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Die Hard with Debra DiGiovanni · The Bechdel Cast

• 0:00
  Speaker 1: On the Dog Cast, the questions asked if movies have woenium,
• 0:05
  Speaker 1: are all their discussions just boyfriends and husbands, or do
• 0:07
  Speaker 1: they have individualism? The patriarchy? Zef and best start changing
• 0:13
  Speaker 1: it with the beck dol Cast. Good evening, everyone, and
• 0:16
  Speaker 1: walk up to the show. Please let me walk up
• 0:17
  Speaker 1: the stage, Caleta Jamie. Welcome, Yes, thank you. How are
• 0:30
  Speaker 1: you guys? Are you guys good? You're good. We are
• 0:34
  Speaker 1: celebrating our one year anniversary. So thanks for coming out
• 0:38
  Speaker 1: and celebrating with us. Has everybody heard? By round of applauses? Everybody?
• 0:43
  Speaker 1: I heard it before? Or did you just wander? Okay? Okay,
• 0:49
  Speaker 1: so by round of applause? Who has never listened to
• 0:52
  Speaker 1: an episode of the beckdel Cast? Oh and they're all
• 0:55
  Speaker 1: sitting in the front row. Good, so we can just
• 0:58
  Speaker 1: stare you. But actually you wouldn't understand this is a
• 1:00
  Speaker 1: reference to a past thing we've not Yeah, just a
• 1:03
  Speaker 1: few things. Probably going to mention Alfred Molina for no
• 1:07
  Speaker 1: reason for I mean, but like I think the list
• 1:10
  Speaker 1: of reasons not to talk about Alfred Molina is very short. Yeah. Yeah,
• 1:16
  Speaker 1: For those of you who don't know what the Bechtel
• 1:18
  Speaker 1: Cast is or you're like, hey, what am I getting
• 1:20
  Speaker 1: into when you talk about the portrayal of women in movies?
• 1:24
  Speaker 1: We do it film by film. Every week we have
• 1:25
  Speaker 1: a new movie that we tear apart, and then our
• 1:27
  Speaker 1: fans are like, oh, thanks for ruining this movie for us,
• 1:31
  Speaker 1: and today will be no different and hearts will be
• 1:34
  Speaker 1: break and hearts will be broken today. Yeah. So we've
• 1:37
  Speaker 1: been doing it for a year now. I've had fifty
• 1:39
  Speaker 1: two individual different guests. They've all been great. If they
• 1:45
  Speaker 1: were men, they for sure interrupted us many times. Oh yeah,
• 1:49
  Speaker 1: there there is not even the male guests we've had
• 1:52
  Speaker 1: that are near and dear or hard great friends. There's
• 1:54
  Speaker 1: been I mean no short of five times where you're
• 1:57
  Speaker 1: just like and the PA triarchy is back, like yeah, actually,
• 2:03
  Speaker 1: here's what I think about Harrison Ford just like like
• 2:07
  Speaker 1: it's it's been a real years. Hands. Also, if you
• 2:11
  Speaker 1: know you're like what Bechtel, what does that mean? I'll
• 2:15
  Speaker 1: tell you who it's. And she made a test called
• 2:19
  Speaker 1: the Bechtel test, and it requires that a movie has
• 2:22
  Speaker 1: at least one scene where there's a single conversation between
• 2:25
  Speaker 1: two women. They have to speak to each other, and
• 2:27
  Speaker 1: their conversation has to be about something other than a man.
• 2:30
  Speaker 1: Preferably those characters have names. Yeah, we we prefer for
• 2:33
  Speaker 1: them to have names, just as you would in real life.
• 2:37
  Speaker 1: There's what if people like what if someone went back
• 2:40
  Speaker 1: and they're like, the Becktel cast is never because they're
• 2:43
  Speaker 1: only talking about Alfred Molina. Honestly, I think that Alfred
• 2:47
  Speaker 1: Molina is an exception to the test. And if it's
• 2:49
  Speaker 1: two women with names talking about Alfred Molina, it's stiff
• 2:52
  Speaker 1: has test personally. That's my belief. Sure, so all it
• 2:58
  Speaker 1: takes just for the record, because I feel like we
• 2:59
  Speaker 1: get this uh a lot is It only takes two
• 3:02
  Speaker 1: lines of dialogue. It doesn't have to be a whole scene.
• 3:04
  Speaker 1: Just literally, Hi, Caitlin, shut up. Jamie passes done easy
• 3:12
  Speaker 1: every day with that many times. Yeah, we've had that
• 3:14
  Speaker 1: very conversation leave my home, you know. So that's all
• 3:19
  Speaker 1: it takes. Hey, should we bring out our guests? I
• 3:22
  Speaker 1: think we should. This is our first time second time whoa,
• 3:25
  Speaker 1: this is our first second time guest on the Bechtel Cast,
• 3:29
  Speaker 1: big on or really a band or not? For everybody?
• 3:33
  Speaker 1: Oh I see, okay, it's our first repeat guest. Yeah,
• 3:36
  Speaker 1: so this is our first repeat guest. You heard her
• 3:38
  Speaker 1: last year on Our Love Actually episode, lots of hearts
• 3:42
  Speaker 1: were broken because that movie is garbage. It's a bad movie.
• 3:48
  Speaker 1: It's bad for women, it's bad for the world. But
• 3:51
  Speaker 1: we're so thrilled to have her back. Yes, sure, should
• 3:54
  Speaker 1: we say in unison, I would love to please welcome. Hey,
• 4:03
  Speaker 1: does everybody want to give a big clap for goodness? Hello? Girls,
• 4:20
  Speaker 1: good to be back, good to see you, Hello, live audience,
• 4:24
  Speaker 1: group of humans, a full How are you? It's a
• 4:29
  Speaker 1: very stress name. It's a lot. We love your name.
• 4:33
  Speaker 1: It's perfect goodness. Okay, well, so how are you doing
• 4:37
  Speaker 1: a quick checken? Yeah? I'm good, Yeah, good, everything's fine.
• 4:41
  Speaker 1: I have a puffy eye. Let's move on. We're talking
• 4:43
  Speaker 1: about we were talking. Don't no eye contact? I got
• 4:50
  Speaker 1: it in my rider. Yeah. Also, you'll turn to stone apparently,
• 4:56
  Speaker 1: that's what I'm saying. It's good. I think my hair
• 4:59
  Speaker 1: looks a little better than that. But let's move on.
• 5:01
  Speaker 1: It looks great, but I got not what's important. Okay,
• 5:05
  Speaker 1: we're talking about die Hard? Has everybody round? Who has
• 5:12
  Speaker 1: everybody seen Diehard? Yes? I heard round of a place.
• 5:16
  Speaker 1: Who has not seen die I got a bunch of
• 5:21
  Speaker 1: people in the front row. Yeah, like people are here
• 5:25
  Speaker 1: to be seen and bullied. Yeah. Sorry, Wait, you both
• 5:29
  Speaker 1: clapped your hands for someone who has never listened to
• 5:31
  Speaker 1: the podcast, nor have you seen die Hard? Amazing? Do
• 5:34
  Speaker 1: you know where you are right now? There's the last
• 5:40
  Speaker 1: live episode we did. My mother was sitting in the
• 5:42
  Speaker 1: front row and she was loudly antagonizing us for the
• 5:47
  Speaker 1: duration of the episode and hitting on our guests very aggressively.
• 5:53
  Speaker 1: Oh she was there. She was like, she just kept saying,
• 5:56
  Speaker 1: just screaming it for no reason. I know, it's nineties.
• 6:00
  Speaker 1: It was yeah, I'm sorry, I am now Jill screaming
• 6:06
  Speaker 1: and then yeah, and then our friend was flirting with
• 6:09
  Speaker 1: our friend who later was like, do you think I
• 6:11
  Speaker 1: have a shot? Oh my god? Who was the guest
• 6:14
  Speaker 1: who was flirting which listen, Oh no, that's okay, it's triggering.
• 6:20
  Speaker 1: He's my dad now, so he is just my actual father.
• 6:27
  Speaker 1: This podcast is ruined my life. I have a father
• 6:31
  Speaker 1: who is my age. Yeah, he takes me out. We
• 6:35
  Speaker 1: played basketball together. So die Hard, I will do the
• 6:43
  Speaker 1: Lynn's famous recap all right? Uh And as always, Caitlyn's
• 6:50
  Speaker 1: recap was made to be interrupted. Yes, although I read
• 6:54
  Speaker 1: I wrote something out this time, and I might just
• 6:56
  Speaker 1: read it because I didn't. I wanted this to be
• 6:59
  Speaker 1: a really good recap for you guys. I'll suck it
• 7:02
  Speaker 1: up anyway, doesn't it doesn't matter. So the story of
• 7:06
  Speaker 1: die Hard a Christmas story? It is? It isn't. Yeah,
• 7:10
  Speaker 1: let's put that to rest. It's a Christmas movie. My
• 7:13
  Speaker 1: recap does start with It's Christmas Eve? Is it? I
• 7:17
  Speaker 1: don't even know when this movie takes. Okay, it's Chris Christmas. Okay,
• 7:20
  Speaker 1: that's my thoughts. I already have a problem. Okay, three
• 7:24
  Speaker 1: words into it. Work party on Christmas Eve? Right, Susan true? True?
• 7:29
  Speaker 1: And then we see her call her kid and she's like,
• 7:31
  Speaker 1: you're not home on Christmas Eve and she's like, to
• 7:33
  Speaker 1: deal with a bitch. Passes the Pichtel test, but not
• 7:38
  Speaker 1: good parenting. So it is Christmas evens. Yes, I also
• 7:44
  Speaker 1: found that area doesn't pass like it's definitely, it's definitely.
• 7:48
  Speaker 1: It feels like passes, but it doesn't right right right right,
• 7:51
  Speaker 1: So it's like, I don't know, five hours or something.
• 7:54
  Speaker 1: I don't know. Yeah, it's just a bad party. Just
• 7:57
  Speaker 1: just if you've ever been at a shitty party for
• 8:00
  Speaker 1: five hours, you've pretty much experienced die hard to the
• 8:06
  Speaker 1: recap RecA Okay, okay, sorry Christmas Eve and John McClane
• 8:12
  Speaker 1: is a New York cop flying into l A to
• 8:15
  Speaker 1: see his wife Holly. He's got a big old bear
• 8:17
  Speaker 1: and he's leering at women at the airport. Yeah, yeah, yeah,
• 8:21
  Speaker 1: he's on an airplane with a gun and he's like, no,
• 8:25
  Speaker 1: it's fine, I'm a cop, just hanging out of a holster,
• 8:29
  Speaker 1: not even properly stashed literally just in his pocket. Yeah.
• 8:34
  Speaker 1: And then immediately after that he yeah, he just leers
• 8:36
  Speaker 1: at a woman. So, if you weren't sure if this
• 8:37
  Speaker 1: movie was going to be about toxic masculinity, the first
• 8:41
  Speaker 1: five men from one of the fight attendants, she leers
• 8:45
  Speaker 1: at him. I think, yeah, that's the first one. I
• 8:48
  Speaker 1: made a note. I wrote it down, and we hear,
• 8:51
  Speaker 1: and we heard. The Bettel cast love the objectification of
• 8:56
  Speaker 1: and this is a good movie for male objectification. There's
• 8:59
  Speaker 1: a lot of Bruce Willis just from a story perspective,
• 9:03
  Speaker 1: slowly getting Nooter. It's a metaphor, but also he is
• 9:08
  Speaker 1: stern actively castle uncut version it's cut. Oh never mind, stop,
• 9:24
  Speaker 1: let's move on, keep going, keep going, chock recap right, right,
• 9:34
  Speaker 1: I'm one sentence into the RecA. So there's a plane,
• 9:38
  Speaker 1: there's a gun. There's a gun, and a man who
• 9:40
  Speaker 1: names John McClane. He goes to his wife Holly, who's
• 9:43
  Speaker 1: at a work party at the Nakatomic Corporation, which is
• 9:47
  Speaker 1: a trading company. What do they do, trading cards? Trading cards?
• 9:53
  Speaker 1: It's pokemon, it's I don't know what it's. I don't
• 9:57
  Speaker 1: know what. It's a business company. It's night it's night
• 10:00
  Speaker 1: eighty eight. It could be anything like it could legitimately
• 10:02
  Speaker 1: be anything. For sure. Everyone's high on cocaine. Definitely, yes,
• 10:06
  Speaker 1: without doubt. So he goes to this party in a
• 10:08
  Speaker 1: giant building I wrote down. In the middle of the party,
• 10:11
  Speaker 1: about a dozen German terrorists show up, led by Hans
• 10:16
  Speaker 1: Grouper a k a. Alan Rickman. This is I'm so
• 10:19
  Speaker 1: glad I wrote this down. It's going so don't understand.
• 10:22
  Speaker 1: There's like a visual reality. When you said Hans Grouper,
• 10:25
  Speaker 1: people started like shifting in their seats, like they had
• 10:29
  Speaker 1: to change their underwear or something. They're like, I don't
• 10:33
  Speaker 1: get it, and I think it's anonymous with a villain.
• 10:36
  Speaker 1: Now Hans grew Yeah, Like people are just they're just
• 10:38
  Speaker 1: because Marty for grew. But I think it's because Rickman
• 10:41
  Speaker 1: like plays such a good villain and this might be
• 10:43
  Speaker 1: one of his first villains, you know what I mean.
