties. And it's just like, I feel sick.
• 42:12
  Speaker 2: This makes me so upset, and not just because it's
• 42:15
  Speaker 2: disgusting that this is the kind of history we have,
• 42:18
  Speaker 2: but also because we have a three and a half
• 42:20
  Speaker 2: hour movie and the women are not the center of
• 42:23
  Speaker 2: the film, even though it's happening to the women.
• 42:26
  Speaker 1: Yeah right, I as you know, I boycotted The Moonflower
• 42:32
  Speaker 1: movie with Leonardo Ditaprio. I boycotted it.
• 42:38
  Speaker 3: I boycotting right.
• 42:40
  Speaker 2: She's like Moonflower. God, it's a very long for a
• 42:45
  Speaker 2: movie that I will not watch.
• 42:49
  Speaker 1: It's a very murder moon movie. I don't know.
• 42:51
  Speaker 2: Yeah, the name is significant, like it matters because they
• 42:56
  Speaker 2: explain it in the movie, and I'm sure it's explained
• 42:58
  Speaker 2: in the book too, but still it's just like again,
• 43:00
  Speaker 2: I had so many questions. I was like, I need
• 43:03
  Speaker 2: to know about Molly's relationship with her mother. Her sister
• 43:06
  Speaker 2: is like, none of it.
• 43:06
  Speaker 1: They gave us none of that Because I am on
• 43:09
  Speaker 1: a Leonardo DiCaprio hiatus. I am always caring Inardo DiCaprio
• 43:14
  Speaker 1: and his stupid fucking squint when man, he didn't even
• 43:21
  Speaker 1: was he even at the Oscars, because that pisses me
• 43:24
  Speaker 1: off to that he only knows that he himself is nominated,
• 43:27
  Speaker 1: not his final films another cookie.
• 43:31
  Speaker 2: And I have a theory that they hit him on
• 43:33
  Speaker 2: purpose because so many people were like, why is this
• 43:35
  Speaker 2: movie about white men?
• 43:38
  Speaker 3: Yeah? Well, and he was like very clear and like
• 43:42
  Speaker 3: going to different things with her right to like highlight her. Yeah, yeah,
• 43:47
  Speaker 3: when he look at a Colm.
• 43:50
  Speaker 2: He did prop her up occasionally, but at the same.
• 43:54
  Speaker 1: Time, like game on my show, The Misogyny Meltdown and
• 43:58
  Speaker 1: JD did those two in the game. You came on
• 44:01
  Speaker 1: my show and I'm gonna address it twice. My show
• 44:04
  Speaker 1: is called The Misogyny Meltdown. You came on my show
• 44:07
  Speaker 1: to stick up for the likes of Leonardo mother fucking DiCaprio.
• 44:13
  Speaker 1: He stuck up for fucking Inglorious Faster Who is he?
• 44:19
  Speaker 1: Quentin Tarantino? Like you came on my show.
• 44:23
  Speaker 3: A broken clock is right twice a day.
• 44:26
  Speaker 1: You came on my show to stick up for the
• 44:29
  Speaker 1: likes of Quentin Tarantino.
• 44:31
  Speaker 3: I'm defending Leo DiCaprio like Titanic era, like he's going
• 44:38
  Speaker 3: to grow up to become this yet sure, Okay.
• 44:42
  Speaker 2: That's when his emotional intelligence stops is when.
• 44:45
  Speaker 3: The Titanic scene name is too fast.
• 44:47
  Speaker 2: Yeah, growing pains, pains, Yeah.
• 44:52
  Speaker 3: Yeah, we're making excuse for this man, right.
• 44:54
  Speaker 1: Yeah, but we love to uphold white men with white
• 44:58
  Speaker 1: men and give them excuses.
• 45:00
  Speaker 3: Really, he's trying so hard.
• 45:03
  Speaker 1: He's trying so hard.
• 45:04
  Speaker 3: But I'm trying to think like it has really the
• 45:09
  Speaker 3: only strong woman with some of any sort of layers,
• 45:13
  Speaker 3: did I think that Martin or Ssey's ever written is
• 45:16
  Speaker 3: probably like Karen from Goodfellas, Right, Yeah, I.
• 45:22
  Speaker 2: Love Karen from Goodfellas because she didn't take his ship
• 45:25
  Speaker 2: for nothing.
• 45:27
  Speaker 3: She was a badass, keep on her track suit. He
• 45:31
  Speaker 3: was starting coke, but she's yeah.
• 45:35
  Speaker 2: Ann fucking called him out on a ship all the
• 45:37
  Speaker 2: time when he was like when she finds out he's
• 45:39
  Speaker 2: doing it stepping or whatever and he's in prison and
• 45:41
  Speaker 2: she's bringing all She's like, fuck, you wouldn't meet me
• 45:44
  Speaker 2: helping you with this scam and you're fucking me over. Ann,
• 45:47
  Speaker 2: You're like she was. She did not tolerate ray Leota
• 45:52
  Speaker 2: in a way that I was like, yes, ma'am. We
• 45:55
  Speaker 2: tell our husbands when they make us mad.
