Latest / The Bechdel Cast / Bad Moms

Transcript

Bad Moms · The Bechdel Cast

• 0:00
  Speaker 1: On the Dog Cast, the questions asked if movies have
• 0:03
  Speaker 1: women in them, are all their discussions just boyfriends and husbands,
• 0:07
  Speaker 1: or do they have individualism? The patriarchy? Zef and Best
• 0:12
  Speaker 1: start changing it with the Bell Cast. Hi, mommies, how's
• 0:20
  Speaker 1: that good? That was great? Mommies. Welcome to the back
• 0:26
  Speaker 1: door gass mommies and non mommies. But you know this week,
• 0:30
  Speaker 1: mommy has come to the front of the line. That's right.
• 0:34
  Speaker 1: I make no mistake, not just good mommies, but bad
• 0:38
  Speaker 1: mommies to bad mommies as well. Welcome bad mommies to
• 0:42
  Speaker 1: the bad Mommies episode of UM. I was almost gonna say, like,
• 0:47
  Speaker 1: this is how traumatized I am at this point where
• 0:50
  Speaker 1: I was almost gonna say, like, Caitlin, we can be
• 0:52
  Speaker 1: bad podcasters, but you know that that's just giving an
• 0:54
  Speaker 1: asshole like a template of a mean iTunes review. So
• 0:58
  Speaker 1: I'm like, better not do it. Okay, So this is
• 1:01
  Speaker 1: this is our annual Mother's Day episode. I miss I
• 1:04
  Speaker 1: miss my Mom. Yeah, I miss my Mom. She's doing okay,
• 1:08
  Speaker 1: although her health is not. She has lime disease I think,
• 1:13
  Speaker 1: and she has a lot of pain from that. But
• 1:15
  Speaker 1: then she's like well, what if it's COVID nineteen, So
• 1:18
  Speaker 1: no one knows anything. But my mom's health is a
• 1:21
  Speaker 1: little precarious at the moment, but I think she'll be fine.
• 1:26
  Speaker 1: I think my mom Yeah, similar deal. My mom has
• 1:29
  Speaker 1: rheumatoid arthritis and it's been I think it's just like
• 1:33
  Speaker 1: if you already have chronic pain, being cooped up in
• 1:35
  Speaker 1: your house NonStop just doesn't do it any favors. So
• 1:39
  Speaker 1: like she and and she's also I'm shout out to
• 1:42
  Speaker 1: Jill because I'm pretty sure she's been a loyal listener
• 1:44
  Speaker 1: throughout the choir. Oh Jill, because she has been teaching
• 1:49
  Speaker 1: her second grade class still um through through Zoom through Zoom,
• 1:55
  Speaker 1: which I'm like, I shout I mean shout out to
• 1:58
  Speaker 1: where this is a weird started the episode, but it's
• 2:01
  Speaker 1: a quarantine episode so that doesn't matter, but shout out
• 2:04
  Speaker 1: to like all the parents and teachers right now who
• 2:08
  Speaker 1: are making school happen over zoom. I truly cannot wrap
• 2:13
  Speaker 1: my head around that students too, Like it's just who
• 2:18
  Speaker 1: it's it's amazing. Not to brag or anything, but I
• 2:21
  Speaker 1: teach online screenwriting classes, which I always forget to plug
• 2:25
  Speaker 1: on the podcast. But if anyone's interested in learning screenwriting
• 2:28
  Speaker 1: from yours? Truly someone with a master's degree in screenwriting
• 2:32
  Speaker 1: that I absolutely hate to bring up. But um, I
• 2:36
  Speaker 1: teach classes through Zoom but I only have like a
• 2:40
  Speaker 1: cap it at five students per section and they're all,
• 2:44
  Speaker 1: you know, adults, so and I'm like, I can barely
• 2:47
  Speaker 1: handle that. Well, it's like that's the thing is, Like
• 2:50
  Speaker 1: I've been in our writer's room like during the days,
• 2:53
  Speaker 1: and I'm like, I am an adult woman. Who I
• 2:57
  Speaker 1: It's so hard to pay attention. It's so hard. I'm like,
• 3:00
  Speaker 1: why am I on eBay? Like I this is my job.
• 3:04
  Speaker 1: I hope no one for I don't think that. But anyways,
• 3:06
  Speaker 1: I've been on eBay and I'm doing my job. But
• 3:09
  Speaker 1: I'm like on eBay so you know, we can all
• 3:12
  Speaker 1: be It feels good to be bad, the wise person
• 3:15
  Speaker 1: What's told me? Well, that's sort of the theme of
• 3:18
  Speaker 1: the movie. It feels good to be bad. And we're back.
• 3:23
  Speaker 1: Welcome to the Bechtel Cast. This is uh, this is
• 3:27
  Speaker 1: if you're a new listener, what a weird start. This
• 3:30
  Speaker 1: is our podcast about the representation of female identifying characters
• 3:37
  Speaker 1: in movies. We use the Bechdel test as a jumping
• 3:42
  Speaker 1: off point for discussion. But what is the Bechdel test? Well,
• 3:46
  Speaker 1: I asked myself each and every week. I'm happy to
• 3:49
  Speaker 1: answer your question. It is a media metric originally developed
• 3:54
  Speaker 1: by cartoonist Alison Bechtel, sometimes called the Bechtel Wallace test,
• 3:59
  Speaker 1: and it requires ars that the narrative have two female
• 4:03
  Speaker 1: identifying characters with names who speak to each other about
• 4:08
  Speaker 1: something other than a man. And the specific metric that
• 4:12
  Speaker 1: we use is it has to be a two or
• 4:14
  Speaker 1: more line exchange of dialogue. And a lot of movies
• 4:19
  Speaker 1: cannot manage this simple metric. And interestingly, and we'll be
• 4:25
  Speaker 1: talking about this iconic duo. I mean when people say,
• 4:29
  Speaker 1: like Caitlin and Jamie, name a more iconic duo, I
• 4:32
  Speaker 1: automatically say John Lucas and Scott More. Uh. But you know,
• 4:37
  Speaker 1: many movies that the writers of this movie have have
• 4:41
  Speaker 1: written in no way past the Backtel test. We've got
• 4:44
  Speaker 1: a weird We've got a weird one today. There's pros
• 4:46
  Speaker 1: and there's cons, but we're here. There's discourse. I wanted
• 4:50
  Speaker 1: before we get into it, because it's where it's just
• 4:52
  Speaker 1: the two of us today. Um, So I was curious
• 4:56
  Speaker 1: I have. I've just been interested in hearing like other
• 4:58
  Speaker 1: podcasters that I listened to, just like, what is like
• 5:01
  Speaker 1: a thing in quarantine that you've gotten into, or like
• 5:07
  Speaker 1: a show or a thing that you're like. I have
• 5:10
  Speaker 1: been rewatching, Um a show that I really enjoy that
• 5:14
  Speaker 1: I had only seen once. But Over the Garden Walls. Oh, yes,
• 5:19
  Speaker 1: you recommended that to me? Yes, I I can't recommend
• 5:21
  Speaker 1: it enough. It's short, it's fun, it's cookie um. It
• 5:26
  Speaker 1: was originally on Cartoon Network, it's on Hulu now. I
• 5:29
  Speaker 1: really enjoy it. Um so fun. Any any over the
• 5:32
  Speaker 1: Garden Wall heads out there, you let me know. I'm
• 5:36
  Speaker 1: going to recommend a show that I've been watching really
• 5:39
  Speaker 1: because I've also been like working three jobs in the core,
• 5:42
  Speaker 1: which is like it doesn't make anything like it's very lucky,
• 5:45
  Speaker 1: but it also is like just really fuss with your
• 5:48
  Speaker 1: head a little bit. But I watched the first season
• 5:52
  Speaker 1: of On Becoming a God in Central Florida, and it's
• 5:57
  Speaker 1: really good. Kirsten Dunst is gray nice and I love it.