• 10:45
  Speaker 1: So now it's I'm just saying I don't know anything.
• 10:47
  Speaker 1: I do not like Allen Rickman in this movie. Well, okay, there,
• 10:53
  Speaker 1: we'll get there, We'll get there. Okay. So the terrorists
• 10:56
  Speaker 1: take everyone at the party hostage, but they weren't counting
• 11:00
  Speaker 1: on feminist icon John McClain being there, and he really
• 11:06
  Speaker 1: throws a wrench into the situation. The terrorists locked down
• 11:10
  Speaker 1: the building and they're trying to break into these vaults
• 11:13
  Speaker 1: to get hundred and forty What what about the part
• 11:15
  Speaker 1: where he's in the taxi, the limo? Maybe yeah, with
• 11:20
  Speaker 1: our gyle, I'm gonna skip over some stuff. We're already
• 11:24
  Speaker 1: forty minutes the show. We've not talked about anything, can't
• 11:29
  Speaker 1: other for three days. Okay, there is a part where
• 11:33
  Speaker 1: he's in a car. Okay, keep going, yes, yes, okay.
• 11:36
  Speaker 1: So the terrorists are trying to get these Bearer bonds.
• 11:38
  Speaker 1: I think, uh sixty million dollars worth of them. The
• 11:43
  Speaker 1: company's ceo again, question Mark, I don't know what anyone
• 11:47
  Speaker 1: does Joe Takagi. Um, He's like, I'm not going to
• 11:49
  Speaker 1: give you any information. So he gets shot in the head. Meanwhile,
• 11:54
  Speaker 1: feminist icons yes exactly. He kills this very Aaryan looking person,
• 12:00
  Speaker 1: and then he says, a sweatsuit and a sweatsuit, a
• 12:02
  Speaker 1: gray sweatsuit. I would love to kill a man in
• 12:04
  Speaker 1: a sweatsuit. He kills him by throwing him down some stairs,
• 12:10
  Speaker 1: and then he sends what I like to call an
• 12:12
  Speaker 1: elevator graham to the terrorists. Uh. And there's a little
• 12:16
  Speaker 1: like sign on in this I have a machine gun.
• 12:19
  Speaker 1: Ho ho ho ho. Alan Rickman sure knows how to
• 12:23
  Speaker 1: make a very short line last okay. McClean is like
• 12:29
  Speaker 1: trying to get the cops to come, and no one
• 12:31
  Speaker 1: responds until our pal, a sidekick, Flucky Sergeant Al Powell
• 12:39
  Speaker 1: ak al Pal he arrives with the scene and then
• 12:45
  Speaker 1: he and John become best friends bromance, right, and it's
• 12:52
  Speaker 1: like via the lips at the end. To be honest,
• 12:57
  Speaker 1: they really connect over a walkie talkie conver station that
• 13:00
  Speaker 1: all of the terrorists can hear, and they don't even
• 13:05
  Speaker 1: try to hide it. At two different times, Al says
• 13:09
  Speaker 1: both I love you and it's a date. Yeah, it's like,
• 13:14
  Speaker 1: I didn't remember the depth of that. Absolutely, they're a
• 13:18
  Speaker 1: better match than John and his own wife. Then mcclan
• 13:22
  Speaker 1: gets his hands on the terrorist detonators, Hans throws a fit,
• 13:27
  Speaker 1: the FBI shows up, some explosions happen. John's foot is
• 13:32
  Speaker 1: bleeding a lot. I love the part where he's being
• 13:37
  Speaker 1: very dramatic about his bleeding foot. Yeah, he's like, tell
• 13:40
  Speaker 1: my wife, I'm sorry, and it's like you're fine, You're
• 13:43
  Speaker 1: like he gets a little like foot scrape. He's like,
• 13:45
  Speaker 1: oh my god, this has actually been really hard on me. An,
• 13:52
  Speaker 1: I actually don't know if I'm going to freaking make it. Yeah.
• 13:58
  Speaker 1: And then finally the terrorists were able to break into
• 14:01
  Speaker 1: the vault to steal the bonds that they're after. Hans
• 14:05
  Speaker 1: discovers that John McClean is Holly's wife, so he's like, oh,
• 14:09
  Speaker 1: I'm gonna kidnap you now, and then he takes her
• 14:11
  Speaker 1: gun point and then I forgot to finish writing the thing.
• 14:15
  Speaker 1: But we never know how, we don't all we'll never
• 14:18
  Speaker 1: know pretty much. Yeah, he's like, oh, I'm gonna kill
• 14:22
  Speaker 1: your wife, and then John's like, yippy kaye, motherfucker any
• 14:27
  Speaker 1: right if he said fatherfucker toxic masculine it, yeah right.
• 14:36
  Speaker 1: I actually don't know how the logic Networks taped the
• 14:38
  Speaker 1: gun to his back with bloody, sweaty back and somehow
• 14:43
  Speaker 1: he's with I don't know what like he's taped that
• 14:46
  Speaker 1: is physically impossible. I don't care much Yoga McLean does.
• 14:49
  Speaker 1: There's no way that he's done that. I never thought
• 14:52
  Speaker 1: of it. But that's totally sweaty and it's not happening. Yeah,
• 14:55
  Speaker 1: I'm sorry, scientifically speaking, right, because yeah, there's no tape
• 15:00
  Speaker 1: that unless what if he like put it all on
• 15:04
  Speaker 1: the ground and then like laid down on it up.
• 15:10
  Speaker 1: No one is laying onto a gun that John mccle
• 15:17
  Speaker 1: he needs to save the women. You think that he's
• 15:19
  Speaker 1: lightly planting him his torso onto a gun, a loaded gun?
• 15:25
  Speaker 1: What else? How else? Okay, you know what I'm in
• 15:29
  Speaker 1: movie magic, alright, So yeah, then he grabs the gun
• 15:33
  Speaker 1: that he's lie down to. The tape left only two
• 15:37
  Speaker 1: and he uses them both so wisely, and he kills
• 15:41
  Speaker 1: the bad guys and then saves his wife and then
• 15:43
  Speaker 1: everyone's and then at and that's pretty much the end
• 15:49
  Speaker 1: of the movie. There we go all right. Anyway, thank you,
• 15:52
  Speaker 1: this has been fun. Thanks and so Deborah, what is
• 15:57
  Speaker 1: your history with this movie? Now? Okay, this is this
• 16:01
  Speaker 1: movie was made in right, so, like I was a
• 16:05
  Speaker 1: young person, I was at high school, and it was
• 16:07
  Speaker 1: it was a big movie, like I think I remember
• 16:09
  Speaker 1: like it was all the boys favorites. Everyone loved it.
• 16:13
  Speaker 1: It was ya motherfucker like, oh my god, at nausea
• 16:16
  Speaker 1: and it was it was really like it was a
• 16:19
  Speaker 1: super popular movie. And I remember like rewatching again thinking
• 16:22
  Speaker 1: to myself, I liked this movie. I really did. What
• 16:25
  Speaker 1: oh no, like it was. I was shocked to see
• 16:28
  Speaker 1: how it really doesn't hold up. But in we loved it.
• 16:31
  Speaker 1: It was great. The boys love to love. People still
• 16:34
  Speaker 1: do love. I mean, would they make seventeen Diehards now
• 16:37
  Speaker 1: like they made five six five? Right? So as recently
• 16:41
  Speaker 1: as like what year four years ago? You know I'm
• 16:44
  Speaker 1: making that up? Is that even I like less than
• 16:47
  Speaker 1: ten years ago? Right? Yeah? Like die Hard with it
• 16:50
  Speaker 1: with a vengeance? Yeah, god, you know what I mean.
• 16:53
  Speaker 1: I like to chill out. First of all, the title
• 16:55
  Speaker 1: die hard is like, what does that even mean? It's
• 16:59
  Speaker 1: hard to die? It's hard to die? It's not apparently
• 17:02
  Speaker 1: I've been thinking about it a lot. Okay, so I
• 17:06
  Speaker 1: was like, maybe it's they have die hard beliefs, right,
• 17:10
  Speaker 1: and then I but then I thought about I was like,
• 17:12
  Speaker 1: no one in this movie has diehard beliefs. They all
• 17:14
  Speaker 1: seem pretty willing to just be like, oh, that person
• 17:16
  Speaker 1: is dead. Well, I guess this is my friend now,
• 17:18
  Speaker 1: like they're everyone is constantly. John can't even explain why
• 17:22
  Speaker 1: he wants to stay in New York. He's like, because
• 17:24
  Speaker 1: I'm from there, and uh so I said, fuck my
• 17:30
  Speaker 1: wife and fuck my kids, and I'm not gonna move.
• 17:35
  Speaker 1: That's not a die hard belief. That's just dumb. Yeah.
• 17:38
  Speaker 1: So it's not that people are they're dying in ways
• 17:41
  Speaker 1: that don't seem easy. I guess that, right. Like German.
• 17:46
  Speaker 1: Let's say the ballerina, the professional ballerina, you know him,
• 17:49
  Speaker 1: the one the long hair. He was, he was a ballerina.
• 17:51
  Speaker 1: Let's move on. I don't mean to alarm any It
• 17:53
  Speaker 1: was big in the eighties. Let's move on. I think
• 17:55
  Speaker 1: he dated Jacqueline bits that I'm an old woman. Let's
• 17:57
  Speaker 1: move on. All right, back story, he's the one that
• 18:01
  Speaker 1: gets hung and then lives, so it was hard for
• 18:03
  Speaker 1: him to die that he's the one that comes out
• 18:04
  Speaker 1: of the end, another very aryan looking person. Yes, right, okay,
• 18:09
  Speaker 1: can you say about Grouper's accent, like, is he he's
• 18:13
  Speaker 1: a british Man living in Germany or something, because he's
• 18:16
  Speaker 1: British the entire time they speak Germans. We were right,
• 18:20
  Speaker 1: Caleen and I were watching this movie the other night
• 18:23
  Speaker 1: in her bed, as we do most episodes. There. No,
• 18:28
  Speaker 1: but his his accent is crummy. It's bad, really, it
• 18:32
  Speaker 1: really is. Yeah, it's just him. I think that is
• 18:35
  Speaker 1: was Frickman. He was British ry. Yeah, I think it
• 18:37
  Speaker 1: was just him being him and then every once in
• 18:39
  Speaker 1: a while German and then he would do at some
• 18:43
  Speaker 1: point someone would give me. I posted something to that
• 18:47
  Speaker 1: effect on Facebook recently, and I had no less than
• 18:50
  Speaker 1: six men being like, actually, he's actually very authentic and good.
• 18:54
  Speaker 1: Here's the lake to the thing. It's just like I'm
• 18:58
  Speaker 1: gonna kill you, Like they're just this. I didn't even
• 19:01
  Speaker 1: realize we did our Love Actually episode with you. This
• 19:03
  Speaker 1: is the second Ellen Rickman, Christmas Rickman and Christmas what Okay,
• 19:09
  Speaker 1: we're gonna have tore The third one is gonna have
• 19:11
  Speaker 1: to be may he rest But we're gonna have to
• 19:13
  Speaker 1: figure something that we'll have to get his Christmas movies
• 19:15
  Speaker 1: or something. And in front of it, yeah, because I mean,
• 19:17
  Speaker 1: well in last year, like late twenty sixteen, you had
• 19:19
  Speaker 1: to every time, was I think every time way said Alan,
• 19:22
  Speaker 1: people were like Riman. Now it's the end of two
• 19:26
  Speaker 1: thousand seventeen and I feel fine being like I don't
• 19:29
  Speaker 1: like it in this movie Rest in Paradise. But I
• 19:32
  Speaker 1: didn't like it, bitch, I did not like, did not
• 19:35
  Speaker 1: like it. I don't. Yeah, his his accent is super
• 19:39
  Speaker 1: because the German people he's with are very clearly German,
• 19:44
  Speaker 1: like they are laying it like there their German. And
• 19:47
  Speaker 1: then he's he could take it or leave it enough
• 19:51
  Speaker 1: for a German accent. He's like, I'm not gonna try,
• 19:55
  Speaker 1: and a half trying is not in his rider. Jamie,
• 19:58
  Speaker 1: what's your history with the movie. I only saw this
• 20:01
  Speaker 1: movie two years ago, and I went like shortly after
• 20:04
  Speaker 1: I moved here, and I lived with this woman who
• 20:07
  Speaker 1: was very exhausting, and she was just like, you haven't
• 20:11
  Speaker 1: seen the d and so then she made me stay
• 20:15
  Speaker 1: inside for a whole night and watch this movie with
• 20:17
  Speaker 1: her and her ex boyfriend, and I sat in between them,
• 20:22
  Speaker 1: and then you know, he left and she was just like,
• 20:24
  Speaker 1: why were you flirting with him? I was like, I
• 20:29
  Speaker 1: was like, I wasn't you made me stay here? So
• 20:35
  Speaker 1: I saw it two years ago. That's my whole history
• 20:39
  Speaker 1: with Amazing. I saw, I think for the first time,
• 20:43
  Speaker 1: probably like ten years ago. I didn't grow up with
• 20:45
  Speaker 1: the movie, but I've only seen that. You watch it,
• 20:47
  Speaker 1: do you remember, like was it your choice or yeah?
• 20:50
  Speaker 1: Because I was like, I was getting her master's degree.