• 45:58
  Speaker 3: We do. I think that I feel I'm going over
• 46:00
  Speaker 3: like all of his movies, and I think that's the
• 46:02
  Speaker 3: only one.
• 46:04
  Speaker 2: I Yeah, I agree.
• 46:07
  Speaker 1: I never want to see a group of indigenous people
• 46:10
  Speaker 1: and then the whole movie is telling me what the
• 46:12
  Speaker 1: white men are doing and thinking I don't want to
• 46:14
  Speaker 1: see a Pocahontas.
• 46:15
  Speaker 2: That's literally Killers of the Flower Moon movie and so
• 46:19
  Speaker 2: and that was really hard for me because it's like,
• 46:21
  Speaker 2: but there's clearly deep rich layers between these women. There's
• 46:26
  Speaker 2: clearly more that we could have had about these women,
• 46:29
  Speaker 2: and there there was none of that. Like several times
• 46:32
  Speaker 2: we have owls showing up when the women are deeply sick.
• 46:36
  Speaker 2: What is the significance and meaning of that? I don't know.
• 46:38
  Speaker 2: They never explore it. Why does Molly's mom want the
• 46:45
  Speaker 2: one sister over the other constantly?
• 46:47
  Speaker 3: Like?
• 46:47
  Speaker 2: What is the family dynamic? Why are you always Why
• 46:50
  Speaker 2: is Molly always saying my lot number is two seven?
• 46:54
  Speaker 2: I don't know if that's her actual lot number. Incompetent?
• 46:57
  Speaker 2: Explain why the federal government decide to make laws about
• 47:02
  Speaker 2: why indigenous people were considered incompetent even though they were
• 47:05
  Speaker 2: fucking wealthy, and so they can control their money, you
• 47:08
  Speaker 2: know what I mean. So it's like there were so
• 47:10
  Speaker 2: many things that could have been but instead we get
• 47:15
  Speaker 2: Robert de Niro and Leonardo DiCaprio plotting to murder every
• 47:20
  Speaker 2: O Sage person until they own every single head land
• 47:25
  Speaker 2: rights or whatever it's called head rights.
• 47:27
  Speaker 3: Yeah.
• 47:27
  Speaker 2: So I was just like I can't, like, we know
• 47:30
  Speaker 2: this is bad. I want to know the distruction, Like
• 47:33
  Speaker 2: I want to know from the osage side.
• 47:36
  Speaker 1: No one gets to tell me anything anymore about Eva
• 47:39
  Speaker 1: Prone and Anne Bolin and any other woman who fucked
• 47:43
  Speaker 1: themselves into an office in a mansion because Leonardo DiCaprio
• 47:49
  Speaker 1: and Robert de Niro were like, we're gonna fuck these women,
• 47:51
  Speaker 1: but then we're gonna fuck these women and murder their
• 47:54
  Speaker 1: entire family.
• 47:55
  Speaker 2: Yeah, Like, like, you know, there's scenes where de Niro's like,
• 47:57
  Speaker 2: don't you think it's wrong that I forget what the
• 47:59
  Speaker 2: other sisters names are. Minnie's husband is gaining the head
• 48:03
  Speaker 2: rights even when Minnie's died, Like that's not right. It
• 48:06
  Speaker 2: should go to Molly and you know. And you're just like,
• 48:09
  Speaker 2: but like what listen, I don't need to know how
• 48:13
  Speaker 2: y'all plot and kill us. Okay, I'm not Native, but
• 48:16
  Speaker 2: I am part Black, so the same rule apply. He's like,
• 48:20
  Speaker 2: I don't need to know how you plot and kill us.
• 48:22
  Speaker 2: I need to know how we were affected so we
• 48:25
  Speaker 2: can figure out how to heal, right.
• 48:28
  Speaker 3: Like are the head rights still? Do they still exist?
• 48:33
  Speaker 3: Like what's going on in Oklahoma? That's the on many questions.
• 48:35
  Speaker 3: You know, no clue.
• 48:37
  Speaker 2: Martin did not care.
• 48:39
  Speaker 1: I was twelve years old when my mother ruined Pocahontas
• 48:43
  Speaker 1: for me.
• 48:45
  Speaker 3: Well, it's probably best.
• 48:47
  Speaker 2: It's probably the best.
• 48:48
  Speaker 1: I had been to Disney World. I had led a
• 48:52
  Speaker 1: line of people through just around the river Bend because
• 48:55
  Speaker 1: I was perched on a on a fence and I
• 48:58
  Speaker 1: was doing my canoe.