• 6:02
  Speaker 1: So that's our cor Rex. Yeah, cor Rex, let's talk
• 6:07
  Speaker 1: about bad moms. Let's do it. So, yes, we don't
• 6:09
  Speaker 1: have a guest today, but I did. I wanted to
• 6:13
  Speaker 1: get some you know, opinions of moms and whether or
• 6:17
  Speaker 1: not this movie resonated with moms. So, um, I have
• 6:21
  Speaker 1: a few little, you know, tweets to share and stuff
• 6:24
  Speaker 1: like that, mom tweets. What what was your history? Do
• 6:28
  Speaker 1: you have a history with this movie? Uh No, I don't.
• 6:30
  Speaker 1: I had never seen it, nor it's sequel A Bad
• 6:34
  Speaker 1: Mom's Christmas. Didn't. I just skipped them. I based on
• 6:38
  Speaker 1: what I knew about them when they came out and
• 6:41
  Speaker 1: like who was making them and stuff. I was like,
• 6:44
  Speaker 1: I don't think these are going to be for me. Yeah,
• 6:50
  Speaker 1: I was right, say not because of the premise, more
• 6:54
  Speaker 1: just because of the writing style and the like the
• 6:58
  Speaker 1: comedic sensibilities of these writers and stuff like that. I
• 7:01
  Speaker 1: just like the bloated big budget comedy genre asthetic, like
• 7:06
  Speaker 1: this specific aesthetic and like don't, I don't, it's not
• 7:10
  Speaker 1: even really I guess it's kind of a genre. It's
• 7:12
  Speaker 1: also not for me. Uh yeah. So this movie came out,
• 7:15
  Speaker 1: I mean fairly recently. I had seen I've seen Bad
• 7:19
  Speaker 1: Mom's Christmas. I watched it because Christine Baranski was in it,
• 7:24
  Speaker 1: and I didn't love the movie. But I did love
• 7:28
  Speaker 1: Christine Branski and and Susan Surrandon's in it. She's pretty,
• 7:31
  Speaker 1: she's good in it as well. It's I honestly, I
• 7:35
  Speaker 1: will say I really preferred Bad Mom's Christmas to Bad
• 7:39
  Speaker 1: Moms Interesting. But I think that that might just be
• 7:43
  Speaker 1: because you get like twice the amount of twice the moms.
• 7:48
  Speaker 1: Twice the moms. You have Cheryl Hines, Christine Baranski and
• 7:51
  Speaker 1: Susan Stain like those, they're all like, you know, knocking
• 7:55
  Speaker 1: it out of the park, even though the writing still,
• 7:57
  Speaker 1: stay with me, stinks, But you have like twice the
• 8:02
  Speaker 1: amount of fun performances. So it's it just was more fun.
• 8:05
  Speaker 1: But sure, yeah, I saw, I watched watched Bad Moms.
• 8:09
  Speaker 1: I it's it's frustrating because it's like, and we'll talk
• 8:11
  Speaker 1: about this a lot, because it's like a really good
• 8:14
  Speaker 1: premise and like a really strong cast, and everything I
• 8:20
  Speaker 1: dislike about the movie has to do with the way
• 8:22
  Speaker 1: it's written and directed. And then when you're like, oh,
• 8:25
  Speaker 1: it was written and directed by the Hangover guys, of
• 8:28
  Speaker 1: course I don't like it. Yeah, So it's it's kind
• 8:32
  Speaker 1: of a bummer because I'm sure that it would have
• 8:34
  Speaker 1: been impossible to make this movie without their co signing
• 8:39
  Speaker 1: of it, which is frustrating in itself, and then everything
• 8:42
  Speaker 1: I don't like about the movie is them getting in
• 8:44
  Speaker 1: the way of a good premise and a good cast. So, um,
• 8:48
  Speaker 1: I'm glad it exists, but uh, you know, generally was like,
• 8:52
  Speaker 1: we gotta be able to do better in this come
• 8:53
  Speaker 1: on there, we most certainly can we and I think
• 8:57
  Speaker 1: that we have. That was another thing that before we
• 9:00
  Speaker 1: super jump into it, I did a little research, as
• 9:04
  Speaker 1: I've been known to do, wow brag perhaps some context.
• 9:07
  Speaker 1: I was just looking into like where moms have been
• 9:12
  Speaker 1: represented in comedic movies, and there's really not that much.
• 9:17
  Speaker 1: There is not a ton There's a lot of movies
• 9:21
  Speaker 1: that have moms in them but are not about moms.
• 9:25
  Speaker 1: So it's like this movie was a huge hit. It
• 9:27
  Speaker 1: made a hundred eighty million dollars off a two million
• 9:30
  Speaker 1: dollar budget, So to me that indicates, you know, like
• 9:33
  Speaker 1: this is clearly a market. People want this movie, and
• 9:37
  Speaker 1: it was like reasonably well received. But yeah, because they're there,
• 9:42
  Speaker 1: there's just not really moms represented as like a central
• 9:46
  Speaker 1: focus in movies where you do see a lot and
• 9:49
  Speaker 1: I think, like a lot better than what this movie
• 9:51
  Speaker 1: has to offer is there's a lot of TV that's
• 9:54
  Speaker 1: come out in the past couple of years that is
• 9:57
  Speaker 1: comedy focused around motherhood. And so it's just I hope
• 10:02
  Speaker 1: that and I mean, god knows how or if movies
• 10:05
  Speaker 1: will be made anymore. Um that this is the end
• 10:09
  Speaker 1: of the industry as we know it, probably, but it's
• 10:12
  Speaker 1: like Christine Baranski is going to be in like a
• 10:14
  Speaker 1: plastic bubble. You know, it's gonna be a whole thing.
• 10:17
  Speaker 1: But but I hope that, you know, I was encouraged
• 10:20
  Speaker 1: at least to see. I mean, there's a ton of
• 10:23
  Speaker 1: comedy shows of all different like genres of comedy. There's
• 10:26
  Speaker 1: like network comedy, there's niche about mothers, but it just
• 10:30
  Speaker 1: is not represented in movies. So this is just kind
• 10:35
  Speaker 1: of like what there is right now. Wild But you know,
• 10:41
  Speaker 1: if you're if you're a mom looking for all, Um,
• 10:44
  Speaker 1: when this episode comes out, I'll try to do a
• 10:46
  Speaker 1: little thread of like TV recommended watching because it seems
• 10:49
  Speaker 1: like that's where the options are. Yeah, that'd be great.