• 20:53
  Speaker 1: I need to watch a lot of movies telling me
• 20:59
  Speaker 1: in screenwriting, in screen right from Boston University. From Boston University,
• 21:03
  Speaker 1: you have a I don't like to bring it up.
• 21:05
  Speaker 1: What sorry? What was it? A masters in screen Wow?
• 21:11
  Speaker 1: That's can we just give her a quick run of
• 21:13
  Speaker 1: a plane? Let's give it up from our higher education? Yeah? Wow.
• 21:19
  Speaker 1: So yeah, I was just like, I have to see
• 21:20
  Speaker 1: so many movies. And then I just watched it, and
• 21:24
  Speaker 1: my feelings are that it's not a bad movie. I
• 21:27
  Speaker 1: generally enjoy the first forty five minutes of it, and
• 21:30
  Speaker 1: then I get pretty bored of just like, oh, it's
• 21:32
  Speaker 1: John McClane running through an empty room again and he
• 21:39
  Speaker 1: is talking to himself a lot. Yeah, so, yeah, it's
• 21:44
  Speaker 1: always too macho for me. I think, I don't. I
• 21:47
  Speaker 1: don't remember. I don't. I don't think I ever saw
• 21:49
  Speaker 1: the second one, but I know what took place on
• 21:51
  Speaker 1: a plane, an airport, airport, the whole thing. Well, and
• 21:54
  Speaker 1: we do know in the second movie. This is as
• 21:56
  Speaker 1: far as I looked into it, but we do know,
• 21:58
  Speaker 1: which directly affect how we view the end of the
• 22:01
  Speaker 1: first movie that he does end up moving to Los
• 22:03
  Speaker 1: Angeles to be with his wife, so, which is good
• 22:08
  Speaker 1: because he couldn't explain why he was doing what he
• 22:10
  Speaker 1: was doing in the first place. He was just like,
• 22:11
  Speaker 1: I'm an asshole, and so at the end he's like,
• 22:15
  Speaker 1: my wife is smarter and has more money than me,
• 22:17
  Speaker 1: which you know, men don't like. Very It was all
• 22:20
  Speaker 1: very like semi disgusting though, when he's talking to the
• 22:22
  Speaker 1: guy on the plane about his wife and she got
• 22:24
  Speaker 1: a job that turned into a career, like a bit,
• 22:27
  Speaker 1: how dare she? You know what I mean? It's like that,
• 22:30
  Speaker 1: It really is. It's all like my little woman is
• 22:32
  Speaker 1: working and it's it's it's really and that conversation kind
• 22:37
  Speaker 1: of carries over into the next thing with Argyle, where
• 22:41
  Speaker 1: Argyles like laughing at John and saying like, oh, you
• 22:43
  Speaker 1: thought she was gonna like fail and then she'd have
• 22:46
  Speaker 1: to move back and be with you. And he's kind
• 22:48
  Speaker 1: of like, He's like you definitely was like seventeen. I
• 22:52
  Speaker 1: don't think he should be a professional limo driver, but
• 22:55
  Speaker 1: does he have a driver's to be honest, Yeah, but
• 22:58
  Speaker 1: it's really kind of grossy in a icon Argyle Actually no,
• 23:02
  Speaker 1: he he talks about he's what's the point where he's
• 23:05
  Speaker 1: on the phone and he's like, yeah, bibb, I would
• 23:08
  Speaker 1: never lie to you over I was like, oh, man,
• 23:12
  Speaker 1: I've dated him first, so to piggyback on what you
• 23:18
  Speaker 1: were saying. Yeah, So there's a whole subplot. I like
• 23:22
  Speaker 1: to call it John mcclean's insecurities about Holly Gennaro Yes
• 23:29
  Speaker 1: and her career because he has the conversation with Argyle
• 23:33
  Speaker 1: about how he's like, I didn't think she was gonna
• 23:36
  Speaker 1: be good at her job, and then he finds out
• 23:39
  Speaker 1: that she's going by her maiden name and she blames
• 23:43
  Speaker 1: it on the fact that it's a Japanese company or something. Right, Yeah,
• 23:46
  Speaker 1: it's like they're Japanese. They don't want me to be married.
• 23:48
  Speaker 1: I'm like, what does that mean. I don't think that
• 23:49
  Speaker 1: means unclear. But then you find out all this stuff
• 23:53
  Speaker 1: about her as a career woman. She's the director of
• 23:57
  Speaker 1: corporate affairs. I read it on the door of her office,
• 24:01
  Speaker 1: or they don't tell you you had to research. Look,
• 24:04
  Speaker 1: I had to Everything business like in this movie is
• 24:09
  Speaker 1: extremely right. Director of corporate affairs. What is that? Did
• 24:14
  Speaker 1: you see the watch? She got a fancy watch? Right,
• 24:18
  Speaker 1: we'll give the little lady a little little sparkly like,
• 24:21
  Speaker 1: because that's sparkle to keep her quiet. I don't know.
• 24:25
  Speaker 1: And it seems like no matter what your title it
• 24:27
  Speaker 1: because director of corporate affairs. And they were like, her
• 24:30
  Speaker 1: specialty is negotiation. And then but then there's the the
• 24:35
  Speaker 1: the who he's like, also, my skill is negotiating, Like,
• 24:40
  Speaker 1: do you guys all have the same? Are you all interns? Yeah?
• 24:43
  Speaker 1: What is this? What is sisipany? I don't know. The
• 24:46
  Speaker 1: point is that a lot of them do talk about
• 24:48
  Speaker 1: how skilled she is at her job. So she's established
• 24:50
  Speaker 1: as like a professional, capable woman. So we're like, hey, cool,
• 24:55
  Speaker 1: that's the scene at the beginning when they're like looking
• 24:58
  Speaker 1: down at the Christmas party and you he Hawlly like
• 25:00
  Speaker 1: screwy through the crowd and she's still working while everyone
• 25:03
  Speaker 1: else's partying. So that shows you she's not like professional.
• 25:07
  Speaker 1: I think she might have been carried like like a
• 25:08
  Speaker 1: clipboard or something, you know what I mean, because she's
• 25:11
  Speaker 1: a lady at work, a corporate affairs, a chess. There
• 25:14
  Speaker 1: are many sheets a paper on that clipboard. Very very business,
• 25:17
  Speaker 1: no time boys, there's affairs to be corporated. I have
• 25:21
  Speaker 1: to go staple stuff out of my way. The first
• 25:25
  Speaker 1: time he's here, she's being actively sexually harassed. That's the
• 25:29
  Speaker 1: first time he was like, she's like notice so that
• 25:33
  Speaker 1: they don't show her face like the first The first
• 25:36
  Speaker 1: with her is douchebag like just being a disgusting pig,
• 25:39
  Speaker 1: and it's just the back of her head the entire time,
• 25:41
  Speaker 1: so it's like they don't. I just thought that was creepy.
• 25:46
  Speaker 1: And then in a lot of movies we've done, there's
• 25:47
  Speaker 1: like very intentional reveals of like and the twist is
• 25:51
  Speaker 1: she's gorgeous. Like there's that twist a lot. My My
• 25:56
  Speaker 1: favorite one that we've done is in JELI when Larry
• 26:01
  Speaker 1: Jeeley because that's his name, Larry gee Lee answers the door,
• 26:05
  Speaker 1: and it's like, oh, there's a woman here, who is it?
• 26:07
  Speaker 1: And then she turns around she says hi, and it's
• 26:09
  Speaker 1: Jennifer Lopez and you're just like, oh, she's being a
• 26:12
  Speaker 1: flu But with with this shot, it's weird because there's
• 26:17
  Speaker 1: not a lot of intent because it seems like something's
• 26:19
  Speaker 1: going to be revealed. It's like, Oh, we're following this
• 26:21
  Speaker 1: attractive woman who's being harassed, and then she turns around
• 26:25
  Speaker 1: and she continues to be an attractive woman who's has
• 26:28
  Speaker 1: there's no reveal. I think maybe just the DP wasn't
• 26:31
  Speaker 1: very good in this movie, or just couldn't make that day.
• 26:36
  Speaker 1: Maybe that was just a wig walking a floating wig.
• 26:41
  Speaker 1: But Bonnie Badelia couldn't make it. It's her real name.
• 26:44
  Speaker 1: Let's move on, do your homework. Where is she? So
• 26:49
  Speaker 1: the next major plot point that happens within the subplot
• 26:52
  Speaker 1: of him being very insecure about her success, is that
• 26:55
  Speaker 1: John McClain and Holly have a conversation where here's just like,
• 26:59
  Speaker 1: you're going by your maiden name, what's all that about?
• 27:01
  Speaker 1: And she's like the Japanese company thing doesn't make sense,
• 27:04
  Speaker 1: don't worry, and he's like, well, you just did whatever
• 27:08
  Speaker 1: you wanted, no matter what it did to our marriage,
• 27:10
  Speaker 1: and she's like, you have this idea of our marriage
• 27:13
  Speaker 1: and blah blah. And I'm doing a great job recapturing
• 27:18
  Speaker 1: the magic of that scene. But kind of the subtext
• 27:22
  Speaker 1: is that basically thinks that she chose her career over him,
• 27:26
  Speaker 1: and he's very threatened by it and very resentful of it.
• 27:29
  Speaker 1: And he is basically there to be like, you should
• 27:33
  Speaker 1: I don't know, quit your job and come back to
• 27:35
  Speaker 1: New York or I don't know coming back to New York.
• 27:38
  Speaker 1: Does I'm fighting crime over this? And she's like, actually
• 27:44
  Speaker 1: Japan and he's like, oh fuck. And then it goes
• 27:49
  Speaker 1: to the bathroom and then the movie starts right he
• 27:52
  Speaker 1: takes off his shoes, which becomes a major plot point
• 27:57
  Speaker 1: very much. Yes, I love when he cries, just so
• 28:00
  Speaker 1: many crazy he's like my feet. Um, if you've seen
• 28:04
  Speaker 1: I heard, which most of you have, Holly is not
• 28:07
  Speaker 1: on screen enough in the movie. There's like she's on
• 28:11
  Speaker 1: screen I think cumulatively for maybe fifteen minutes, and that's
• 28:14
  Speaker 1: being very genus. Yeah, but this argument between them is
• 28:18
  Speaker 1: interesting because it's it's hard to tell from the standpoint
• 28:21
  Speaker 1: of the movie whose side we're supposed to be on,
• 28:23
  Speaker 1: because it's clear that John is it like, in the
• 28:26
  Speaker 1: wrong in terms of like she is doing very well.
• 28:29
  Speaker 1: There's even the people who were actively harassing her are
• 28:32
  Speaker 1: saying she's great at her job, which is, uh, you know,
• 28:35
  Speaker 1: that's another thing, but there, but you know, like, she's
• 28:38
  Speaker 1: clearly very good at her job. I love how that
• 28:40
  Speaker 1: scene at the end is interrupted by her assistant who's like,
• 28:43
  Speaker 1: they need you to talk to the troops, and then
• 28:46
  Speaker 1: she says, sorry, John, the troops need me. She leaves,
• 28:51
  Speaker 1: where are the troops here on Christmas Eve? I don't
• 28:55
  Speaker 1: like by standards, I genuinely was not entirely sure. Are
• 29:00
  Speaker 1: we supposed to be like, oh, John's totally in the right,
• 29:02
  Speaker 1: and she's being such a shrewd by saying I want
• 29:05
  Speaker 1: to have a life, Or are we supposed to think, wow,
• 29:08
  Speaker 1: John's being a baby and he should put his shoes on.
• 29:12
  Speaker 1: I mean, kind of hard to say. I think you
• 29:17
  Speaker 1: could probably argue that the main demographic that this movie
• 29:20
  Speaker 1: would appeal to is like adult men slash teenage boy
• 29:26
  Speaker 1: liked boy. Yeah, you know, fifteen year old you know
• 29:30
  Speaker 1: what I mean? Horny boys, horny boys. There's some boobs,
• 29:35
  Speaker 1: you know what I mean, there's there they're so they're
• 29:39
  Speaker 1: going to plug themselves into John McClean and being like,
• 29:43
  Speaker 1: oh he's cool, so they're probably gonna align with his
• 29:46
  Speaker 1: view and be like, oh, his wife's just being a
• 29:48
  Speaker 1: little but even though clearly like, let's be honest, what
• 29:50
  Speaker 1: do they get in New York for a cop salary? Like,
• 29:52
  Speaker 1: let's be honest. Where they're living, you know, I mean
• 29:55
  Speaker 1: they're in Queen's and like a two bedroom apartment, and
• 29:57
  Speaker 1: she clearly had the guest room, you know what I mean,
• 29:59
  Speaker 1: they're probab in a house in the valley, and she's
• 30:02
  Speaker 1: always look at the guests room. It's it's it's the room.
• 30:04
  Speaker 1: I mean, clearly, it's they're doing better. They had a
• 30:06
  Speaker 1: housekeeper come on and then and then also and then
• 30:09
  Speaker 1: are like yeah we've ma there's that part in that
• 30:16
  Speaker 1: scene where he says like, oh, something about Topoma and
• 30:20
  Speaker 1: she's like, um, Pomona. I was like, Oh, she's a
• 30:26
  Speaker 1: little kelly bitch. She's totally adapted. She's looked there for
• 30:31
  Speaker 1: two seconds exactly like you're gonna want to take fountain.