• 49:00
  Speaker 2: I mean, it is such a great song to sing.
• 49:02
  Speaker 2: A lot too A doun't pay attention to the historical
• 49:05
  Speaker 2: context around it.
• 49:07
  Speaker 1: I was an adorable kid. And then Pocahontas to a
• 49:10
  Speaker 1: brave New World or a new World or whatever the
• 49:12
  Speaker 1: fuck it's called. Hey, yeah, and she marries a different
• 49:15
  Speaker 1: John And I was like, what mel Gibson, what about
• 49:20
  Speaker 1: Hattie mccott John Smith, who I've been lusting over for
• 49:24
  Speaker 1: my entire life? And my mother went.
• 49:28
  Speaker 2: And I was like, that's a look. Like my mother
• 49:30
  Speaker 2: loves to.
• 49:32
  Speaker 1: Like tell me that I'm the dumbest person in the
• 49:35
  Speaker 1: world for not knowing something that's never been taught to me.
• 49:37
  Speaker 2: She's like, like, what how known?
• 49:42
  Speaker 1: She's like, Pocahontas was a fucking child when john Smith
• 49:47
  Speaker 1: made it to America. She was maybe at most thirteen
• 49:50
  Speaker 1: years old.
• 49:51
  Speaker 2: I was like, oh, I don'tkay. She's like there was
• 49:54
  Speaker 2: no love story.
• 49:55
  Speaker 1: And then like she of course, because like internalized misogyny
• 49:59
  Speaker 1: and you know, internalized racism. She was like, he probably
• 50:02
  Speaker 1: loved her like a daughter. Okay, probably not, probably not.
• 50:07
  Speaker 1: Ok I was like, did he still ship her to
• 50:13
  Speaker 1: the America? Did he still ship her to England? Where
• 50:16
  Speaker 1: she had to be in the carnival, Like, because she
• 50:18
  Speaker 1: had to be in a carnival, I think she had
• 50:19
  Speaker 1: to fight a bear or something.
• 50:23
  Speaker 2: That happens as the second movie. Oh my gosh, the
• 50:26
  Speaker 2: second movie was just full of creative They just took
• 50:28
  Speaker 2: a lot of creative license. That happens is the second movie.
• 50:31
  Speaker 2: She's at the carnival with a bear and she's wearing white.
• 50:36
  Speaker 3: Oh my god.
• 50:38
  Speaker 1: Oh she's wearing white lady makeup. Oh no, she's wearing Elizabeth.
• 50:44
  Speaker 1: She's in like a giant yellow gas.
• 50:46
  Speaker 2: I just have so many questions if somebody came up
• 50:49
  Speaker 2: to me and would be like, we need you to
• 50:50
  Speaker 2: do this, if especially if it's outside of my and
• 50:53
  Speaker 2: nowadays we have that luxury, right, like some of us
• 50:55
  Speaker 2: have the luxury to be like hmmm, questions. But like
• 50:59
  Speaker 2: seventy years ago, right to bring it back to Maryland,
• 51:02
  Speaker 2: Like there was no empowerment of women to question the
• 51:05
  Speaker 2: system of what was going on. And why should we be.
• 51:08
  Speaker 1: Doing this well? And in every historical women's story, like
• 51:13
  Speaker 1: some man has to come in and be like but
• 51:15
  Speaker 1: make it sex sy, give him the rasthmatas. Women love
• 51:18
  Speaker 1: rom coms, Like do I believe that Anne Bolin at
• 51:22
  Speaker 1: the ripe old age of fifteen, straight from Paris, France,
• 51:27
  Speaker 1: was like so hot and bothered over King Henry the
• 51:31
  Speaker 1: eighth portrait here.
• 51:34
  Speaker 2: That she was like this is.
• 51:36
  Speaker 1: Totally worth getting beheaded over and like saying buck you
• 51:40
  Speaker 1: to the pope. No, like women had to do what women.
• 51:45
  Speaker 2: Had to do to survive. Yeah. So I'm reading Brookshield's
• 51:51
  Speaker 2: book right now, the most recent one. It is called
• 51:57
  Speaker 2: There Was a Little Girl, The Real Story of My
• 52:03
  Speaker 2: Mother and Me. And now I'm like, I'm having a
• 52:07
  Speaker 2: real hard time because there's a lot of stuff that
• 52:09
  Speaker 2: like her mom's an alcoholic and as she's defending her
• 52:13
  Speaker 2: mom and like sort of making light of certain situations
• 52:15
  Speaker 2: where you're just like, brook that's not something we should
• 52:17
  Speaker 2: make light of. But I understand you're not ready to
• 52:20
  Speaker 2: have therapy over these things, So you do you boo boo?