• 10:53
  Speaker 1: And with that, should we do the recap and go
• 10:54
  Speaker 1: from there? Let's do it. So the story of bad
• 10:58
  Speaker 1: Moms bed Mummies. Um, we meet bad Mummy number one,
• 11:02
  Speaker 1: although she's not bad Mummy yet. She's good Mummy. But
• 11:06
  Speaker 1: they're but they're they're bad. Sometimes they're all like good moms.
• 11:10
  Speaker 1: But they also go through really long montage sequences that
• 11:13
  Speaker 1: I fast forwarded like shot truly, like we I can't
• 11:18
  Speaker 1: talk about visual jokes in the because I just and
• 11:21
  Speaker 1: they're all three minutes long. It's too every These guys
• 11:25
  Speaker 1: they just love a long, expensive montage and I just
• 11:28
  Speaker 1: don't care about it. That are like in slow motion.
• 11:31
  Speaker 1: There's like some you know, poppy bop in the background
• 11:35
  Speaker 1: and it's just like this, you get one of those.
• 11:38
  Speaker 1: Don't have fourteen in your movie? Yeah, And like can
• 11:42
  Speaker 1: you be three characters that we at least know? Like there?
• 11:46
  Speaker 1: But by the time the first like at length cameo
• 11:50
  Speaker 1: comes in, I'm like, I think I know one thing
• 11:51
  Speaker 1: about Kristen Bell's character. How am I supposed to be
• 11:54
  Speaker 1: like reveling in this? Like wow, like you don't know?
• 11:58
  Speaker 1: You really only know? I would you really only get
• 12:00
  Speaker 1: to know Mila Kunas in this movie. I think you
• 12:03
  Speaker 1: know one thing about Kristin Bell, which is that her
• 12:06
  Speaker 1: husband sucks and that I mean that's just John Lucas
• 12:11
  Speaker 1: and Scott More No matter who they're writing for, they
• 12:14
  Speaker 1: only know how to write broad stereotypes for sure. So
• 12:20
  Speaker 1: you just don't get to know Kristin Bell and Catherine Han.
• 12:22
  Speaker 1: You just don't. But first we barely get to know
• 12:26
  Speaker 1: Amy Mitchell. That's uh Mila Kunis's character. Were you were
• 12:31
  Speaker 1: you frustrated? Okay, so I'm sorry, I'm like this movie
• 12:34
  Speaker 1: was really Were you frustrated in the first scene where
• 12:39
  Speaker 1: they're introducing her, when she's like, uh, I sweat and
• 12:43
  Speaker 1: workout class and You're like, you're Mela kuni is. Give
• 12:47
  Speaker 1: me a break there, don't I don't like when movies
• 12:50
  Speaker 1: are like Melacunas is so awkward and you're like, no,
• 12:55
  Speaker 1: she isn't she? I think she was miscast in this role.
• 13:03
  Speaker 1: But also who would have been cast in a such
• 13:06
  Speaker 1: a broad stereotyped role like this? I mean, who would
• 13:10
  Speaker 1: this be good for? Really? I think Mela Conics is
• 13:13
  Speaker 1: so talented. We've seen her be amazing and I feel
• 13:18
  Speaker 1: like she is. Yeah, she is very miscast in this movie. Yeah,
• 13:21
  Speaker 1: so is Kristin Bell. I think that true. Like of
• 13:25
  Speaker 1: the main cast, I think that like Christina Applegate and
• 13:29
  Speaker 1: Catherine Han are pretty well cast, but it's only because
• 13:32
  Speaker 1: they're playing characters that they've been forced to play before
• 13:35
  Speaker 1: that are not fair to them. Where it's like, oh,
• 13:37
  Speaker 1: Christina Applegates is going to play like an uptight, rude
• 13:41
  Speaker 1: person and she's been she's had to do that forever,
• 13:43
  Speaker 1: and like Catherine Hans going to play like a very
• 13:45
  Speaker 1: you know. It's like and I hope they had fun
• 13:46
  Speaker 1: and they did a good job, but it's even when
• 13:49
  Speaker 1: it's properly cast, her like this still is like not
• 13:51
  Speaker 1: very nice. I don't know. Okay, where were we we have?
• 13:57
  Speaker 1: We men ate me more egg. She's boring, she's she's overworked,
• 14:03
  Speaker 1: she's underappreciated. She had her first kid when she was twenty.
• 14:08
  Speaker 1: She is now thirty two. She has two kids, Jane
• 14:11
  Speaker 1: and Dylan. Um, they do a bunch of extracurricular activities,
• 14:15
  Speaker 1: but she's always trying to you know, make it to
• 14:17
  Speaker 1: like go to the you know events in the games
• 14:20
  Speaker 1: and the recitals and whatever. But um, she's always late
• 14:24
  Speaker 1: to everything. That's her thing. She's late to everything. She's
• 14:28
  Speaker 1: such a bad mom. She has a part time job
• 14:31
  Speaker 1: at a hipster coffee company, working in sales. I think
• 14:37
  Speaker 1: we'll talk about that but this is a piece of
• 14:39
  Speaker 1: WRITINGGG that is so like roll your eyes into the
• 14:42
  Speaker 1: back of your head, okay, boomer that I was so
• 14:45
  Speaker 1: annoyed by it, where it's like just clearly two out
• 14:49
  Speaker 1: of touch dudes being like millennials in the workplace. They
• 14:53
  Speaker 1: take two weeks off when John snow dies and you're like,
• 14:59
  Speaker 1: mel coolness is a millennia? What are you taught? Like?
• 15:02
  Speaker 1: They're they're so like avocado toe, like they're just they're stupid.
• 15:07
  Speaker 1: They're stupid, and that anytime the workplace thing came up,
• 15:11
  Speaker 1: I was just deeply annoyed because it just made it
• 15:14
  Speaker 1: made no sense. It was very frustrating. Yes, but that's
• 15:18
  Speaker 1: her job, and um, she just always has so much
• 15:22
  Speaker 1: going on and she's worried that she might be a
• 15:25
  Speaker 1: bad mom. There's also this group of judgmental moments that
• 15:29
  Speaker 1: shame Amy for like having a job and being so busy.
• 15:32
  Speaker 1: The queen bee of them is Gwendolen, which is Christina
• 15:36
  Speaker 1: Applicates character. And then she has two friends played by
• 15:39
  Speaker 1: Jada Pinkett Smith and Annie Mamlo. Give Jada Pinkett Smith
• 15:43
  Speaker 1: more lines what she was fairly a character. I want
• 15:48
  Speaker 1: to think best case scenario. There's like a whole like
• 15:50
  Speaker 1: there are scenes with Jada Pinkett Smith that just like
• 15:53
  Speaker 1: had to be cut for some reason because I'm just like,
• 15:55
  Speaker 1: why would you go through the trouble of getting someone
• 15:57
  Speaker 1: who is like truly awesome in a movie where it
• 16:00
  Speaker 1: is like very very white and then get this like
• 16:04
  Speaker 1: iconic black actor and then give her no lines. It's
• 16:08
  Speaker 1: so it's annoying on many levels, truly, yes, uh. And
• 16:13
  Speaker 1: then like Annie Mamalo who co wrote Bridesmaids, like she's
• 16:18
  Speaker 1: just like pigeonholed into this like idiot type, but like
• 16:22
  Speaker 1: she's funnier than that, like give her opportunities to shine.