• 30:37
  Speaker 1: You're just like call down my good right, So yeah,
• 30:43
  Speaker 1: who side are we supposed to be on? Hard to say,
• 30:45
  Speaker 1: I think probably most people watching this are like, oh,
• 30:47
  Speaker 1: John McClean the hero, my hero, he's great and I
• 30:52
  Speaker 1: But by the end of the movie, that subplot basically
• 30:55
  Speaker 1: resolves by him thinking he's going to die because he
• 30:58
  Speaker 1: has a foot wound because he got cut glass forgive me.
• 31:07
  Speaker 1: He's talking to his al pal and he's like, tell
• 31:11
  Speaker 1: my wife, I'm sorry that I was being a jerk
• 31:14
  Speaker 1: and I should have supported her more and been behind her.
• 31:17
  Speaker 1: It's a very long message, isn't It's no way he's
• 31:20
  Speaker 1: nailing He wait aute, what was it? He was? Give
• 31:25
  Speaker 1: me a second. I should have written it down. I mean,
• 31:27
  Speaker 1: there's no way. Just like I'm sorry, and that's it.
• 31:30
  Speaker 1: He's also working, so you see this like, you know,
• 31:35
  Speaker 1: John going to this character arc where he's like, oh,
• 31:38
  Speaker 1: I realized I was being a total asshole. And even
• 31:40
  Speaker 1: after that fight he has with Holly, he is like
• 31:44
  Speaker 1: all barefoot and he's in front of a mirror and
• 31:46
  Speaker 1: he's like, oh, good job, John, real mature. So I
• 31:49
  Speaker 1: think he knows he's being kind of a dick, but
• 31:53
  Speaker 1: he's still is, you know, initiating a fight for no
• 31:56
  Speaker 1: reason because there's a moment where she's like, I've missed you.
• 32:00
  Speaker 1: He's like, well you didn't miss my name. He's like,
• 32:03
  Speaker 1: couldn't you, Like I don't know, say I miss you too. Also,
• 32:05
  Speaker 1: what's with this name thing that you're doing? Right right? Yeah,
• 32:09
  Speaker 1: there's that. That was a moment where I was just like,
• 32:11
  Speaker 1: like everyone's had an argument like that where it's just
• 32:13
  Speaker 1: like just take the wind, just like what are you doing? Yeah,
• 32:17
  Speaker 1: I don't know. That was like one of the parts
• 32:19
  Speaker 1: of the movie that I didn't remember where he's like
• 32:22
  Speaker 1: constantly sort of berating himself either for making the masculine
• 32:26
  Speaker 1: choice or not making the masculine choice, where he like
• 32:29
  Speaker 1: brats himself for yelling at his wife for not keeping
• 32:33
  Speaker 1: his name because she am his property. And but then
• 32:38
  Speaker 1: at other points in the movie he like burrats himself,
• 32:41
  Speaker 1: you know, in like Shakespearean monologue, which we're just like, well,
• 32:44
  Speaker 1: this is what the world is. Like he just yell
• 32:46
  Speaker 1: at yourself, but he like buriates himself for not acting
• 32:50
  Speaker 1: more violently and acting like in a more protective way.
• 32:53
  Speaker 1: So I don't know, I I he was more complex
• 32:56
  Speaker 1: than I remembered him being. I think the whole movie
• 32:59
  Speaker 1: is actually more complex than I remember that you might
• 33:02
  Speaker 1: assume just on first glance, because I think this is
• 33:05
  Speaker 1: a movie that doesn't necessarily mistreat women. It certainly doesn't
• 33:09
  Speaker 1: know portray many women, really treat women, Yeah, it just does.
• 33:14
  Speaker 1: It just doesn't. There's not women in the movie. So
• 33:17
  Speaker 1: it's not as though the women in the movie are
• 33:21
  Speaker 1: what few there are, are being mistreated by the narrative.
• 33:25
  Speaker 1: It's more a movie that just sort of glorifies hyper masculinity,
• 33:29
  Speaker 1: but then also doesn't because there are a bunch of
• 33:31
  Speaker 1: different types of toxic dudes who are very toxic in
• 33:35
  Speaker 1: the masculinity. Like we have to walk past the topless
• 33:38
  Speaker 1: girls in the on the wall the pictures like says
• 33:41
  Speaker 1: hide when then comes back and says hid work like
• 33:43
  Speaker 1: talks to the topless pictures. What is he like puts
• 33:47
  Speaker 1: his hand on it and he's like girls, It's like
• 33:49
  Speaker 1: what why does that happen? He kind of comes back
• 33:52
  Speaker 1: and it's like hey, babe, Like he like talks to it,
• 33:54
  Speaker 1: like he's having a relationship with it, and it's it's weird.
• 33:57
  Speaker 1: Call this movie complex though, Let's just go back. You
• 33:59
  Speaker 1: do well here, get ready for there is like that's
• 34:05
  Speaker 1: like one of those things that I love to picture them,
• 34:08
  Speaker 1: like male screenwriter in Israel, Like, that's fun. That was
• 34:12
  Speaker 1: a jerk off motion if you didn't know, Yeah, sorry,
• 34:16
  Speaker 1: uh yeah, it's an audio podcast. If you can tell
• 34:19
  Speaker 1: from my very saliva heavy gig, that was a jerk
• 34:23
  Speaker 1: off spot on spot on. He's like, I got him good,
• 34:29
  Speaker 1: but let me here here I come defending myself. All right.
• 34:33
  Speaker 1: I made a list of all the toxic bros in
• 34:37
  Speaker 1: the movie's Oh my god, wow we suck well. We
• 34:44
  Speaker 1: first of all, we have the businessman cokehead bros. We
• 34:48
  Speaker 1: have those, and those bros are pretty universally punished by
• 34:52
  Speaker 1: the world of this movie. Yeah, we're like we're coming
• 34:55
  Speaker 1: off the Reagan era. Everyone's like, actually, fuck these guys,
• 35:01
  Speaker 1: We're just gonna murder. So there's is it Ellis Harry
• 35:04
  Speaker 1: Ellis is the name of the character whatever he's hitting on.
• 35:09
  Speaker 1: He's the one hitting on Holly at the beginning, and
• 35:11
  Speaker 1: then comes in later he's like, actually I am a
• 35:13
  Speaker 1: bit of a negotiator and he's you know, Alan Ray
• 35:18
  Speaker 1: or whatever is really you know that there's some choed
• 35:23
  Speaker 1: out there right now with a T shirt that says that,
• 35:26
  Speaker 1: you know, like just not to trigger any chide listeners. Us.
• 35:32
  Speaker 1: We have a ton If you're a chode and you're listening,
• 35:37
  Speaker 1: stop listening, but ahead or stop being a chod. We
• 35:43
  Speaker 1: need the listener. Okay, So the toxic bros in this movie, Yeah,
• 35:50
  Speaker 1: Harry Ellis who just high on cocaine the whole movie,
• 35:54
  Speaker 1: so broie that he thinks he can all smart this
• 35:57
  Speaker 1: group of like mercenary harass yea and then gets murdered
• 36:01
  Speaker 1: because of it. There's Dwayne t. Robinson, the deputy chief
• 36:07
  Speaker 1: bro who was just like he's the guy who he's
• 36:10
  Speaker 1: like the police chief who like won't listen to reason
• 36:14
  Speaker 1: because al pal is being all like hang on, like
• 36:17
  Speaker 1: don't send the men in, and he was like shut up.
• 36:20
  Speaker 1: He might just be a bartender, the guy with the
• 36:22
  Speaker 1: hair who's like don't Yeah, that applies to a lot
• 36:26
  Speaker 1: of different characters. So I'm not sure if the girl
• 36:29
  Speaker 1: who don't do that? Yeah, sure, I love that guy.
• 36:33
  Speaker 1: So they're saying there's Thornberg, who's the TV bro who
• 36:37
  Speaker 1: wouldn't do anything for a story. And then there's all
• 36:41
  Speaker 1: the all the Feds are losers. Yeah, there's the terrorists bros.
• 36:50
  Speaker 1: And the biggest bro of them all, and they're literal bros.
• 36:53
  Speaker 1: Like some of them actually some of them are brothers. Yeah,
• 36:56
  Speaker 1: don't kill the bros. Bros get pissed. So the movie
• 37:01
  Speaker 1: makes a point to like show these like toxic dudes.
• 37:05
  Speaker 1: I mean, like they're bad, but this other one named
• 37:07
  Speaker 1: John McClain, he's good. It's yeah, it's very selective about
• 37:12
  Speaker 1: like this is the kind of hyper masculinity that we love,
• 37:17
  Speaker 1: but don't do business. That's stupid. It's weird. Yeah, but
• 37:25
  Speaker 1: that's why I say the movie is very complessed. Extremely.
• 37:31
  Speaker 1: I wanted to talk about this scene where it's another
• 37:34
  Speaker 1: time where we see Holly be very competent. There's two
• 37:38
  Speaker 1: scenes where we see her doing her job, which is negotiating.
• 37:45
  Speaker 1: The first scene is when Alan Rickman is really overdoing
• 37:48
  Speaker 1: it and he's he's strolling through the audience. He's says
• 37:51
  Speaker 1: sixteen words. It takes fifty hours for him to do it,
• 37:55
  Speaker 1: but he's he's trying to figure out who Holly's bosses. Uh,
• 37:59
  Speaker 1: And she she touches him like, she takes his arm
• 38:03
  Speaker 1: as if to say, I'm negotiating. I don't say anything,
• 38:07
  Speaker 1: and then he does. He goes against her wishes and
• 38:11
  Speaker 1: it gets him killed. So that's the first instance we
• 38:13
  Speaker 1: see of Holly. You know, we're like, oh, she was
• 38:16
  Speaker 1: totally right to negotiate. She had the right instinct. She
• 38:20
  Speaker 1: had the right instinct. And then there's the second scene
• 38:23
  Speaker 1: with Holly and Hans Gruber where she likes the way
• 38:28
  Speaker 1: you said that just I was doing my best giving it. Uh.
• 38:34
  Speaker 1: But we see Holly and Hans Gruber talking and she
• 38:38
  Speaker 1: does her job, which is negotiate, where she says, hey,
• 38:42
  Speaker 1: there's a pregnant lady and she's tired, and Alan Rickman says, Okay,
• 38:48
  Speaker 1: I'm listening, and if you don't want it to get messy,
• 38:50
  Speaker 1: you better start bringing us to the bathroom and groups
• 38:53
  Speaker 1: right right, He's like, thinking of that, I have to
• 38:57
  Speaker 1: be and let's make it nice, right, I was squatting
• 39:00
  Speaker 1: over a plant in this party. I'm talking right there,
• 39:03
  Speaker 1: go to the bathroom. Although it would have been very
• 39:05
  Speaker 1: exciting to see with someone pan a terrorist, definitely I
• 39:09
  Speaker 1: would have imagined, okay, there will be no question of
• 39:13
  Speaker 1: like this is a feminist text. If a pregnant woman
• 39:16
  Speaker 1: pissed on a terrorist, that would be yeah, that would
• 39:20
  Speaker 1: would I would get nice twisted the movie when like
• 39:22
  Speaker 1: all the ladies are ladies dropped trout when everyone just
• 39:25
  Speaker 1: started peeing. Remember the ters would fleet, they don't panic, fleet,
• 39:30
  Speaker 1: drop their guns, and the movie would be over. Remember
• 39:33
  Speaker 1: that sad They would just be like, Oh, that's the
• 39:36
  Speaker 1: movie where all the seven months pregnant women piss on terrorists.
• 39:41
  Speaker 1: I love that movie totally. Let's do that director's cut.
• 39:46
  Speaker 1: Surely that footage just hit at the cutting room floor.
• 39:50
  Speaker 1: But yes, that is the scene where I think we
• 39:52
  Speaker 1: see Holly kind of at the peak of her powers.
• 39:55
  Speaker 1: Because so often in movies like this, women be hysterical
• 40:00
  Speaker 1: women women no one faints. I don't think in this movie,
• 40:05
  Speaker 1: so women be a damsel in distress, which happens to
• 40:07
  Speaker 1: her a half hour later. But in this scene, like
• 40:11
  Speaker 1: the scene with her and Alan Rickman, I really like
• 40:14
  Speaker 1: because she effectively negotiates. He listens to her, even though
• 40:20
  Speaker 1: you know he's a terrorist and he's like needs to
• 40:22
  Speaker 1: be pissed on, but like he he says okay, and
• 40:26
  Speaker 1: they negotiate, and then that's the end of the scene.
• 40:29
  Speaker 1: And I guess my problem. I do like that you
• 40:30
  Speaker 1: see her take an active role and do something. The
• 40:33
  Speaker 1: trouble is it doesn't really have anything to do with
• 40:35
  Speaker 1: the plot, so we could cut that scene out of
• 40:37
  Speaker 1: the movie and it wouldn't make any difference. Basically, that's
• 40:39
  Speaker 1: a good point. And then there's a moment later on,
• 40:42
  Speaker 1: as you mentioned, when she becomes a dance well right
• 40:44
  Speaker 1: before that, she's in the room with Hans and I
• 40:47
  Speaker 1: think this is after he has learned who she is,
• 40:50
  Speaker 1: that she is John mcclean's wife, and she's very different
• 40:54
  Speaker 1: if everyone was texting each other instead of on public
• 40:56
  Speaker 1: walkie talks. But she said something like, all of your posturing,
• 41:02
  Speaker 1: all of your speeches, you're nothing but a common thief.