• 52:24
  Speaker 2: I find myself wanting to know her mother's origin story
• 52:28
  Speaker 2: because she Brooke is so upset about the villainization of
• 52:33
  Speaker 2: her mother. Still to this day, this book is a
• 52:37
  Speaker 2: response to the vilifying of her mother. But now I'm like, well,
• 52:43
  Speaker 2: it's the sixties. I need an origin story of her
• 52:45
  Speaker 2: mother because what is it about her mom's life that
• 52:51
  Speaker 2: she went down this path of pushing her daughter in
• 52:55
  Speaker 2: the way that she did? Did she have employable skills?
• 53:00
  Speaker 2: So you got pregnant and the father they weren't together,
• 53:03
  Speaker 2: and then the granddad was like, you should probably handle that,
• 53:06
  Speaker 2: and then she didn't. Right, So, like, there's all these
• 53:09
  Speaker 2: things that Brooke knows that she shares with us that
• 53:12
  Speaker 2: leads me to go, I need the mom's origin story
• 53:16
  Speaker 2: because I understand why we look at their relationship and go,
• 53:21
  Speaker 2: this is a monster. How dare you do that to
• 53:23
  Speaker 2: your daughter? But I also need to know why she
• 53:27
  Speaker 2: went down that path and made the decisions, because it's
• 53:30
  Speaker 2: not just alcoholism. There's got to be something else, right, Like,
• 53:35
  Speaker 2: what is it about her childhood? What did she go through?
• 53:37
  Speaker 2: Why did she feel like the only way to survival
• 53:40
  Speaker 2: was putting her child on set?
• 53:44
  Speaker 1: Yeah?
• 53:45
  Speaker 3: Yeah, I had the money. It's not like she took
• 53:47
  Speaker 3: her to Studio fifty four like Drew verymore.
• 53:50
  Speaker 2: Right, right, And I think a lot of that gets
• 53:53
  Speaker 2: lost in context or it gets lost. But then also
• 53:56
  Speaker 2: on the other side of that coin, to your point
• 53:58
  Speaker 2: Natalie earlier is if we're a man, we would know,
• 54:02
  Speaker 2: we would have the origin story, we would have the backstory,
• 54:05
  Speaker 2: we would offer the empathy and the sympathy for why
• 54:09
  Speaker 2: they behaved that way.
• 54:10
  Speaker 1: I know so much about Tony Stark's toxic dad, like
• 54:13
  Speaker 1: I know so much about Iron Man's toxic dad.
• 54:17
  Speaker 2: Yeah, and we love a redemption. I got into a
• 54:20
  Speaker 2: debate yesterday with somebody about that because I was like, oh,
• 54:23
  Speaker 2: you know, you know, it's great for RDJ to have
• 54:26
  Speaker 2: this come back and to win an Oscar and like
• 54:29
  Speaker 2: have the career that he's having. But lest we forget,
• 54:31
  Speaker 2: he did not do well for a very long period
• 54:35
  Speaker 2: of time, but he gets allowed, he has the he's
• 54:39
  Speaker 2: allowed to be redeemed versus I don't know. Courtney Love
• 54:42
  Speaker 2: is still trying.
• 54:44
  Speaker 3: Courty Love Lindsay Lohan. Lately she has like the she had,
• 54:50
  Speaker 3: like the issues with substances and things, and I feel like,
• 54:55
  Speaker 3: you know, she should have like even though I do
• 54:58
  Speaker 3: plan on watching Irish, actually it looks amazing.
• 55:02
  Speaker 2: Can't wait for it.
• 55:03
  Speaker 3: Is it today?
• 55:03
  Speaker 2: Do we watch it today?
• 55:06
  Speaker 1: You know?
• 55:07
  Speaker 3: But I feel like if she if the balances, if
• 55:11
  Speaker 3: the balances were equal, she would have been given a
• 55:14
  Speaker 3: Tony Stark level yes to come back. I mean like
• 55:19
  Speaker 3: like RDJ was like a lot older.
• 55:22
  Speaker 2: M hm.
• 55:23
  Speaker 3: He started his like come back, But it doesn't matter.
• 55:26
  Speaker 1: I would like to talk about The Crown because when
• 55:28
  Speaker 1: I was watching My Nephews season six, No, I haven't
• 55:33
  Speaker 1: even watched fucking season six yet because I still have
• 55:36
  Speaker 1: such a moral quandary with you making me watch season
• 55:39
  Speaker 1: five and how icky it made me.
• 55:41
  Speaker 2: Feel the entire time.
• 55:43
  Speaker 3: Yeah, if it makes you feel better. I skipped a
• 55:46
  Speaker 3: few episodes of season six because I just didn't care
• 55:50
  Speaker 3: about the William. I was like, we've already seen that.
• 55:54
  Speaker 3: I watched that, I watched that wedding. I get it.
• 55:58
  Speaker 3: I want to hear more about Diana. I've watching it
• 56:02
  Speaker 3: because I knew the whole Diana thing was coming six
• 56:05
  Speaker 3: years ago.