• 16:25
  Speaker 1: And also well, that's like seeing Annie Mamalo in this
• 16:28
  Speaker 1: movie is super frustrating because you're just like, why didn't
• 16:30
  Speaker 1: you let her write this movie? Right? She's we like,
• 16:34
  Speaker 1: she's she is infinitely more qualified to do it, and
• 16:38
  Speaker 1: you're just gonna make her like again, another like very
• 16:40
  Speaker 1: talented person in this movie who has three lines, and
• 16:43
  Speaker 1: you're like, what, I hope she got a boat. But
• 16:46
  Speaker 1: like any Mamalo is a parent. She is the same
• 16:48
  Speaker 1: age as like the writer directors of this movie. She
• 16:51
  Speaker 1: already had Bridesmaids under her belt with this game out,
• 16:54
  Speaker 1: Why couldn't she have written it like great questions, great
• 16:57
  Speaker 1: questions all around. It's it's be fuddling yep. Um, so
• 17:03
  Speaker 1: that okay. So Amy has a her husband, this guy
• 17:06
  Speaker 1: Mike infuriating storyline. Yes, um he his whole thing is
• 17:11
  Speaker 1: that he's pretty immature. He's kind of a doof he
• 17:14
  Speaker 1: like doesn't really do anything to help around the house.
• 17:18
  Speaker 1: And then one night Amy catches him masturbating to a
• 17:22
  Speaker 1: cam girl. Um, which she apparently has been doing for
• 17:26
  Speaker 1: ten months. So she kicks him out of the house.
• 17:30
  Speaker 1: The next day, she has a terrible day. You know,
• 17:33
  Speaker 1: she spills coffee on herself, she spills spaghetti on herself. Oh,
• 17:38
  Speaker 1: she's such a clutz, Caitlin, She's such a clutz. She's
• 17:43
  Speaker 1: such a bad mom. Her dog has vertigo because modern
• 17:49
  Speaker 1: parents be having vertigo dogs. You're like, I'm just like,
• 17:54
  Speaker 1: there's some things in this that You're just like, this
• 17:56
  Speaker 1: is more of a rich person thing. Dogs on vertigo
• 17:59
  Speaker 1: medication sounds kind of like a rich person thing. Uh.
• 18:03
  Speaker 1: They're like there. I also, I mean, there is like
• 18:07
  Speaker 1: a storyline with the husband, but it was like another frustrating.
• 18:10
  Speaker 1: I feel like the writer directors John and Scott are
• 18:15
  Speaker 1: are kind of like both cutting themselves like and telling
• 18:19
  Speaker 1: on themselves through the husband character, because it's kind of
• 18:22
  Speaker 1: like a character we've seen before of like, oh, he's
• 18:25
  Speaker 1: not a bad person, he's just like kind of a
• 18:28
  Speaker 1: du fist. He's just dumb. He would never hurt his
• 18:32
  Speaker 1: wife on purpose. I mean, I think it's like goofy
• 18:35
  Speaker 1: and fits the tone of the movie, but it also
• 18:37
  Speaker 1: just means like, oh, no, guy is gonna like super
• 18:40
  Speaker 1: recognize themselves in that character or interrogate anything about themselves.
• 18:43
  Speaker 1: They're like, Oh, he's dumb, I'm an amazing husband, I'm
• 18:47
  Speaker 1: a good dad. That was annoying. So Amy has had
• 18:52
  Speaker 1: this horrible day, and at the p T eight meeting
• 18:55
  Speaker 1: that night, Gwendolen, who is the PTA president, is like me,
• 19:00
  Speaker 1: you're on the like police force at the bake sale
• 19:04
  Speaker 1: or some poor just like she's a star. Why does she?
• 19:11
  Speaker 1: I mean yeah, but yeah, her her character is like
• 19:16
  Speaker 1: bitchy obstacle. So Amy is like, no, I'm not gonna
• 19:21
  Speaker 1: do your thing, suck it. I quit, And we're like
• 19:25
  Speaker 1: quit what being a mom? What's happening? So then, but
• 19:29
  Speaker 1: then she's like, yes, the Christie, I yeah, I like
• 19:34
  Speaker 1: the Another major writing flaw in this story is that
• 19:38
  Speaker 1: the writer's bravely instead of examining where do these pressures
• 19:44
  Speaker 1: on mothers come from, like what systems are enforcing it,
• 19:48
  Speaker 1: they instead make the reason that things are difficult for
• 19:52
  Speaker 1: all mothers be Christina Applegame. It's her fault that that
• 19:58
  Speaker 1: every modern mother fields pressure and feels insecure, inadequate, it's
• 20:03
  Speaker 1: actually Christina Applegate's fault. And by ruining Christina Applegate and
• 20:09
  Speaker 1: and by that, I mean to say, pit women against
• 20:11
  Speaker 1: women for really no reason. You can solve that. Yes,
• 20:17
  Speaker 1: But before all the really transpires, Amy decides to be
• 20:22
  Speaker 1: a bad mom. So basically she goes to a bar
• 20:24
  Speaker 1: to blow off some steam fun and there she sees
• 20:28
  Speaker 1: Carla Catherine Han's character, who is this horny, irresponsible single
• 20:34
  Speaker 1: mom type, and Kiki Kristen Bell's character, who is an
• 20:40
  Speaker 1: isolated stay at home mom with four kids and no
• 20:44
  Speaker 1: friends type. So you can see there's an attempt here
• 20:48
  Speaker 1: to show different kinds of mothers, but then the writing
• 20:52
  Speaker 1: doesn't really do anything to subvert or expand on those types,
• 20:56
  Speaker 1: and it just ends up being types exactly there's like
• 21:00
  Speaker 1: no nuance. They are these one dimensional characters. No thought
• 21:05
  Speaker 1: was put into them aside from just like identifying them
• 21:08
  Speaker 1: as these stereotypes and writing them as such. And it's
• 21:13
  Speaker 1: I guess to be fair is the wrong preface to
• 21:17
  Speaker 1: this sentence, but like that is all John Lucas and
• 21:20
  Speaker 1: Scott Moore know how to do with characters of any gender.
• 21:23
  Speaker 1: If you look at the hangover, you also see like
• 21:27
  Speaker 1: three types of bro that like they're not challenging in
• 21:32
  Speaker 1: their writing, um to put it lightly, and so yeah,
• 21:37
  Speaker 1: you just end up like it's nice that you have
• 21:39
  Speaker 1: three different types of mothers. You have like a working
• 21:42
  Speaker 1: mom in a relationship, you have stay at home mom,
• 21:45
  Speaker 1: you have a single mom. This all sounds like cool,
• 21:48
  Speaker 1: all right, different kinds of moms. Let's explore it. But
• 21:51
  Speaker 1: then we just don't explore it, and we kind of
• 21:53
  Speaker 1: just like that that they got to step one. So
• 21:57
  Speaker 1: at the bar they talk about how hard it is
• 22:00
  Speaker 1: to be a good mom in this day and age,
• 22:03
  Speaker 1: how there's so many rules and expectations to be perfect.