• 41:05
  Speaker 1: And then he wigs out, he and he runs over
• 41:08
  Speaker 1: and he's like, I'm an exceptional thief. How dare you
• 41:11
  Speaker 1: that's like every man in any situation? How dare you
• 41:15
  Speaker 1: emasculate me? I'm great at what I did. I once
• 41:19
  Speaker 1: dated someone who I corrected because he said the wrong
• 41:22
  Speaker 1: thing in a McDonald's drive through, and he was like,
• 41:26
  Speaker 1: I've actually always prided myself and how well I order things,
• 41:32
  Speaker 1: So actually you wanted to mcdouble. I heard it, and
• 41:38
  Speaker 1: you will eat it anyway, That's what I thought. Yeah. Sure.
• 41:43
  Speaker 1: So he kidnaps her then and he's holding her at gunpoint.
• 41:48
  Speaker 1: So John McClean has to do the thing that drives
• 41:51
  Speaker 1: me nuts, where he has to save a woman who's
• 41:54
  Speaker 1: in the damsel in distress. Uh, and he does it
• 41:57
  Speaker 1: by you know, pulling the gun at he's taped to
• 41:59
  Speaker 1: his act by lying on the ground and with the
• 42:01
  Speaker 1: tape face up. You know how we've all done that.
• 42:05
  Speaker 1: And then uh, he shoots Hans, and then there's he
• 42:08
  Speaker 1: has to save Holly again. Whenever Hans is kind of
• 42:11
  Speaker 1: like stumbling out through the window, grabs Holly by the
• 42:14
  Speaker 1: wrist and he's like about to pull her over the ledge.
• 42:17
  Speaker 1: So John McClinton comes and he undoes her Rolex watch
• 42:21
  Speaker 1: band and then the watch flies off and then Hans
• 42:25
  Speaker 1: falls and we're like, ya, I argue too that that's
• 42:28
  Speaker 1: like a symbol role ax off of like this thing
• 42:32
  Speaker 1: you just got for I mean, like logistically we know
• 42:35
  Speaker 1: he has to tear that off, but I think it's
• 42:37
  Speaker 1: like that's what she got for her good work. And
• 42:39
  Speaker 1: he's throwing that right, and he's like funck this, And
• 42:42
  Speaker 1: she wouldn't have thought herself, dude, like hey, he's got
• 42:44
  Speaker 1: my watch, let's undo it. He was like out of
• 42:46
  Speaker 1: the way, little lady. I'll do your watch for like
• 42:50
  Speaker 1: that was. That was a symbolic I wrote that down too,
• 42:53
  Speaker 1: And whether you know the filmmakers intended for that to
• 42:56
  Speaker 1: happen or not, me is a good audience member, was like,
• 43:00
  Speaker 1: this is my brain seeing this visual symbolism, Killen, you're
• 43:04
  Speaker 1: really putting that master's degree to right, right. But the
• 43:10
  Speaker 1: other thing that drove me not about that moment is
• 43:12
  Speaker 1: that why couldn't she undo her own Like, why couldn't
• 43:15
  Speaker 1: we give her that moment exactly? She couldn't have been like,
• 43:18
  Speaker 1: I've got this one John Flank and then there we go.
• 43:20
  Speaker 1: But no, he's got to do it for right. So
• 43:23
  Speaker 1: it just drove me crazy that she didn't get her
• 43:25
  Speaker 1: own big moment like that, because you know who else
• 43:27
  Speaker 1: gets a moment like that for no reason? Pretty much
• 43:29
  Speaker 1: everyone else in the story. He and even less screen
• 43:37
  Speaker 1: time than Holly, I think. But he was like, let
• 43:39
  Speaker 1: me crash, and yeah, they make it, let him be
• 43:41
  Speaker 1: a hero. Totally. I forgot that's Holly does get a
• 43:44
  Speaker 1: moment like that. But for me, it's like rang kind
• 43:47
  Speaker 1: of hollow where a Holly she punches the journalists in
• 43:50
  Speaker 1: the face at the end of the movie. But for
• 43:53
  Speaker 1: me that that I was already incensed at that point
• 43:56
  Speaker 1: in the movie because it's set up so many times
• 43:58
  Speaker 1: where she's like Holly Jenny a Holly Gennaro, and we
• 44:01
  Speaker 1: know the moral of this movie is take the man's name,
• 44:03
  Speaker 1: you belong to him, So like, you know that that's coming,
• 44:07
  Speaker 1: and she's gonna be like Holly McClain and we're like,
• 44:10
  Speaker 1: welan hand her own armies, and that's like the moral
• 44:16
  Speaker 1: of the film. So it's already mad because you know
• 44:20
  Speaker 1: that's coming, and by the time she punched the journalists
• 44:23
  Speaker 1: in the face. But it's also just kind of something
• 44:25
  Speaker 1: we've talked about a lot before, of like giving a
• 44:28
  Speaker 1: female character and action to do in order to impress
• 44:32
  Speaker 1: the men around her that has no bearing on the plot.
• 44:36
  Speaker 1: This happens in action movies all the fucking time, just
• 44:39
  Speaker 1: like the fucking McSweeney's article that we talked about. Every
• 44:42
  Speaker 1: single kick I'm a woman and I'm going to kick
• 44:44
  Speaker 1: one time, and all the men are like, whoa, we
• 44:48
  Speaker 1: take she's hot and she kicked one time. We take
• 44:53
  Speaker 1: her serious, now, like and that was how that one
• 44:57
  Speaker 1: the one physical action and she also she only takes
• 45:01
  Speaker 1: physical action way after it has any bearing. Stakes are
• 45:06
  Speaker 1: non existent now because the movie is over the tourist danger.
• 45:11
  Speaker 1: If she would have killed the last guy, that would
• 45:13
  Speaker 1: have been good. Yeah, that would have been good. Oh
• 45:16
  Speaker 1: but I I liked that al did it. I don't know.
• 45:18
  Speaker 1: I likened like his shots. It would have been better
• 45:20
  Speaker 1: if it was just one shot and he killed him.
• 45:22
  Speaker 1: What do you do like? He unloaded like four or
• 45:23
  Speaker 1: five shots? Like seriously, that's why you re at a
• 45:26
  Speaker 1: desk out. I'm just saying, you know what I mean?
• 45:28
  Speaker 1: Sharpen up man? Why is an ol chief? That's why?
• 45:32
  Speaker 1: Exactly he's a bad shot. He killed a bystander and
• 45:36
  Speaker 1: broke a car window and then finally got him in
• 45:39
  Speaker 1: the shoulder. Can we talk about the surprise kiss that happens.
• 45:46
  Speaker 1: Let's do it? Okay, like blank and you'd miss it.
• 45:49
  Speaker 1: But when John mcclen first arrived at the party, a
• 45:52
  Speaker 1: man grabs him, says Merry Christmas, kisses him on the
• 45:57
  Speaker 1: cheek and then his face. He's just like just like
• 46:01
  Speaker 1: what a mail man, a man, a human man and
• 46:06
  Speaker 1: a man kiss me all. It's all. It's all very
• 46:11
  Speaker 1: like oh l a flora U West Coasters, what's next?
• 46:17
  Speaker 1: Keen wa like it's the whole thing, you know. Yeah,
• 46:20
  Speaker 1: although we didn't have keen in the eighties, but whatever, Yeah,
• 46:24
  Speaker 1: that that was a fun I was fully ready for
• 46:27
  Speaker 1: a surprise gets to happen in this movie, as happens
• 46:30
  Speaker 1: in almost every movie that we've seen. Almost every major
• 46:33
  Speaker 1: release of the past one hundred years features someone being
• 46:37
  Speaker 1: kissed at random without their consent. Of the time, it's
• 46:41
  Speaker 1: a woman. Every time we talk about surprise kiss, I've
• 46:44
  Speaker 1: just you know the movie I write the Mommy, Mommy
• 46:48
  Speaker 1: to talk about the money. Well, Brendan Fraser is literally
• 46:51
  Speaker 1: in a cage, completely feral, just lunges at Rachel White
• 47:00
  Speaker 1: and kisses her and then she goes, oh, it's my
• 47:09
  Speaker 1: bits the best moment in cinema, sol Right, this is
• 47:14
  Speaker 1: the first male on male surprise kiss that we see. Um,
• 47:18
  Speaker 1: so I just wanted to point that out that history
• 47:20
  Speaker 1: was made on the Bectel cast just now by us
• 47:22
  Speaker 1: talking about this. Uh, it was still fucked up and
• 47:26
  Speaker 1: consent important. But also, boy does Bruce Willis think boys
• 47:30
  Speaker 1: kissing his gross? Oh? Can we talk about One of
• 47:36
  Speaker 1: the other few female characters we see on screen that
• 47:39
  Speaker 1: has a speaking role is the emergency responder woman who's
• 47:44
  Speaker 1: very bad going on with her now completely enapt but
• 47:47
  Speaker 1: you didn't know what. They gave a lot of, like
• 47:49
  Speaker 1: the voice over parts to ladies, like the dispatcher in
• 47:51
  Speaker 1: the car, the women. There was a lot of sort
• 47:53
  Speaker 1: of like you know, disembodied female voices. Yeah, that's a lot.
• 47:56
  Speaker 1: I mean, I feel like that's a lot of a
• 47:58
  Speaker 1: lot of disembodied female voice. Has a lot of dissiploded
• 48:01
  Speaker 1: female body bars, a lot of screams that a lot
• 48:04
  Speaker 1: of women got to scream on camera and one lucky
• 48:07
  Speaker 1: woman came. One lucky woman got to scream and have
• 48:11
  Speaker 1: her tits. What a gift. Amazing role. They're a housekeeper.
• 48:18
  Speaker 1: I think probably had more. She did, had more dialogue
• 48:21
  Speaker 1: than like Justine. The top ten minutes of this movie
• 48:27
  Speaker 1: have the most female speaking roles of the entire movie.
• 48:30
  Speaker 1: Where we hear Holly talked to her assistant, we hear
• 48:34
  Speaker 1: talk to her daughter, and when here talked to her housekeeper.
• 48:36
  Speaker 1: They all have names and you're just like, WHOA, maybe
• 48:39
  Speaker 1: this is the bet And then John mcclaimed person. He's like,
• 48:42
  Speaker 1: why don't you have my name? And forty five hours
• 48:48
  Speaker 1: because this movie is very long. He's just like it's
• 48:51
  Speaker 1: just me now on the screen, no women allowed. There's
• 48:55
  Speaker 1: every time because I watched this movie twice before we
• 48:58
  Speaker 1: recorded this, and there there's like a thirty minutes where
• 49:01
  Speaker 1: I was like, not bat I was just pacing. It's
• 49:03
  Speaker 1: just like, oh, maybe Bruce Willis is skipping around. I
• 49:07
  Speaker 1: don't know what he's doing, cartwheels like. There's just a
• 49:11
  Speaker 1: long string of time where he's talking to himself and murdering,
• 49:15
  Speaker 1: but which I don't find very compelled. I don't know.
• 49:18
  Speaker 1: But his tank top though, goes from pretty pristine and
• 49:22
  Speaker 1: white to a little bloody to instantly black with dirt.
• 49:26
  Speaker 1: How did it get there? What happened? And then goes
• 49:30
  Speaker 1: back to being a little less dirty and like kind
• 49:32
  Speaker 1: of white again because they take it off at some point,
• 49:34
  Speaker 1: and then he takes it on. Oh he has it
• 49:37
  Speaker 1: on at the end, doesn't he does? He has a
• 49:40
  Speaker 1: jacket on. But the point is we do see nipples,
• 49:45
  Speaker 1: and it's important you get nips of all genders, are right.
• 49:51
  Speaker 1: But then the scene where you see the like the
• 49:53
  Speaker 1: bear lady's breasts or the lady's bear breast is how
• 49:56
  Speaker 1: you say that not a lady bear? Yeah? Right? Although
• 50:05
  Speaker 1: how many apple does a bear hat. I mean, no
• 50:09
  Speaker 1: one knows, No one knows. You can figure it out
• 50:13
  Speaker 1: to a bear to counter simples. Okay, I'm back, all right.
• 50:27
  Speaker 1: So you see the woman's bare breasts and fine female
• 50:32
  Speaker 1: nudity whatever. If it happens for no reason like it
• 50:35
  Speaker 1: does in this movie, pretty annoying. But if we are
• 50:37
  Speaker 1: going to see it, let us see some like male
• 50:39
  Speaker 1: size or something like like I was going to argue
• 50:43
  Speaker 1: from very early in this movie, we see Bruce Willis's
• 50:46
  Speaker 1: chest hair. Fully, it seems that it's been teased out
• 50:49
  Speaker 1: words his body. That seems like that was someone's job, definitely,
• 50:57
  Speaker 1: because then later you're because, I mean, my impress at
• 51:00
  Speaker 1: the beginning watching it this time, I was like, wow,
• 51:02
  Speaker 1: he must have a lot of chess hair because it's
• 51:03
  Speaker 1: like he can't control it. And then later when he
• 51:06
  Speaker 1: takes off his tank type, you're like, oh, there's really
• 51:08
  Speaker 1: not that, but what is there is just six inches
• 51:14
  Speaker 1: extended from his body. It's like, you know what Somewhere
• 51:17
  Speaker 1: they cut and they're like, can someone get on his
• 51:19
  Speaker 1: chess hair? Get on hair for prom can we get
• 51:22
  Speaker 1: there on his chest hair? We would like a full
• 51:26
  Speaker 1: perm It's with the eighties. They didn't know better, they
• 51:30
  Speaker 1: didn't know lu I loved Bruce. I'll say I loved
• 51:35
  Speaker 1: Bruce Wallis's voluminous chess hair. I thought it was great.