• 56:06
  Speaker 1: And so yeah, so my sister had an she's never
• 56:10
  Speaker 1: watched The Crown. She is famously a better person than me,
• 56:15
  Speaker 1: and if you ask her, and I.
• 56:18
  Speaker 2: Was just saying, Natalie, there's gotta be a caveat.
• 56:21
  Speaker 1: If you ask her, and.
• 56:26
  Speaker 2: So she told me.
• 56:27
  Speaker 1: She's like, I've never sat down to watch that movie.
• 56:29
  Speaker 1: I always talk like my sister talks to me with
• 56:32
  Speaker 1: such sass. She's too tired, she's got an infant, like,
• 56:36
  Speaker 1: but she's like, I've never even sat down to watch
• 56:38
  Speaker 1: one episode of the Crown because I think it's weird
• 56:41
  Speaker 1: to make historical fiction television about people who are still
• 56:45
  Speaker 1: alive to witness their lives be fictionalized. And I think
• 56:50
  Speaker 1: that was my biggest problem with season five is you
• 56:52
  Speaker 1: and I we the.
• 56:54
  Speaker 2: Three of us lived through that.
• 56:56
  Speaker 1: Yeah, And I was like, I don't want Charles to
• 56:59
  Speaker 1: be sold to me as a sexy romantic who just
• 57:02
  Speaker 1: lived loved Camilla so much.
• 57:04
  Speaker 2: I don't want to think they did work really hard
• 57:07
  Speaker 2: to make Charles redeeming in The Crown, because when you
• 57:10
  Speaker 2: go back and watch the documentaries, you're definitely like, oh,
• 57:13
  Speaker 2: you're you're a dirty, dirty bastard.
• 57:16
  Speaker 1: Yeah, and you're good.
• 57:18
  Speaker 2: You don't make sense to me because they do such
• 57:20
  Speaker 2: a great job at making him so redeeming. And I'm like,
• 57:24
  Speaker 2: everybody needs to watch this documentary, Like, here's four documentaries
• 57:29
  Speaker 2: to watch to remind yourself that Charles is a bastard.
• 57:32
  Speaker 1: Yeah, here is also the moral quandary that the Crown
• 57:37
  Speaker 1: puts us in TV's and movies need heroes, like you're
• 57:43
  Speaker 1: supposed to be rooting for the people that you are watching,
• 57:46
  Speaker 1: even sometimes when the people are like a little sus
• 57:49
  Speaker 1: like Lisa Frankenstein. I rooted for Lisa Frankenstein the entire time,
• 57:53
  Speaker 1: and she loves a bad, selfish lady. And I was like,
• 57:56
  Speaker 1: that's feminism. And but so while the Crown is doing this,
• 58:02
  Speaker 1: it's having my brain go, those are some really nice colonizers.
• 58:08
  Speaker 2: Look at those very.
• 58:09
  Speaker 1: Nice colonizers, and they're very nice. Palace right, Palace cicis
• 58:17
  Speaker 1: doing a job that none of us understand the purpose of.
• 58:22
  Speaker 1: None of us know why.
• 58:25
  Speaker 3: I think they try to give Charles like I feel
• 58:28
  Speaker 3: like they did. They They definitely tried harder in season six, Yes,
• 58:34
  Speaker 3: because they had to because yeah, died in set six, right,
• 58:37
  Speaker 3: But I think they try to give him like the
• 58:40
  Speaker 3: Clay kind of storyline. Right, Charles is a dick because
• 58:46
  Speaker 3: his dad was a dick and made him go to.
• 58:49
  Speaker 2: This like horrible privacy school.
• 58:52
  Speaker 3: It probably costs like one hundred thousand pounds a year,
• 58:56
  Speaker 3: and that I don't.
• 58:58
  Speaker 1: Know William go to the same fucking school.
• 59:02
  Speaker 2: Yeah, no, he send to William to this to eaton
• 59:07
  Speaker 2: instead because he hated the school that his dad made
• 59:10
  Speaker 2: him go to.
• 59:10
  Speaker 1: It's still a fucking boarding school. It wasn't like you
• 59:12
  Speaker 1: were raising your kids, I know.
• 59:14
  Speaker 2: But that's that's the aristocracy is they always they send
• 59:17
  Speaker 2: their children to boarding school when they get to be that.
• 59:20
  Speaker 3: Age because they got to send them away. But the
• 59:22
  Speaker 3: boarding school that Charles and against Prince Phillip both went to,
• 59:26
  Speaker 3: I think they like were like actively like abusing the
• 59:30
  Speaker 3: great and that was like part of their curriculums character.