• 22:06
  Speaker 1: So then Amy is like, screw it, let's be bad moms.
• 22:11
  Speaker 1: Parentheses two thousand sixteen, written and directed by Josh Lucas
• 22:15
  Speaker 1: and Scott More. That's the name of the movie there.
• 22:18
  Speaker 1: That was when my boyfriend walked in during that scene
• 22:21
  Speaker 1: and it was just like oh boy, and then he
• 22:24
  Speaker 1: just like left after that line. He's like, I'm gonna
• 22:26
  Speaker 1: go get lunch yep. Um, all right, let's let's take
• 22:32
  Speaker 1: that moment to take a quick break because we're at
• 22:36
  Speaker 1: break time, and then we'll come back and keep going.
• 22:44
  Speaker 1: We're back, um okay. So the good moms have decided
• 22:48
  Speaker 1: to be bad moms. Now they're bad. They're bad moms.
• 22:51
  Speaker 1: They said it. It was the end of the first act,
• 22:52
  Speaker 1: and we're like, all right, they are bad moms. They
• 22:55
  Speaker 1: get drunk at the bar, then they go wild at
• 22:59
  Speaker 1: the rosary store. The next morning, Amy is all hungover
• 23:05
  Speaker 1: from her wild night and her kids are like, what
• 23:08
  Speaker 1: the hick And she's like, I'm a bad mom. Now
• 23:11
  Speaker 1: make your own freaking breakfast. She takes her kids to
• 23:15
  Speaker 1: school and her husband's muscle car. She skips work and
• 23:19
  Speaker 1: goes to the movies in lunch with her new friends
• 23:22
  Speaker 1: Kiki and Carla. Then we've got the bake sales scene there.
• 23:27
  Speaker 1: Amy flirts with Jesse, this hot widower dad, but then
• 23:34
  Speaker 1: Gwendolen comes over and she's like, Amy, if you don't
• 23:37
  Speaker 1: stop being a bad mom, I'm gonna make your life
• 23:41
  Speaker 1: a living hick. Then a scene happens off screen where
• 23:46
  Speaker 1: Amy learns that her husband is staying with his internet girlfriend.
• 23:50
  Speaker 1: This information happens in a scene that does not play
• 23:53
  Speaker 1: out on screen, right, and then you're just like, h like,
• 23:57
  Speaker 1: that's not good writing. It's not good writing. And then
• 23:59
  Speaker 1: I was just like, I also don't care, Like, yeah,
• 24:03
  Speaker 1: I don't care. I'm not rooting for them to get
• 24:05
  Speaker 1: back together, but I'm also not rooting for this random
• 24:08
  Speaker 1: widower character comes in. I like, it's almost like their
• 24:12
  Speaker 1: shoehorning or romantic plot into the movie where no one
• 24:15
  Speaker 1: cares about it and it doesn't really belong perhaps but anyway,
• 24:21
  Speaker 1: so um, this scene happens off screen. But then the
• 24:24
  Speaker 1: aftermath is Carla being like Amy, you need to get laid,
• 24:28
  Speaker 1: and she's like, yeah, I do. So the three of
• 24:31
  Speaker 1: them go out to a bar. But not only is
• 24:34
  Speaker 1: Amy a bad mom, now she's also a bad flirter.
• 24:39
  Speaker 1: She's bad at flirt montage. Yeah, another montage, another long,
• 24:43
  Speaker 1: horribly edited, might I say, montage showing her being bad
• 24:49
  Speaker 1: at flirting, but then Jesse, the hot widow or dad,
• 24:53
  Speaker 1: shows up and they start flirting and then they have
• 24:58
  Speaker 1: a little kiss a little and we're like, Okay, she
• 25:01
  Speaker 1: got what she wanted. I do want to talk about
• 25:03
  Speaker 1: that kind of romantic storyline a little later on UM,
• 25:06
  Speaker 1: because I there's some interesting things there. But anyway, so
• 25:11
  Speaker 1: the next morning, Amy wakes up to her husband having returned,
• 25:15
  Speaker 1: and she's like, get out of here. And we're like,
• 25:18
  Speaker 1: all right, he was a character for a minute. Yeah,
• 25:21
  Speaker 1: I wasn't sure, just because like they're not good writers.
• 25:24
  Speaker 1: I'm like, I wonder if he's just never gonna be
• 25:26
  Speaker 1: mentioned again. But he has mentioned again, but I still
• 25:29
  Speaker 1: don't care about him, So it just ended up kind
• 25:32
  Speaker 1: of being like a moot point. I was like, well,
• 25:35
  Speaker 1: I guess that that's what's happening, right. They could have
• 25:37
  Speaker 1: written him out if they wanted me to want to
• 25:39
  Speaker 1: see him, They could have written a better character. Then
• 25:44
  Speaker 1: Amy finds out that her daughter Jane got benched for
• 25:47
  Speaker 1: her soccer game because Gwendolen like blackmailed the soccer coach. Basically,
• 25:53
  Speaker 1: so Amy is like, okay, well then I'm gonna run
• 25:57
  Speaker 1: against you for pta president. And we're like, Okay, I
• 26:01
  Speaker 1: guess this is this the plot now everything. You're just like,
• 26:05
  Speaker 1: I know the shift because she says like, I'm going
• 26:07
  Speaker 1: to be a bad mom, and then she's like I'm
• 26:09
  Speaker 1: going to be the PTA president, and you're like, I
• 26:11
  Speaker 1: feel like these goals are at odds with But when
• 26:15
  Speaker 1: she says she's going to be a bad mom, she
• 26:17
  Speaker 1: doesn't really this is just like it's it's I mean,
• 26:20
  Speaker 1: we're not moms. It goes without saying. But I was like, Okay,
• 26:24
  Speaker 1: she says I want to be a bad mom, but
• 26:26
  Speaker 1: I think that I mean, what she's actually saying is
• 26:28
  Speaker 1: I want to be a mom and my own person.
• 26:31
  Speaker 1: But like, why can't I just say that, Like I
• 26:33
  Speaker 1: know that that's not as punchy, but it's confusing for
• 26:35
  Speaker 1: her to keep saying I want to be a bad
• 26:37
  Speaker 1: parent when what what she means something like it still
• 26:41
  Speaker 1: is very clear that she like they all love their
• 26:43
  Speaker 1: children very much, but they're flawed people. So like that's fine,
• 26:47
  Speaker 1: you know, I don't get it. I mean, I get it,
• 26:50
  Speaker 1: but I don't like it. Like I want to be
• 26:53
  Speaker 1: a mom who doesn't have to live up to such
• 26:56
  Speaker 1: rigid expectations and high standards. That are placed upon me
• 27:00
  Speaker 1: by society and the patriarchy. That doesn't fit in onto
• 27:03
  Speaker 1: a movie poster. But bad moms, when you say when
• 27:08
  Speaker 1: you say society and patriarchy, I think you mean Christina Apple.