• 51:40
  Speaker 1: Can I say that there are hardly any women whose
• 51:43
  Speaker 1: names that we know in this movie, But there are
• 51:45
  Speaker 1: three different men who have the last name Johnson that
• 51:48
  Speaker 1: we know and they talk about it a lot. And
• 51:50
  Speaker 1: there's Agent Johnson, Special Agent Johnson, and Harvey Johnson, the
• 51:56
  Speaker 1: like newscaster on TV three guys with the last named Dick.
• 52:02
  Speaker 1: She was pretty much, this is Mr Penis here, and
• 52:06
  Speaker 1: he is business and he is money. Did we know
• 52:08
  Speaker 1: the pregnant Do we know the pregnant assistant? Or was
• 52:10
  Speaker 1: she just name Jenny? Yeah, we know her name? Yes, yes? Oh.
• 52:15
  Speaker 1: I wanted to go back to the so the emergency
• 52:17
  Speaker 1: responder woman who's very bad because John McClain is like, hey,
• 52:20
  Speaker 1: we're having a terrorist attack and she's like, doesn't sound
• 52:24
  Speaker 1: like it, and there's like rapid gunfire and she's like,
• 52:27
  Speaker 1: I don't think so, but maybe I'll send a cop over.
• 52:30
  Speaker 1: And it was just very frustrating to see one of
• 52:33
  Speaker 1: the few women on screen who has a speaking role
• 52:35
  Speaker 1: be very bad at her job, like aggressively to the
• 52:40
  Speaker 1: point of like, is this it clearly wasn't her first
• 52:43
  Speaker 1: day she was in charge? Actually was? And and and
• 52:47
  Speaker 1: also to see because Bruce Willis's character is very frustrated
• 52:50
  Speaker 1: with her and he's like, come on, dude, dude, send
• 52:53
  Speaker 1: the thing. And it's like, I'm kind of on his side,
• 52:56
  Speaker 1: like why isn't she doing her job? Unclear? Who knows?
• 53:00
  Speaker 1: We also see I've done a few places, we see
• 53:03
  Speaker 1: women who are not hostages in this movie, or as
• 53:07
  Speaker 1: I like to call them, full titty hostages. We have
• 53:11
  Speaker 1: we have Lucy McClain, the daughter. We have the housekeeper
• 53:14
  Speaker 1: whose name is Paulina Paulina. We have the emergency women
• 53:20
  Speaker 1: and her coworker who were both like, um, what is
• 53:23
  Speaker 1: a gunshot sound like? And then and then there's one
• 53:28
  Speaker 1: female on screen journalist for a split second movie who yeah,
• 53:33
  Speaker 1: who delivers Hey it's almost Christmas, And they're like, Okay,
• 53:38
  Speaker 1: we've had enough women, let's get let's cut back to
• 53:40
  Speaker 1: another person named Johnson. That's for sure as a movie
• 53:43
  Speaker 1: populated by almost entirely men, because all of the dozen
• 53:47
  Speaker 1: terrorists or men, I think, all of the cops, all
• 53:50
  Speaker 1: the l A p. D, all the FBI you see,
• 53:52
  Speaker 1: or all men. It would be so easy to have
• 53:54
  Speaker 1: like one of the Johnson FBI people. I feel like
• 53:56
  Speaker 1: they would have done that now, like and I think
• 53:59
  Speaker 1: in action filmmade in the last five years, one of
• 54:02
  Speaker 1: the terrorists would have been a woman. For sure. She
• 54:04
  Speaker 1: wouldn't have said anything, but she could fight. She would
• 54:07
  Speaker 1: beat when I'm the girl with her thighs. Yeah, that
• 54:11
  Speaker 1: would be her gig. You know, I am kicked lady, absolutely,
• 54:13
  Speaker 1: but she was all She would also probably be the
• 54:16
  Speaker 1: leaders like lady, you know what I mean. It would
• 54:18
  Speaker 1: be a moment where he'd like make up with her
• 54:20
  Speaker 1: and then kill a man and make no mistakes. She
• 54:22
  Speaker 1: would be very hot. She was deadly hot. And then
• 54:27
  Speaker 1: and then then one of the cops would have been
• 54:28
  Speaker 1: a woman as well. Yeah right, but never the main,
• 54:32
  Speaker 1: never the main. She would have been like she'd be like, like,
• 54:35
  Speaker 1: it's my first day. I'm not going to be able
• 54:37
  Speaker 1: to do much. Yeah, so we do a car. I'm
• 54:42
  Speaker 1: gonna stay in the in the car. That's think of
• 54:44
  Speaker 1: the bit. How far we've come in thirty years. Hard
• 54:49
  Speaker 1: no woman could be around, but they cannot speak or
• 54:51
  Speaker 1: do anything. I'll have to admit that I I've only
• 54:56
  Speaker 1: seen die Hard too, and then none of the other sequels,
• 54:59
  Speaker 1: So you in the audience probably have seen more clap
• 55:02
  Speaker 1: if you've seen a die harded sequel. Okay, yeah, really three?
• 55:08
  Speaker 1: I saw three, and then I think I saw the
• 55:11
  Speaker 1: one with I think Justin is just as long as
• 55:13
  Speaker 1: the number four, number four. I saw three and four
• 55:15
  Speaker 1: skip two. But I saw three and four, And I
• 55:17
  Speaker 1: know there's a fifth one, right, there's a fifth. There's
• 55:21
  Speaker 1: because there's one. There's one die Hardest, die die Hardly,
• 55:26
  Speaker 1: I think die Hard. I think there's also one. Remember
• 55:33
  Speaker 1: when Bruce Willis was like, we're not gonna swear in
• 55:35
  Speaker 1: this one, and then there's no cursing in one of
• 55:38
  Speaker 1: them because it was the whole thing was motherfucker fucker.
• 55:41
  Speaker 1: And then the next one was all like gosh, darn it.
• 55:43
  Speaker 1: You know there was a lot of that. Yeah, I
• 55:45
  Speaker 1: hate that. I don't remember which one was, might have
• 55:47
  Speaker 1: been five. I think terrorists stink, they're they're rotten to
• 55:51
  Speaker 1: the core, those jerks, right when people shoot their lover's sake,
• 55:58
  Speaker 1: when they do it, that was always. Yeah, I love God,
• 56:01
  Speaker 1: I love I wish I had silly fruitcakes. I wish
• 56:05
  Speaker 1: I had seen Die Hard on like a cable edit,
• 56:07
  Speaker 1: because there's nothing better than reaction. I think I brought
• 56:11
  Speaker 1: this up multiple times, but I saw Kill Bill for
• 56:13
  Speaker 1: the first time on on on and there's that great.
• 56:20
  Speaker 1: I mean, it's great both ways. But the scene and
• 56:23
  Speaker 1: Kill Bill one where he says, my name's book I
• 56:26
  Speaker 1: like to fuck right on TND. It's fully dubbed, well
• 56:32
  Speaker 1: enough that until I saw it on DVD, I did
• 56:34
  Speaker 1: not know my name is Buck and I like to
• 56:37
  Speaker 1: go to parties. I was like, Oh, what a very thing,
• 56:49
  Speaker 1: same thing. What a strange light of dialogue. There's way
• 56:53
  Speaker 1: too many syllables. One syllable go to parties, four syllables,
• 56:59
  Speaker 1: Like well, that's pretty I mean, I guess that we
• 57:00
  Speaker 1: know who this character is now, but but he's about
• 57:04
  Speaker 1: to die. Why do we need to know? Another one
• 57:07
  Speaker 1: less point I wanted to make is that we often
• 57:09
  Speaker 1: talk about how women of color even have less representation
• 57:14
  Speaker 1: than white women in movies, and this is for sure
• 57:17
  Speaker 1: true of this, although there are several men of color
• 57:19
  Speaker 1: with pretty significant roles between Al pal Ceo, which is
• 57:24
  Speaker 1: the black hacker on The Terrorists of Things, Argyle Takagi,
• 57:28
  Speaker 1: the CEO question Mark don't know what everyone who works
• 57:32
  Speaker 1: there's got a question mark next to their job, and
• 57:34
  Speaker 1: then one of the special agent Johnson the Johnson's whereas, Okay,
• 57:44
  Speaker 1: yeah they're not right, you're not wrong, but correct me
• 57:51
  Speaker 1: if I'm wrong. I think the only woman of color
• 57:52
  Speaker 1: screen is Paulina housekeeper, so all the men, I think
• 57:56
  Speaker 1: the one screaming woman in a crowd. But that's right,
• 58:00
  Speaker 1: an extra. It did seem though that um, all of
• 58:03
  Speaker 1: it was kind of like a gender split, men and
• 58:06
  Speaker 1: women pretty balanced out of the people who worked at
• 58:08
  Speaker 1: the Nakatomi Corporation. I didn't I didn't notice. I I
• 58:12
  Speaker 1: spotted five women at that party, spotted fire in too
• 58:17
  Speaker 1: bare breasts or as you put it, a beare woman's breasts. Yeah,
• 58:23
  Speaker 1: but they're they were only as by my account, there
• 58:25
  Speaker 1: was only like five or six women at the party,
• 58:28
  Speaker 1: which I'm sure represented about how many women would be
• 58:31
  Speaker 1: working at a business business corporation at that time business
• 58:36
  Speaker 1: company there. There weren't a ton of women at the party, unfortunately. Yeah,
• 58:40
  Speaker 1: I miscounted. I have a master's agreen screenwriting, not math.
• 58:47
  Speaker 1: But yeah, it was just I thought worth noting that
• 58:50
  Speaker 1: the one woman of color you see on screen has
• 58:52
  Speaker 1: you know, she's a housekeeper, nothing wrong with that, but
• 58:55
  Speaker 1: you know, in a leadership role or anything like that,
• 58:58
  Speaker 1: whereas you have you know, cops and FBI dudes and
• 59:02
  Speaker 1: stuff like that. Yeah. So but technically does pass the
• 59:05
  Speaker 1: test thought because they there's ladies have conversations. Yeah we will,
• 59:10
  Speaker 1: we will get yeah, yeah, well we'll we'll break it down.
• 59:15
  Speaker 1: But before we do that, should we do our game? Yes,
• 59:18
  Speaker 1: let's do it. Okay, So God, so it's all imes house.
• 59:21
  Speaker 1: So we're like, hey, let's do something. So something we
• 59:24
  Speaker 1: like to do on the Bettel Castle lot if if
• 59:26
  Speaker 1: you're a listener, is we like to call various toxic
• 59:30
  Speaker 1: men feminist icons for fun. So I devised a game
• 59:37
  Speaker 1: for us to play featuring a bunch of men that
• 59:40
  Speaker 1: we've discussed either today on a separate episode or just
• 59:45
  Speaker 1: I wanted you to look at the picture of them, uh,
• 59:48
  Speaker 1: and we'll have our guest Debora determine if they are
• 59:52
  Speaker 1: a feminist icon, a queer icon, or trash that belongs
• 59:56
  Speaker 1: in the garbage. Uh. And then we're going to consult
• 59:59
  Speaker 1: with you guys to to see if if you agree. Unfortunately,
• 1:00:03
  Speaker 1: whatever Caitlin and I think is the answer, all right,
• 1:00:08
  Speaker 1: So if we could just go to the first slide,
• 1:00:10
  Speaker 1: John McClean and die Hard, how do we feel feminist icon,
• 1:00:13
  Speaker 1: queer icon belongs in the garbage? I would say just
• 1:00:17
  Speaker 1: because of the tank top queer icon. Am I right,
• 1:00:20
  Speaker 1: there's a there's a lot of tank top. Well, what
• 1:00:22
  Speaker 1: do you guys, what do we think queer icon? I
• 1:00:24
  Speaker 1: think queer icon? I think whatever? Next one, Gerard Butler
• 1:00:29
  Speaker 1: has Fantom of the Opera. What do we think, queer icon,
• 1:00:32
  Speaker 1: queer trash, trash show? He's a queer icon. Look at
• 1:00:42
  Speaker 1: his mask. He's holding a roast show cash and this
• 1:00:52
  Speaker 1: is Jim Carey and Jim Carrey's show boats for a
• 1:00:55
  Speaker 1: hundred twenty minutes to the delight of no one, and
• 1:00:58
  Speaker 1: how they he's a garbage that belongs in the trash.
• 1:01:03
  Speaker 1: Am I right, yes, that's correct. Adult grench is trash.
• 1:01:08
  Speaker 1: Next slide, Hans Grouper and I heard feminist icon, queer icon,
• 1:01:13
  Speaker 1: garbage that belongs in the trash? Really testing your how
• 1:01:18
  Speaker 1: in the trash? What are we thinking is icon? Why
• 1:01:23
  Speaker 1: could he talk to a woman one time? I don't
• 1:01:28
  Speaker 1: What do you think? I think he's a feminist icon? Alright?
• 1:01:33
  Speaker 1: Debork Okay, okay, you got it. Next one, Baby Grench.