• 59:35
  Speaker 3: But they're trying they're trying to make this like generational
• 59:39
  Speaker 3: trauma equivalency like actual like people of color. Feels like, oh,
• 59:45
  Speaker 3: he's sad because his dad was sad and they were
• 59:48
  Speaker 3: William murding school. William went to another one that was
• 59:53
  Speaker 3: I guess better, and it got to wear top hats,
• 59:56
  Speaker 3: which I'm sesquent and he's being terrible. So there's no
• 1:00:02
  Speaker 3: thing with it's not nurious. Well is it nurture versus nature?
• 1:00:06
  Speaker 2: Yes, it's a nature yeah yeah, and I think your
• 1:00:10
  Speaker 2: bloodline is bad, yeah, because then you have the Margarets
• 1:00:14
  Speaker 2: and the Harris of the family, who are basically like
• 1:00:17
  Speaker 2: ostracized because they're like, hey, maybe we should have some
• 1:00:20
  Speaker 2: empathy and allowed some autonomy. And the firm and institution
• 1:00:25
  Speaker 2: is like, the fuck do you just say get out? No?
• 1:00:28
  Speaker 2: It will either crush you or kill you, and they.
• 1:00:30
  Speaker 1: Do I And meanwhile, they're building up Charles to be
• 1:00:37
  Speaker 1: like this romantic, tragic hero and I was like, who's
• 1:00:41
  Speaker 1: good looking? And I'm like, no, I'm googling Charles and we.
• 1:00:45
  Speaker 2: Has to do something else, please, because he can't just
• 1:00:48
  Speaker 2: have been Charles, because he's better than this.
• 1:00:51
  Speaker 1: When Julia made me review season five of The Crowd,
• 1:00:54
  Speaker 1: I believe my first line when she goes, so, how's like,
• 1:00:57
  Speaker 1: how do you like it? I'm like, why are they
• 1:00:59
  Speaker 1: trying to get slight me into believing that King Charles
• 1:01:02
  Speaker 1: was ever good looking to day in his life, even
• 1:01:04
  Speaker 1: though I lived through this shit.
• 1:01:07
  Speaker 3: And if he was good looking, it was because he
• 1:01:09
  Speaker 3: had money right right, and didn't like Camilla's a'prize either, like, no,
• 1:01:14
  Speaker 3: another woman's appearance, But come on, You've had Princess Diana
• 1:01:19
  Speaker 3: right here.
• 1:01:20
  Speaker 2: I know she's so beautiful and elegant.
• 1:01:23
  Speaker 1: So Charles gets this like what love is blind would
• 1:01:26
  Speaker 1: call the good edit. He's pretty, he's hot, he's in love.
• 1:01:32
  Speaker 1: He's misunderstood and tortured. Meanwhile, for everyone to see and
• 1:01:39
  Speaker 1: for her two kids to google or wives to block
• 1:01:43
  Speaker 1: from the computer, from them or whatever they're throwing out,
• 1:01:47
  Speaker 1: Diana's disordered eating, the fact that she pushed that bitch
• 1:01:51
  Speaker 1: down the stairs that one time, the fact that she
• 1:01:56
  Speaker 1: kind of robbed Charles from her sister baby. I don't know,
• 1:02:00
  Speaker 1: that was a weird.
• 1:02:01
  Speaker 3: Scene years before.
• 1:02:03
  Speaker 2: Yeah, yeah, yeah yeah. The fictionalization of how they met
• 1:02:07
  Speaker 2: is also kind of unfortunate because that's now what people
• 1:02:10
  Speaker 2: believe is how they met, and it's not how they met.
• 1:02:12
  Speaker 1: Right, And and I'm like, oh, so Diana's going to
• 1:02:17
  Speaker 1: be the one to.
• 1:02:17
  Speaker 2: Take the fall for this, because she did I.
• 1:02:20
  Speaker 1: Go America's princess. I was like the woman who's beanie.
• 1:02:25
  Speaker 2: Baby I used to sleep with that night.
• 1:02:27
  Speaker 1: She's she's taken the ball.
• 1:02:30
  Speaker 4: Uh uh m hmm on netfuck you Netflix, And speaking
• 1:02:37
  Speaker 4: for most black women on the planet, like.
• 1:02:41
  Speaker 3: We have posted our lot in with Diana years ago
• 1:02:45
  Speaker 3: since like eighty one, you know what I mean. So
• 1:02:48
  Speaker 3: it's like, I mean, I have friends where their mothers
• 1:02:53
  Speaker 3: like I have a friend who's Nigerian and her mom
• 1:02:56
  Speaker 3: when she found out that Prince Diane died, like she fainted.
• 1:02:59
  Speaker 3: That how much people love this girl?
• 1:03:01
  Speaker 2: Right? Yeah?
• 1:03:02
  Speaker 3: And I remember like this ceremony where Charles was getting
• 1:03:05
  Speaker 3: crowned and people are like, mm no, people are I
• 1:03:09
  Speaker 3: see he's brought his little friend to the coronation, his
• 1:03:13
  Speaker 3: little girlfriend to the coronation. We will never we would
• 1:03:17
  Speaker 3: ever recognize Camilla.