• 27:12
  Speaker 1: Oh right, I'm so sorry. It was actually her. This
• 27:15
  Speaker 1: is all happening, So that's why we have to defeat
• 27:18
  Speaker 1: her in the election question mark unclear, unclear. It also
• 27:23
  Speaker 1: seems like she doesn't like, logistically, does Mila Kunas have
• 27:27
  Speaker 1: the bandwidth for this? Sure? Whole thing is like I
• 27:30
  Speaker 1: don't have bandwidth for anything. And then she's like she's
• 27:33
  Speaker 1: already too busy. The goal is she's like, I'm her.
• 27:36
  Speaker 1: She says she don't think she means this, but she's like,
• 27:39
  Speaker 1: I'm going to be a worse parent because I am
• 27:41
  Speaker 1: too bogged down with the expectations for work and parenthood
• 27:45
  Speaker 1: and all this other stuff. But then the focus shifts
• 27:48
  Speaker 1: and she's like, I actually want to take on an
• 27:50
  Speaker 1: additional responsibility to prove something too that I don't know
• 27:55
  Speaker 1: what it is, right, Okay, okay, just making sure at
• 28:00
  Speaker 1: what's happening is we don't make sense. Um. So, now
• 28:07
  Speaker 1: that she's running for pt president, she throws a meet
• 28:10
  Speaker 1: the candidate party that no one shows up to it first,
• 28:13
  Speaker 1: but then people start to arrive because they've got free
• 28:16
  Speaker 1: wine and it turns into this wild party. And then
• 28:20
  Speaker 1: Jesse shows up at the end as it's winding down,
• 28:24
  Speaker 1: and then they have a little kiss and a little
• 28:27
  Speaker 1: and they have a little sex and we're like yeah.
• 28:33
  Speaker 1: And then there's another scene where Amy's husband is back
• 28:37
  Speaker 1: again and they go to a couple's counseling with Wanda
• 28:41
  Speaker 1: Sykes again her talents are wildly underused. Yeah, I had
• 28:46
  Speaker 1: just watched, and this is like really embarrassing. I just
• 28:51
  Speaker 1: watched as a joke. We were doing her on Zeitgeist
• 28:55
  Speaker 1: Movie Club, which we've already done in this show, and um,
• 28:59
  Speaker 1: listeners are will know we don't love it. We don't
• 29:03
  Speaker 1: love it. Um, But I watched. So I watched Jecksy
• 29:06
  Speaker 1: instead as a joke that Adam Divine movie. It's really bad,
• 29:10
  Speaker 1: and Wanda Sikes is also inevitably in that movie being
• 29:14
  Speaker 1: wildly underused. And so I was like, just two days
• 29:17
  Speaker 1: in a row of seeing Wanda pikes enormous talent just wasted.
• 29:23
  Speaker 1: I just I just hope that she's just like they
• 29:26
  Speaker 1: offered me so much money that I could not say, no,
• 29:30
  Speaker 1: I can't imagine that's true. Though it wasn't that big
• 29:33
  Speaker 1: of a budget. It was only what I was twenty
• 29:37
  Speaker 1: one million of the dollars. Oh fingers crossed hope, so
• 29:41
  Speaker 1: let's headcanon. But yeah, she's very under You're just like,
• 29:45
  Speaker 1: this is a waste of Wanda Sikes. But I'm glad
• 29:48
  Speaker 1: she's there. Um, but she's like, wow, you guys should
• 29:51
  Speaker 1: just get a divorce, which is like, we know. It's like, uh,
• 29:56
  Speaker 1: this is all to say that we're reaching the low
• 29:59
  Speaker 1: point of the movie. Amy's marriage is crumbling. She gets
• 30:02
  Speaker 1: fired from her job that she has not been showing
• 30:05
  Speaker 1: up to and she's like, why are you firing me? Sure,
• 30:08
  Speaker 1: I've skipped work for the past week in a row,
• 30:10
  Speaker 1: but like, I don't get it. And then they're like
• 30:13
  Speaker 1: our avocado toast is dry and there oh god that
• 30:18
  Speaker 1: whole Yeah, so it's something. It's not her fault that
• 30:23
  Speaker 1: she didn't show up to work, it's Millennial's fault. What
• 30:30
  Speaker 1: And then to top it all off, um Gwendolen has
• 30:33
  Speaker 1: planted weed and Amy's daughter's locker and gets her kicked
• 30:36
  Speaker 1: off the soccer team. So everything's just crumbling in Amy's world,
• 30:41
  Speaker 1: and her daughter gets really mad at her and calls herselfish,
• 30:45
  Speaker 1: and then she's like, I'm gonna go stay with dad.
• 30:48
  Speaker 1: So things have fallen apart. So it's the night of
• 30:51
  Speaker 1: the p t A election. Amy eventually shows up late
• 30:56
  Speaker 1: because she's always late, that sort of thing. She's not
• 30:58
  Speaker 1: like the other girls, and she gives this speech where
• 31:02
  Speaker 1: she's like, hey, most of us are bad moms and
• 31:05
  Speaker 1: that's okay because being a mom is really hard. Vote
• 31:09
  Speaker 1: for me, and everyone's like whoo. And she wins the election.
• 31:15
  Speaker 1: Then there's like a little bit of a reconciliation between
• 31:17
  Speaker 1: her and Gwendolen, her kids come back, she gets rehird
• 31:21
  Speaker 1: at work. The movie takes a very long time to end.
• 31:24
  Speaker 1: I was like kind of like, did you feel that
• 31:27
  Speaker 1: as well? We were just like the writing gets kind
• 31:30
  Speaker 1: of scattered in the second act, and then they still
• 31:34
  Speaker 1: managed to tie up every kind of random storyline they
• 31:38
  Speaker 1: had set up in the very long second act, but
• 31:40
  Speaker 1: it takes a while where they're like, Okay, there's a
• 31:43
  Speaker 1: climactic third act scene which is like the third act
• 31:46
  Speaker 1: he is, I don't even really mean this as a
• 31:47
  Speaker 1: bad thing, but you know, she goes up, she says
• 31:49
  Speaker 1: the title of the movie. She says the statement of
• 31:52
  Speaker 1: the movie, and everyone's like, woo who you win the
• 31:55
  Speaker 1: big game. But then it's like seeing where you find
• 31:58
  Speaker 1: out what happened with her and her kids, seeing you
• 32:00
  Speaker 1: find out what happened with the widow scene where you
• 32:02
  Speaker 1: resolved Christina applicate thing, scene where Katherine Han's character gets resolution.
• 32:06
  Speaker 1: You didn't realize that you were supposed to want. There's
• 32:09
  Speaker 1: just like there's like five Dano mont scenes that you're
• 32:12
  Speaker 1: just like, all right, listen, I don't know, I don't
• 32:16
  Speaker 1: like this movie very much. And then yeah, that's pretty
• 32:20
  Speaker 1: much it. And then we get this kind of like
• 32:23
  Speaker 1: not post credits, but like as the credits are rolling,
• 32:26
  Speaker 1: we get all of the the actors in the movie
• 32:29
  Speaker 1: just them with their moms in real life having conversations,
• 32:33
  Speaker 1: and we're like, oh, this is more endearing than the
• 32:36
  Speaker 1: entire movie. I was saying this before we started recording.