• 1:01:42
  Speaker 1: Here's where I thought, what about baby Grinch. That's a
• 1:01:45
  Speaker 1: feminist icon. I would also say he's also queer. Yeah, yeah, yeah, fems.
• 1:01:53
  Speaker 1: Baby Grinch very iconic, very icon Yeah, how could you
• 1:01:58
  Speaker 1: not fall in love? The next one, Malcolm Crow in
• 1:02:04
  Speaker 1: a different Bruce Willis Cower Terminus say garbage that belongs
• 1:02:09
  Speaker 1: in the trash. I would say that, what do you
• 1:02:11
  Speaker 1: think I haven't seen that moving forever? So sure, garbage,
• 1:02:13
  Speaker 1: I think we have we have some people garbage. Okay, garbage.
• 1:02:18
  Speaker 1: He's garbage. He's garbage. Next one. That's next one, Hayley
• 1:02:22
  Speaker 1: Joel ask me, but but not in the sixth sense.
• 1:02:25
  Speaker 1: In sex Head, where he plays a sex said teacher,
• 1:02:30
  Speaker 1: queer icon, Am I right? Come on, yes, it's like no,
• 1:02:38
  Speaker 1: he's a becomes an old man with a baby's face.
• 1:02:41
  Speaker 1: Am I right? That is? That is fine? It was
• 1:02:47
  Speaker 1: as STDs slaying the clap. There's I'm not even gonna
• 1:02:52
  Speaker 1: say queer icon. I'm gonna say strictly lesbian icon, like
• 1:02:55
  Speaker 1: just strictly what do we think? Okay, he's an icon
• 1:03:02
  Speaker 1: one period feminist icon, beetle juice feministic feminist icon. Yeah,
• 1:03:09
  Speaker 1: while his title is feminist iconic, feministic, the movie is
• 1:03:13
  Speaker 1: feminist text beetles. Yeah, well that's an easy one. That's
• 1:03:18
  Speaker 1: an easy one except for a safe and Harry Potter
• 1:03:20
  Speaker 1: queer eye caller. All right, yeah, yeah, discusses. He's for
• 1:03:26
  Speaker 1: sure not a feminist icon, but he is, yes, alright,
• 1:03:29
  Speaker 1: Next one fourth grade grade. I feel like that's a
• 1:03:35
  Speaker 1: perfect tie of all three. That is baby queer queer,
• 1:03:41
  Speaker 1: No one feminist queer. So this one's queer adult trash.
• 1:03:49
  Speaker 1: He was trash, It's for sure trash. Then yeah, whatever,
• 1:03:56
  Speaker 1: Next okay, fine, Alpha Molina Inspirement feminist icons and Jamie's
• 1:04:03
  Speaker 1: husband feminist icon. I'm soaking wet, I my freaking pants.
• 1:04:09
  Speaker 1: I was amazing. Remember good he was to his wife
• 1:04:11
  Speaker 1: though in that movie, Like, let's be honest, he was
• 1:04:13
  Speaker 1: really a teacher and it was all great. He was.
• 1:04:16
  Speaker 1: He was right next to his rose. Okay, anyway, Alan
• 1:04:23
  Speaker 1: die Hard feminist icon, queerer icon, queer icon, feminist ychon
• 1:04:27
  Speaker 1: because a feminist icon because he's he's like, my wife's
• 1:04:30
  Speaker 1: pregnant and I'm addicted to her. Okay, you know, I
• 1:04:33
  Speaker 1: don't know what do you think feminist do you guys think,
• 1:04:36
  Speaker 1: although it's also very body positive, it's like, look at him,
• 1:04:42
  Speaker 1: come on, do you know I mean, there's no way
• 1:04:44
  Speaker 1: he could be a street cop. Jesus Christ, Let's be honest.
• 1:04:47
  Speaker 1: You know what I mean. He's at a desk because
• 1:04:48
  Speaker 1: he needs to be at a desk. He's a desk man.
• 1:04:50
  Speaker 1: He's a feminist. Feminists. Yeah, that's it, all right, that's
• 1:04:54
  Speaker 1: my type of desk man. Next one, Oh, Bruce, this
• 1:04:58
  Speaker 1: is Bruce will Is frantically. I mean, he's not a Republican.
• 1:05:02
  Speaker 1: I hate government. I'm a political Write that down. I'm
• 1:05:05
  Speaker 1: not a Republican. Bruce Willis is fully Republican, but he
• 1:05:08
  Speaker 1: spends a lot of time telling people he's not. Is
• 1:05:11
  Speaker 1: this a feminist icon, queer icon or trash move? Trash?
• 1:05:16
  Speaker 1: Brust wise is trash? Can we just note that that
• 1:05:18
  Speaker 1: quote comes from quote fancy guys, I have a membership
• 1:05:23
  Speaker 1: with quote fancy dot com. Bumblebee in the Transformers franchise. Yeah, Bumblebee,
• 1:05:33
  Speaker 1: come on? Where? God I wish that was. Michael Bay
• 1:05:36
  Speaker 1: would be so mad if he knew that Bumblebee was
• 1:05:39
  Speaker 1: a queer high Oh my god, are you kidding? He
• 1:05:41
  Speaker 1: set this place on fire, all right. Next one cartoon
• 1:05:45
  Speaker 1: Grinch feministic. I'm just gonna say icon period icon iconic
• 1:05:54
  Speaker 1: cartoon Grinch. I cook that face? Come on, I know,
• 1:05:57
  Speaker 1: all right. Next one Alfred Molina and Bagheina. Oh he's
• 1:06:02
  Speaker 1: a feminist icon and the queer icon and just remember
• 1:06:06
  Speaker 1: it was great. He's the beginning of the middle in
• 1:06:08
  Speaker 1: the end, everything is that? Is that the final one?
• 1:06:13
  Speaker 1: All right? And that is a game we call feminist
• 1:06:15
  Speaker 1: icon quer icon bart belongs in the trash. You can
• 1:06:20
  Speaker 1: play that at home with your family over a Christmas holidays. Yeah,
• 1:06:23
  Speaker 1: see what I see? Where your family's loyalties live. What
• 1:06:26
  Speaker 1: does your family think of every phase of the Grinch's life?
• 1:06:31
  Speaker 1: I'll forward you my power plant. So should we talk
• 1:06:36
  Speaker 1: about whether or not the movie passes the Bechtel tests?
• 1:06:39
  Speaker 1: We already hinted that it does. It does because it
• 1:06:41
  Speaker 1: does whoa very quickly, Holly talks to her assistant, James
• 1:06:46
  Speaker 1: name Jenny. Jenny. Holly says, Jenny, it's five forty, go
• 1:06:49
  Speaker 1: join the party, have some champagne. You're making me feel
• 1:06:52
  Speaker 1: like Ebenezer Scrooge. She does mention a man, but then
• 1:06:57
  Speaker 1: Jenny in a bad reference. Though, if the joke sucks?
• 1:07:02
  Speaker 1: Is it? If she had said, you're making me feel
• 1:07:04
  Speaker 1: like feminist icon the Grinch feminist slash queer icon, you
• 1:07:09
  Speaker 1: know it's crazy, and she was talking about the Grunch,
• 1:07:11
  Speaker 1: I'd be like, she's not talking about a man, She's
• 1:07:12
  Speaker 1: talking about it an idea. The Grinch is non binary
• 1:07:17
  Speaker 1: as fuck. I know that. Okay, I we've this is crazy,
• 1:07:23
  Speaker 1: and this is like how hard it is to get
• 1:07:24
  Speaker 1: a movie to pass the Bechtel test. Sometimes we've had
• 1:07:27
  Speaker 1: a situation before where it's two women talking about a
• 1:07:30
  Speaker 1: fictional man and we're like, what does it mean? Does
• 1:07:35
  Speaker 1: it count as a man if the man doesn't real?
• 1:07:38
  Speaker 1: And that is just indicative of Wow, women are not
• 1:07:41
  Speaker 1: talking a lot in this movie. Well, and so Jenny
• 1:07:45
  Speaker 1: responds and says, thanks a lot, Mrs McClean, do you
• 1:07:48
  Speaker 1: think the baby can handle a little sip? Uh? And
• 1:07:51
  Speaker 1: then Holly says the baby is ready to tend bar
• 1:07:54
  Speaker 1: And it's a hilarious joke that we all laugh. That's
• 1:07:57
  Speaker 1: a funny fetal alcoholic cynroum gag. That is a feminist
• 1:08:03
  Speaker 1: iconic scene. So I would argue that that does pass
• 1:08:07
  Speaker 1: because the last two lines of that exchange they're talking
• 1:08:10
  Speaker 1: about the baby making feetal alcohols. We don't know is
• 1:08:18
  Speaker 1: she what she was? She just dating at Johnson in
• 1:08:21
  Speaker 1: there with you know what. But there's more, there's more
• 1:08:24
  Speaker 1: scenes where it passes. Yes. So shortly after that, she
• 1:08:26
  Speaker 1: calls her home and Lucy picks up her daughter, who
• 1:08:31
  Speaker 1: does us the favor of stating her full name, Yeah,
• 1:08:33
  Speaker 1: McLean residents, Lucy McClean speaking, it's like, okay, exposition, have
• 1:08:37
  Speaker 1: you calmed down? Yeah? And then she says, hello, Lucy McClean,
• 1:08:41
  Speaker 1: this is your mother speaking, and she says, Mommy, when
• 1:08:43
  Speaker 1: are you coming home? Pretty soon? You'll be in bed
• 1:08:46
  Speaker 1: when I get there because I'm not spending Christmas Eve
• 1:08:48
  Speaker 1: with my family. Instead, I'm talking to the troops, talking
• 1:08:53
  Speaker 1: to the troops with HOLLYE. Jennaro coming soon to Public
• 1:08:56
  Speaker 1: Access TV. And then she says, don't go snipping around
• 1:08:59
  Speaker 1: the house for presents. Let me talk to Paulina. And
• 1:09:02
  Speaker 1: then Lucy says, is daddy coming home? So a man
• 1:09:05
  Speaker 1: does get mentioned there, but still then I would say
• 1:09:10
  Speaker 1: past the best. And then immediately afterward with her housekeeper,
• 1:09:13
  Speaker 1: it passes again, although they do spend most of that
• 1:09:16
  Speaker 1: conversation talking about John McClean. Is there there's no exchange
• 1:09:20
  Speaker 1: in there? Uh? Well, Paulina says, Ola, Mrs Holly, and
• 1:09:25
  Speaker 1: he says, is it the dialogue goes better? Is it
• 1:09:29
  Speaker 1: my impression that's bad? No, I'm just I'm just saying
• 1:09:32
  Speaker 1: that the only woman of color, Lucy on screen, is
• 1:09:35
  Speaker 1: put in a like the role that is very stereotypical. Sure, yes, uh.
• 1:09:40
  Speaker 1: And then Holly says, did Mr McClean call so not
• 1:09:43
  Speaker 1: so much? Paulina says no, Mrs Holly, no telephone, and
• 1:09:48
  Speaker 1: Holly says he probably didn't have time before it's flight.
• 1:09:51
  Speaker 1: It might be a good idea to make up the
• 1:09:53
  Speaker 1: spare bedroom just in case. And then Paulina says, I
• 1:09:57
  Speaker 1: do that already, and Holly said, what would I do
• 1:10:00
  Speaker 1: without you? Paulina, I would say that conversation does not
• 1:10:03
  Speaker 1: pass the test because they're pretty much exclusively talking about
• 1:10:07
  Speaker 1: Mr McClean. I I agree with you. Yeah, I mean,
• 1:10:10
  Speaker 1: we can get into the semantics of it, but what
• 1:10:12
  Speaker 1: I mean the movie does pass. But to my knowledge
• 1:10:15
  Speaker 1: is that the last time it passes, Jenny comes in
• 1:10:18
  Speaker 1: a little bit later to say, hey, Mr Takagi is
• 1:10:21
  Speaker 1: looking for you. He wants you to say something to
• 1:10:23
  Speaker 1: the troops. Yeah, but Mr Takagi and also so it
• 1:10:26
  Speaker 1: does not pass. Does the trees are Later when they're
• 1:10:29
  Speaker 1: at the party and she's like, he's alive, and then
• 1:10:32
  Speaker 1: I don't think respond Yeah, I think she's she's too pregnant,
• 1:10:38
  Speaker 1: she of her baby. She's like, actually I just had
• 1:10:43
  Speaker 1: three yeager bombs relatively useless at present? Is that the
• 1:10:50
  Speaker 1: last time that women's there's one more time where the
• 1:10:53
  Speaker 1: two emergency responder women John McClean has like radioed for help,
• 1:10:57
  Speaker 1: the first woman. We don't know their names, so it
• 1:10:59
  Speaker 1: does not pass by the way. Um, the first woman
• 1:11:01
  Speaker 1: says it's the same address as the fire signal, and
• 1:11:04
  Speaker 1: then the second lady, who's very bad a job, says
• 1:11:06
  Speaker 1: I'll handle it and then does a really bad job
• 1:11:09
  Speaker 1: of handling it. Yeah. So those are all the exchanges
• 1:11:13
  Speaker 1: that women have in the movie Diying Hard. So most
• 1:11:15
  Speaker 1: of them don't pass, but the first couple do. Surprised.