• 1:03:19
  Speaker 1: She is on our queen.
• 1:03:20
  Speaker 3: She know this bitch. But I was like, I'm like, no, no,
• 1:03:25
  Speaker 3: your little girlfriend, even though you gave her a crown.
• 1:03:27
  Speaker 2: Oh your little hoe got to come to the party.
• 1:03:29
  Speaker 2: That's nice.
• 1:03:31
  Speaker 1: Yeah, he has a barbie.
• 1:03:32
  Speaker 2: Now she has a barbie.
• 1:03:35
  Speaker 3: The only thing, the only good thing I can say
• 1:03:37
  Speaker 3: about her is that she somehow made bangs work her
• 1:03:40
  Speaker 3: whole life. I don't know.
• 1:03:43
  Speaker 1: I don't know.
• 1:03:43
  Speaker 2: She's like I shot my look in nineteen seventy two
• 1:03:46
  Speaker 2: and I'm sticking with it with it? Why am I that? Yeah? Listen,
• 1:03:50
  Speaker 2: where where are the witchcraft people?
• 1:03:53
  Speaker 1: And why aren't they said? I Camilla, that bitch. She
• 1:03:57
  Speaker 1: played a long game, and she made him did play
• 1:03:59
  Speaker 1: the long game. She got him to admit that he
• 1:04:02
  Speaker 1: visualized trying to be her tampon. That's a period. Sex
• 1:04:07
  Speaker 1: is witchcraft, like it's like a blood oath or something.
• 1:04:10
  Speaker 1: And then and then she may bangs her work, her
• 1:04:14
  Speaker 1: entire life, like she might be one of mine. She
• 1:04:18
  Speaker 1: might be a witch, she might she might.
• 1:04:22
  Speaker 2: Be a crystal carrying witch.
• 1:04:23
  Speaker 1: And I think England should know.
• 1:04:27
  Speaker 3: She's like the person who people think Ambolyn is. Maybe
• 1:04:36
  Speaker 3: maybe she's like the plotter, the scheming person, and people
• 1:04:41
  Speaker 3: thought am make herself work.
• 1:04:44
  Speaker 2: You know, I believe this theory. I mean again, after
• 1:04:48
  Speaker 2: all every single Windsor documentary I have ever seen, which
• 1:04:52
  Speaker 2: is all of them, there's no other portrayal of her
• 1:04:57
  Speaker 2: other than she knew what she was doing right right.
• 1:05:03
  Speaker 3: And I think, like with William, like I feel like
• 1:05:07
  Speaker 3: I'll go back. I think like with someone like Charles
• 1:05:10
  Speaker 3: who's been raised his whole life, I think saying like
• 1:05:14
  Speaker 3: the crown is always gonna win, it's first. I feel
• 1:05:18
  Speaker 3: like even with that, like he wouldn't have made Camilla
• 1:05:22
  Speaker 3: such a huge part of his life. She should. She
• 1:05:25
  Speaker 3: would have just been his mistress and it would have
• 1:05:27
  Speaker 3: been like but like and if he was like really
• 1:05:31
  Speaker 3: all about the tradition, he was to stay with Diana
• 1:05:34
  Speaker 3: until the end, right.
• 1:05:36
  Speaker 2: He was a spoiled baby bitch.
• 1:05:38
  Speaker 3: Yeah, like if he had just if he just kept
• 1:05:42
  Speaker 3: We don't even know if he's actually cheating with this girl,
• 1:05:44
  Speaker 3: Like no one has confirmed this, no one, but if
• 1:05:46
  Speaker 3: Rose Handberry is really his mistress, they could have just
• 1:05:51
  Speaker 3: did their thing. They have literally thousands of houses to
• 1:05:54
  Speaker 3: go cheat in. Like, yeah, we had to come to light.
• 1:05:58
  Speaker 3: And with Catherine, I'm like, you work this hard to
• 1:06:01
  Speaker 3: be coman if it were me, not knowing all the
• 1:06:05
  Speaker 3: things she's going through, or me, I like, I would
• 1:06:07
  Speaker 3: have held on for the long game. Charles is not
• 1:06:10
  Speaker 3: long for this world.
• 1:06:11
  Speaker 2: No, I mean I know, And I told Natalie during
• 1:06:14
  Speaker 2: his coronation, I was like, we'll have another coronation within
• 1:06:16
  Speaker 2: like five years, ten tops, easily, because he's so he's
• 1:06:20
  Speaker 2: hit his age and i know everyone's like making fun
• 1:06:23
  Speaker 2: of his sausage fingers. But having worked in elder healthcare,
• 1:06:26
  Speaker 2: I'm like, that's a health issue. And then it comes
• 1:06:30
  Speaker 2: to light that he has a health issue. I'm very
• 1:06:33
  Speaker 2: perplexed by the Kate missing disappearance. Cannot wait for the
• 1:06:37
  Speaker 2: biopics in twenty years when we get you know, a
• 1:06:41
  Speaker 2: fictionalized version of what happened. And I feel like William
• 1:06:46
  Speaker 2: becoming a piece of trash is justice for Harry.