• 32:39
  Speaker 1: Katherine Hans mom is funnier than the whole movie. Katherine
• 32:44
  Speaker 1: kept watching the scenes with Catherine Han and her mom
• 32:47
  Speaker 1: and Jada Pinkett Smith and her mom were so delightful.
• 32:51
  Speaker 1: I also think that Jada gets more screen time during
• 32:54
  Speaker 1: the credits than she does in the movie. I found
• 32:59
  Speaker 1: Kristen Bell's mom to be a little threatening. Um, it
• 33:03
  Speaker 1: was just like, something about Kristen Bell's mom is not
• 33:05
  Speaker 1: rubbing me the right way. Mela Kunas's mom seems like
• 33:08
  Speaker 1: a delight saying for Christine and Apple Game. That's my
• 33:10
  Speaker 1: review of Everyone's mom. Something about Kristen Kristen Bell's mom
• 33:17
  Speaker 1: has a bit of a sinister energy. Can't quite place it.
• 33:19
  Speaker 1: Sure I see that. Yeah, well, let's take another quick
• 33:24
  Speaker 1: break and then we'll come back and really do a
• 33:27
  Speaker 1: deep dive and we're back. So we've been chatting a
• 33:36
  Speaker 1: little bit already throughout the recap of things that have
• 33:40
  Speaker 1: you know, bugged us. I think I just wanna start
• 33:45
  Speaker 1: out the official discussion by saying, um, like, I can
• 33:50
  Speaker 1: see why this movie would resonate with people, especially moms,
• 33:55
  Speaker 1: because it does a little bit to recognize how difficult
• 33:58
  Speaker 1: it is to be a mom, how mothers are often underappreciated, overworked,
• 34:03
  Speaker 1: how they how they often have to do a lot
• 34:05
  Speaker 1: of the household and emotional labor to keep a family going.
• 34:09
  Speaker 1: And this movie is about a group of women who
• 34:11
  Speaker 1: are just fed up with those expectations. That are placed
• 34:14
  Speaker 1: upon them to be perfect moms, and then they say
• 34:16
  Speaker 1: fuck it to those expectations. Absolutely, Like I, I really
• 34:20
  Speaker 1: do appreciate that there is like and again, for movies
• 34:24
  Speaker 1: that have come out even remotely recently, this is the option, um,
• 34:29
  Speaker 1: a movie that expresses these like really commonly held frustrations.
• 34:34
  Speaker 1: So it's like, I'm glad this exists for that reason,
• 34:39
  Speaker 1: and and I'm glad that it like resident I'm interested
• 34:41
  Speaker 1: in your mom tweets yes, because yeah, this is the
• 34:44
  Speaker 1: only movie of its kind, for better and for worse. UM.
• 34:48
  Speaker 1: I'll read a few of the responses I got from moms,
• 34:51
  Speaker 1: and for our listeners who were moms, feel free to
• 34:54
  Speaker 1: reach out on social media and let us know how
• 34:57
  Speaker 1: much or how little this movie resonated with you, because
• 35:01
  Speaker 1: we are very curious. UM. But anyway, here are a
• 35:05
  Speaker 1: few takes gave me that sweet mom intel. They were
• 35:08
  Speaker 1: a bit mixed, but basically my tweet just asked, UM,
• 35:12
  Speaker 1: are you a mom? Have you seen Bad Moms? Did
• 35:15
  Speaker 1: it resonate with you thoughts? One of the first responses was, UM,
• 35:20
  Speaker 1: I am a mom and I loved it. I also
• 35:22
  Speaker 1: saw it in a theater full of moms and it
• 35:24
  Speaker 1: was an awesome bonding experience. Another one said, big fan,
• 35:29
  Speaker 1: I relate to Mila Kunis and Catherine han U. My
• 35:32
  Speaker 1: husband left me for another woman, and I had to
• 35:34
  Speaker 1: struggle to figure out how to keep my household to
• 35:37
  Speaker 1: float with two kids aged three and five at the
• 35:40
  Speaker 1: time while shedding my wife slash mother identity and figuring
• 35:44
  Speaker 1: out who I was. Another response was saying that she
• 35:49
  Speaker 1: is a mom. She did not finish the movie. It
• 35:52
  Speaker 1: did not resonate with her at all, So again mixed responses.
• 35:56
  Speaker 1: I guess it made a lot of what you hear.
• 35:59
  Speaker 1: And then I think around the original coverage of this movie,
• 36:01
  Speaker 1: because this movie was reviewed mixed as well. UM, and
• 36:06
  Speaker 1: I was happy to see that a lot of the
• 36:08
  Speaker 1: reviewers of this movie we're not just women, but also
• 36:11
  Speaker 1: we're mothers, UM. And it seems like moms are also
• 36:15
  Speaker 1: split on this. But I mean, even the responses that
• 36:17
  Speaker 1: you've shared, and thank you too to those people for
• 36:20
  Speaker 1: for sharing UM, seems to indicate that like this is
• 36:23
  Speaker 1: the first time they've seen those kinds of problems represented
• 36:25
  Speaker 1: in a big movie and in a way that isn't
• 36:28
  Speaker 1: And and I think we've we've talked about this with
• 36:31
  Speaker 1: a number of different identities that are held primarily by women.
• 36:36
  Speaker 1: Of like, it's nice to see a mom struggling in
• 36:39
  Speaker 1: a way that isn't framed as like this is the
• 36:42
  Speaker 1: most tragic thing in the world. This is like and
• 36:44
  Speaker 1: then it's just a sad because I feel like there's
• 36:46
  Speaker 1: a lot of movies about like sad moms, but this
• 36:50
  Speaker 1: movie is about bad moms my Yeah, And and I
• 36:56
  Speaker 1: could definitely see how seeing this movie in theaters with
• 36:59
  Speaker 1: other moms would be really cathartic and fun. Totally. I
• 37:04
  Speaker 1: just think we can do better, yes, for sure. And
• 37:08
  Speaker 1: that that's my thesis statement of the film, which is that, like,
• 37:14
  Speaker 1: it's a movie about being a mom and the pressures
• 37:17
  Speaker 1: of being a mother, and it's written and directed by
• 37:19
  Speaker 1: two sis hit men who are known for being cruel
• 37:23
  Speaker 1: to women. Yeah. Yeah, and I know that we we've
• 37:28
  Speaker 1: done research into what these guys were saying on the
• 37:32
  Speaker 1: press tour for this movie, which was like, look just
• 37:36
  Speaker 1: very like. My my suspicion going into researching the production
• 37:43
  Speaker 1: of this movie was that John Lucas and Scott More
• 37:46
  Speaker 1: wanted money, right, Okay, that is what a lot of
• 37:51
  Speaker 1: directors want, right, but by sixteen you can't necessarily just
• 37:57
  Speaker 1: make another hangover. You can't like broke comedy is really
• 38:00
  Speaker 1: not as much in demand, you know, and and so
• 38:04
  Speaker 1: it just seems kind of like it just seems like
• 38:07
  Speaker 1: someone reached out and was like John Lucas got more.