• 1:11:20
  Speaker 1: One more thing I wanted to talk about before we
• 1:11:22
  Speaker 1: let everyone free, uh is the end of this movie
• 1:11:27
  Speaker 1: is so frustrating to watch because we see John McClean
• 1:11:32
  Speaker 1: have this big revelation where he says to al for
• 1:11:36
  Speaker 1: some reason, I say I love you to my wife
• 1:11:39
  Speaker 1: all the time, but I've never said I'm sorry. And like,
• 1:11:43
  Speaker 1: this is a big revelation and it's kind of like
• 1:11:45
  Speaker 1: a very emotional moment for a male action hero to have.
• 1:11:48
  Speaker 1: And I was like, oh, this is cool, this is good.
• 1:11:50
  Speaker 1: He's like working through some stuff. Movie is so complex, right,
• 1:11:56
  Speaker 1: But then we see the problem resolved, the terrorists are
• 1:12:00
  Speaker 1: no longer an issue. He goes to his wife and
• 1:12:03
  Speaker 1: we already see that scene where she's like he's going
• 1:12:06
  Speaker 1: to save us or whatever, and it's like, oh, she's
• 1:12:09
  Speaker 1: taking his last name back. This is not good. She
• 1:12:12
  Speaker 1: said something like oh he's still alive. Only John could
• 1:12:15
  Speaker 1: make someone that crazy, right, right, And I'm just like, oh,
• 1:12:19
  Speaker 1: they're gonna fund later. This is exhausting. And there but
• 1:12:22
  Speaker 1: the end, then at the end, he has this whole
• 1:12:25
  Speaker 1: revelation about like I should just say sorry. And then
• 1:12:27
  Speaker 1: at the end, not only does she take his name back,
• 1:12:30
  Speaker 1: he does not say sorry, not to her. He's just
• 1:12:34
  Speaker 1: like he's like, oh, I had to say to my
• 1:12:36
  Speaker 1: wife as I'm sorry, And then he kills Alan Rickman
• 1:12:39
  Speaker 1: makes out with her and he's like, you have my
• 1:12:41
  Speaker 1: last name again. Let's get out of here, he never
• 1:12:44
  Speaker 1: So it's just like this whole example, like it's all
• 1:12:47
  Speaker 1: set up for him to grow as a person, but
• 1:12:50
  Speaker 1: we don't actually get to see him do it that
• 1:12:54
  Speaker 1: that woman is robbed of that opportunity to be apologized to,
• 1:12:57
  Speaker 1: because like that whole subplot is like, I don't respect
• 1:13:00
  Speaker 1: your career choices and I'm threatened by your success. And
• 1:13:03
  Speaker 1: then he's like, tell my wife, I'm sorry and I
• 1:13:05
  Speaker 1: should have supported her. I can't tell her to her face,
• 1:13:08
  Speaker 1: and I can't. I can't with that there. I mean,
• 1:13:13
  Speaker 1: And it's that time of year now where, especially this year,
• 1:13:16
  Speaker 1: every woman should just be profusely apologized to by every
• 1:13:20
  Speaker 1: man they've ever met. It's the new hello for men.
• 1:13:25
  Speaker 1: I'm so very sorry. God. Alright, Well that's that was Yeah. No,
• 1:13:31
  Speaker 1: Does anyone have any other final thoughts before we rate? No,
• 1:13:34
  Speaker 1: I'm exausted. The audience members, how anything they want to
• 1:13:38
  Speaker 1: pipe in? Any questions queries? Yeah, it's it's very sad
• 1:13:44
  Speaker 1: and frustrating to hear about John and Holley's relationship because
• 1:13:48
  Speaker 1: it does completely break down by the end, doesn't it.
• 1:13:50
  Speaker 1: Yeah yeah, yeah, oh wow, Although it seems like that's
• 1:13:57
  Speaker 1: where it was headed in movie one where it's like
• 1:14:00
  Speaker 1: and she seems pretty done, but he's like, put my
• 1:14:03
  Speaker 1: footpled and I like you. She's like, all right, because
• 1:14:07
  Speaker 1: we'll give her another dry there. That's a bummer. I
• 1:14:09
  Speaker 1: didn't know that's how it ends. Good point. Yeah, I'd
• 1:14:13
  Speaker 1: say that this is pretty progressive women because even though
• 1:14:17
  Speaker 1: you have the two incompetent women, Paully seems very competent.
• 1:14:20
  Speaker 1: So the percentage of competent women to the percentage of
• 1:14:23
  Speaker 1: competent men, you have John mcclaim and al our competent Yeah,
• 1:14:27
  Speaker 1: one competent woman. That's true, like all the idiots, like
• 1:14:31
  Speaker 1: all the cops are idiots. That's true. And it was
• 1:14:35
  Speaker 1: that's what we're forgetting. It's yet competent women. And you know,
• 1:14:39
  Speaker 1: let's be honest, Paulina, what would we do without Paulina.
• 1:14:42
  Speaker 1: She's doing a good job and that she's raising competence.
• 1:14:46
  Speaker 1: Fair nice. I think it's so funny because it's like, yeah,
• 1:14:49
  Speaker 1: the women in the higher percentage of competence, but everyone's
• 1:14:52
  Speaker 1: still failing. That's that's an excellent point, Paulina. Oh yes,
• 1:15:06
  Speaker 1: oh my god, maybe we didn't remember that. Yes, yeah,
• 1:15:11
  Speaker 1: there is a moment where the journalists burst into their
• 1:15:14
  Speaker 1: home and threatened to deport Paulina, who has done literally
• 1:15:18
  Speaker 1: nothing except be herself and have her job and you know,
• 1:15:23
  Speaker 1: like exist, and she has to be threatened to do
• 1:15:26
  Speaker 1: something she would have done anyways. So yeah, that's a
• 1:15:29
  Speaker 1: good point. Good, yeah, totally a question to who would
• 1:15:33
  Speaker 1: you cast in a Ghostbuster style? Oh my god? Okay, okay,
• 1:15:44
  Speaker 1: can Galgadope do something? Yes, it is Hans Grouper. I'm batty.
• 1:15:51
  Speaker 1: What's your face? Um? Oh god? Uh did you all
• 1:15:54
  Speaker 1: see thor? What's her name? Oh my god, I'm lost.
• 1:15:57
  Speaker 1: O our beautiful said, yeah, she was amazing, right, amazing.
• 1:16:02
  Speaker 1: She could be I don't know, she could be al
• 1:16:04
  Speaker 1: Could she be al? She could be albow? Absolutely? And then, um,
• 1:16:08
  Speaker 1: who's gonna be John McClinton, baby Betty Rich, Babbie Graney,
• 1:16:18
  Speaker 1: baby Gridge. I say Leslie Jones. I say Leslie Jones
• 1:16:21
  Speaker 1: should be amazing. I would love to cast Alpha Molina
• 1:16:26
  Speaker 1: as Lucy mccland. I'm sorry it's not an all female reboot,
• 1:16:32
  Speaker 1: but I think he really is a chameleon and he
• 1:16:35
  Speaker 1: could be he could be the Yeah, yeah, yeah, yeah,
• 1:16:43
  Speaker 1: he'd be like I'm what was her job? I am business?
• 1:16:46
  Speaker 1: She's about a negotiator, and then he'd be like, actually,
• 1:16:48
  Speaker 1: my last name is Molina. I love this. Okay, so
• 1:16:54
  Speaker 1: that's a good one. That's fun, that's great. Uh yeah,
• 1:16:57
  Speaker 1: I'd wait till we miss any other major parts. Does
• 1:16:59
  Speaker 1: everybody right? It's our Yeah, who do I want to put?
• 1:17:02
  Speaker 1: Who do We're posing them as the breakout star of
• 1:17:05
  Speaker 1: our all female litle bit of die Hard. What's her names? Unprodouncible.
• 1:17:17
  Speaker 1: You want to say serious, but it's not a serious
• 1:17:24
  Speaker 1: forget it. Devado Is couldn't say the other one is amazing. Well,
• 1:17:35
  Speaker 1: let's let's write it. Let's write the movie on our
• 1:17:38
  Speaker 1: nipple scale zero to five nipples. Based on its portrayal
• 1:17:41
  Speaker 1: of women, I'm gonna give it one and a half
• 1:17:45
  Speaker 1: because it's still very much a man's story populated with
• 1:17:49
  Speaker 1: almost entirely men. You do see one pretty competent woman,
• 1:17:53
  Speaker 1: but she's framed as like the wife, and she isn't
• 1:17:58
  Speaker 1: respected by her husband, and that's a whole story line
• 1:18:03
  Speaker 1: of the movie. And she gets no screen time, neither
• 1:18:06
  Speaker 1: do hardly any other women. And it's not the feminist
• 1:18:09
  Speaker 1: masterpiece we're all hoping for. I felt so certain it was.
• 1:18:14
  Speaker 1: I know but it doesn't get like no nipples, because
• 1:18:18
  Speaker 1: I do think that Holly is competent, although she is
• 1:18:21
  Speaker 1: robbed in many ways of opportunities to do something more
• 1:18:26
  Speaker 1: pleasantly surprised that it passes the Bechdel test and does
• 1:18:30
  Speaker 1: feature a competent female character for a movie that came
• 1:18:33
  Speaker 1: out in So, yeah, I'm gonna say one and a
• 1:18:35
  Speaker 1: half nipples are you giving your nipples to? I'm going
• 1:18:38
  Speaker 1: to give one to Hans and his bad accent, and
• 1:18:43
  Speaker 1: the half nipple will go to because we see his nipple.
• 1:18:47
  Speaker 1: I'm gonna give it to John McClean. There you go.
• 1:18:50
  Speaker 1: I am going to give this movie. Oh this feels
• 1:18:54
  Speaker 1: like too much, but I'm gonna give it two and
• 1:18:55
  Speaker 1: a half nipples for all the reasons you describe. But
• 1:18:58
  Speaker 1: I also think we get to talk about this a lot.
• 1:19:01
  Speaker 1: But I do think that it's interesting watching an action
• 1:19:04
  Speaker 1: hero like John McClain almost universally fail when he tries
• 1:19:09
  Speaker 1: hyper masculine tactics to solving a problem, Like most of
• 1:19:13
  Speaker 1: the things that actually work for John McClain are what
• 1:19:16
  Speaker 1: his wife is really good at, which is negotiating, Like
• 1:19:21
  Speaker 1: if Holly McClain or Holly, Sorry, Holly Jenniro. I'm so sorry.
• 1:19:25
  Speaker 1: If Holly Jenniro was in the bathroom at the beginning
• 1:19:27
  Speaker 1: of this movie, this movie would be fifteen minutes long,
• 1:19:29
  Speaker 1: because she would have been able to get them out
• 1:19:31
  Speaker 1: of it without all the fucking show pony posturing that
• 1:19:35
  Speaker 1: Bruce Willis has to do to be like I have
• 1:19:37
  Speaker 1: to have a gun and there's a warning and there's
• 1:19:39
  Speaker 1: a like. She had the skill set the whole time
• 1:19:42
  Speaker 1: to resolve the whole movie, and none of us would
• 1:19:44
  Speaker 1: have had to see die hard. Um So, I I
• 1:19:47
  Speaker 1: do think it's interesting that John mcclin's character, even though
• 1:19:51
  Speaker 1: we are led to believe by the end, does not
• 1:19:53
  Speaker 1: intend to apply these lessons to his life. But he
• 1:19:57
  Speaker 1: does learn the lesson that not only does his wife
• 1:20:00
  Speaker 1: skills have value, and that she has a lot of value,
• 1:20:04
  Speaker 1: but that the skills make more sense than the like
• 1:20:07
  Speaker 1: hyper masculine aggro cop tactics that he's been taught. So
• 1:20:11
  Speaker 1: I think that there's a there is like a little
• 1:20:13
  Speaker 1: bit there that I liked. Uh So I'll give it
• 1:20:15
  Speaker 1: two and a half, given two nipples to the baby
• 1:20:18
  Speaker 1: Grinch and give a half nipple to Paulina because she
• 1:20:25
  Speaker 1: deserved more, all Right, I'm gonna give it one nipple.
• 1:20:28
  Speaker 1: This is mono nipular to me, and that is the
• 1:20:31
  Speaker 1: edit the word. I'm just giving it one nipple because
• 1:20:33
  Speaker 1: it just didn't. It didn't do what it should for women.
• 1:20:36
  Speaker 1: And my nipple is going to go to Argyle because
• 1:20:38
  Speaker 1: he needs it, you know what I mean, milk that
• 1:20:43
  Speaker 1: Oh my god, poor boy. But yeah, I mean it's
• 1:20:46
  Speaker 1: yeah for what it is. And you know that that
• 1:20:48
  Speaker 1: whole thing about the five in the five movies, their
• 1:20:50
  Speaker 1: their relation breakdown. That's I'm also giving it one because
• 1:20:52
  Speaker 1: I'm remembering now they do they don't make it work,
• 1:20:55
  Speaker 1: and that's you know what. You know, Holly should have
• 1:20:58
  Speaker 1: just conling at fair least, right, Yeah, they didn't make
• 1:21:02
  Speaker 1: it work. Well, the guys, that's too hard. D thank
• 1:21:07
  Speaker 1: you so much for he's the best renewed with mental
• 1:21:12
  Speaker 1: fucking world. He is the greatest. Give it up for
• 1:21:15
  Speaker 1: Deborah dg of money. Thanks go out best