• 1:06:50
  Speaker 3: Yeah, and losing his hair. Yeah, and williamy, you still
• 1:06:55
  Speaker 3: be hot?
• 1:06:56
  Speaker 2: He could, but he's not.
• 1:07:00
  Speaker 3: When he was so swollen, he was so he was
• 1:07:03
  Speaker 3: so cute and now he's cute.
• 1:07:05
  Speaker 2: The biggest crush, Yeah, Harry.
• 1:07:10
  Speaker 3: I never thought that Hairy would be the reasonable one.
• 1:07:14
  Speaker 1: Who knew who knew?
• 1:07:16
  Speaker 2: I mean, yeah, Harry.
• 1:07:22
  Speaker 3: Who would have thought that he would have the He
• 1:07:24
  Speaker 3: would be the one with the probably the most stable relationship,
• 1:07:28
  Speaker 3: thought enough to be like, I'm getting out of there,
• 1:07:30
  Speaker 3: I'm moving to California, but I'm still going to make money.
• 1:07:33
  Speaker 2: Yeah.
• 1:07:34
  Speaker 3: Fine.
• 1:07:35
  Speaker 1: Harry was literally on the Margaret path of life, where
• 1:07:38
  Speaker 1: it's like I'm a drugs rock and roll in love
• 1:07:41
  Speaker 1: baby until they find until they told me I'm a
• 1:07:44
  Speaker 1: disgrace and they put me away somewhere.
• 1:07:47
  Speaker 4: Yeah.
• 1:07:47
  Speaker 2: I banished me to the Paris to Paris and some
• 1:07:50
  Speaker 2: houses we own that nobody knows about.
• 1:07:52
  Speaker 1: Wait, all right, well, I have been asking everyone this
• 1:07:56
  Speaker 1: who has been involved in the Patreon for International Women's
• 1:07:59
  Speaker 1: Fun But what are you doing to celebrate women? Womanhood
• 1:08:03
  Speaker 1: and women's work this month.
• 1:08:10
  Speaker 2: I know I was gonna say, I was gonna my
• 1:08:12
  Speaker 2: answer is, well, I always only ever read women authors
• 1:08:16
  Speaker 2: unless a gay man slips in. So that's my way
• 1:08:20
  Speaker 2: of honoring all the time. I think this month, what
• 1:08:24
  Speaker 2: I am doing specifically is so shitty. I'm just promoting
• 1:08:29
  Speaker 2: the hell out of my fucking business and guilting people
• 1:08:33
  Speaker 2: because I did it during Black History Month and I'm
• 1:08:35
  Speaker 2: doing it during Women's History Month.
• 1:08:39
  Speaker 1: It's a two good for you guys. Tell Renthia, what
• 1:08:44
  Speaker 1: are you doing to celebrate women?
• 1:08:47
  Speaker 3: I mean just kind of just being one, yeah, surviving,
• 1:08:52
  Speaker 3: uh and living in a place where uh, you know,
• 1:08:56
  Speaker 3: appearances and connections are really important. Coming in you know,
• 1:09:02
  Speaker 3: coming as me from South Carolina, doing the thing is
• 1:09:06
  Speaker 3: like kind of like my own way, you know. In
• 1:09:09
  Speaker 3: addition to that, just writing, continuing to write scripts with women,
• 1:09:14
  Speaker 3: you know, female.
• 1:09:15
  Speaker 2: Leads that aren't Kitty Oppenheimer and Jean Tatlock.
• 1:09:19
  Speaker 3: Yeah, or they're or you know, even if they are
• 1:09:22
  Speaker 3: kitty like, they're having a good time on the side.
• 1:09:25
  Speaker 2: Yeah, you give them more to mention than one.
• 1:09:27
  Speaker 1: Christopher Nolan, Well, thank you for melting down with me.
• 1:09:31
  Speaker 1: Julian and al Renthia All of your information will be
• 1:09:34
  Speaker 1: in the show notes and in every social media post
• 1:09:37
  Speaker 1: that I ever post about this.
• 1:09:42
  Speaker 2: You're just gonna keep saluting you.
• 1:09:45
  Speaker 1: I don't have to justify how I'm celebrating women some
• 1:09:48
  Speaker 1: month because I am Women's Month. I am Women's Month.
• 1:09:54
  Speaker 1: You're every woman, I'm every woman.
• 1:09:57
  Speaker 2: It's all in me.
• 1:10:02
  Speaker 4: The cann