• 38:10
  Speaker 1: Women are so hot right now, so we need you,
• 38:14
  Speaker 1: like don't don't like get out of your comfort zone
• 38:17
  Speaker 1: or anything, but we need a movie with some ladies
• 38:20
  Speaker 1: and no, you can't kill them. Uh, and it just
• 38:25
  Speaker 1: it just feels like a studio note like it just yeah,
• 38:28
  Speaker 1: I have like I have some of these interviews, and
• 38:30
  Speaker 1: I like I want to play some clips from them
• 38:33
  Speaker 1: because they're so frustrating to hear these guys talk. It's
• 38:36
  Speaker 1: just I'm frustrated by them, Like they should have just
• 38:39
  Speaker 1: known better. They should have been like, well, we're not moms.
• 38:42
  Speaker 1: Why would we write a movie about moms? But what
• 38:44
  Speaker 1: if they done in their career that would indicate that
• 38:46
  Speaker 1: they would pass money on to a marginalized creator, Like
• 38:49
  Speaker 1: there's nothing that they've ever They got offered the money
• 38:53
  Speaker 1: and they took it, which also makes me very frustrated
• 38:57
  Speaker 1: at the you know, the studio who was like, hey, men,
• 39:01
  Speaker 1: write this movie about ma, Like yeah, yeah, I am.
• 39:05
  Speaker 1: I am at least mildly encouraged and appreciated by Like,
• 39:10
  Speaker 1: I guess that Kristen Bell had a lot to do
• 39:12
  Speaker 1: with this project existing as well from the research I've
• 39:15
  Speaker 1: done in the production. She was like, I think the
• 39:18
  Speaker 1: star attached that made the movie get made, and she
• 39:21
  Speaker 1: was the one that convinced me Lacoon has to do it.
• 39:23
  Speaker 1: And so there is like more women behind the scenes
• 39:28
  Speaker 1: of this movie then your average John Lucas got more movie.
• 39:32
  Speaker 1: But that's saying literally nothing. So well, let's hear a
• 39:35
  Speaker 1: little a few things they have to say, shall we know? Yes,
• 39:40
  Speaker 1: So this is an interview with the co writers and
• 39:45
  Speaker 1: co directors, John Lucas and Scott More about just sort
• 39:49
  Speaker 1: of their experience developing and directing Bad Moms. And here
• 39:54
  Speaker 1: are just a few choice quotes from them. I am
• 39:58
  Speaker 1: on a YouTube channel called film is Now Movie Bloopers
• 40:03
  Speaker 1: and Extras just to cite this source as properly as
• 40:09
  Speaker 1: I can. So here's the first clip. Uh yeah, well,
• 40:13
  Speaker 1: I think you know the movie. The genesis of the
• 40:15
  Speaker 1: movie was looking at our wives lives. We're both dads
• 40:17
  Speaker 1: and our wives or mom's and uh, seeing how intensive
• 40:22
  Speaker 1: world it was and how ripe it was for comedy,
• 40:23
  Speaker 1: and so we figured it was we've written our share
• 40:26
  Speaker 1: of exactly what you said, guys having a good time.
• 40:28
  Speaker 1: And we figured also we went to enough like mom
• 40:31
  Speaker 1: events that got a little off the rails that were like, oh,
• 40:34
  Speaker 1: this is like we're not actually entirely making this up.
• 40:36
  Speaker 1: This is something that actually happens, you know, the three
• 40:38
  Speaker 1: Martini play ate or whatever. It is not my wife,
• 40:42
  Speaker 1: by the way, she's a very well behaved but other
• 40:44
  Speaker 1: moms of course. But we just thought it was like
• 40:46
  Speaker 1: it was a world full of really intense social interactions
• 40:49
  Speaker 1: and it was just a world that was like sort
• 40:50
  Speaker 1: of hadn't been in our minds done to the to
• 40:53
  Speaker 1: the nth degree yet, and so we thought we could, Ah,
• 40:57
  Speaker 1: there it's very and I mean, and the quotes get
• 41:00
  Speaker 1: worse from this like it it just I really don't
• 41:03
  Speaker 1: like it. There. It's so I mean, it's like I
• 41:06
  Speaker 1: feel like that quote alone, just like you're like, yeah,
• 41:09
  Speaker 1: this was a studio note. They were asked to write
• 41:10
  Speaker 1: a movie about women. Uh, they asked their wives three
• 41:13
  Speaker 1: questions a piece and then just wrote the movie like
• 41:18
  Speaker 1: I and I really don't like this the like okay,
• 41:23
  Speaker 1: let me know if if I'm like getting off the
• 41:25
  Speaker 1: rails here. But I do feel like there is especially
• 41:28
  Speaker 1: in this genre, Like there's this repeated media narrative of
• 41:32
  Speaker 1: like women should be allowed to be raunchy too, and
• 41:35
  Speaker 1: like it just comes off a little like condescending, like
• 41:40
  Speaker 1: it's like, okay, well then like let them. And also
• 41:43
  Speaker 1: you don't need to write like there's just no I
• 41:47
  Speaker 1: hate I just there couldn't be two people I would
• 41:49
  Speaker 1: want behind a project about motherhood less men. I'll play
• 41:56
  Speaker 1: a couple more little clips from this, but like, so,
• 42:00
  Speaker 1: there's this monologue that Amy Melakuna's character gives in the
• 42:04
  Speaker 1: movie when she's talking to her son about how her
• 42:06
  Speaker 1: son needs to do his own homework, and she basically
• 42:10
  Speaker 1: she's like, you're entitled, which means mommy and daddy have
• 42:13
  Speaker 1: been spoiling you, and now you think the world owes
• 42:16
  Speaker 1: you something, but it doesn't. And if you don't learn
• 42:18
  Speaker 1: how to work hard, now you're going to grow up
• 42:20
  Speaker 1: to be another entitled white dude who thinks he's awesome
• 42:23
  Speaker 1: for no reason. And then you'll start a ska band
• 42:26
  Speaker 1: and you'll be mean too girls, and you'll grow a
• 42:27
  Speaker 1: mustache to look interesting. But you won't actually be interesting,
• 42:31
  Speaker 1: and I'm not okay with that, so please do your
• 42:32
  Speaker 1: own homework. So she's like talking about basically the directors
• 42:37
  Speaker 1: of this movie who are entitled and think they can
• 42:40
  Speaker 1: just do anything, but then they also like but then
• 42:42
  Speaker 1: they also do that thing where they make it sound
• 42:45
  Speaker 1: goofy and not like themselves enough that they just sort
• 42:48
  Speaker 1: of managed to slip out of it. They're like, like,
• 42:51
  Speaker 1: I feel like that's the same the same issue I
• 42:53
  Speaker 1: have with the way they wrote her husband, where um,
• 42:56
  Speaker 1: I agree with our listener that it's it's like there
• 42:59
  Speaker 1: is some visit ability and like a shitty husband that
• 43:03
  Speaker 1: cheats on their spouse with not a lot of guilt.
• 43:06
  Speaker 1: I mean, that's unfortunately a pretty common thing that happens.
• 43:10
  Speaker 1: But the way that they write the character makes it
• 43:13
  Speaker 1: seem like he's just not smart enough to be able
• 43:16
  Speaker 1: to be a loyal husband. It has nothing, It is
• 43:19
  Speaker 1: barely a reflection on his character, and and I feel
• 43:23
  Speaker 1: like that is a way that they let themselves and
• 43:26
  Speaker 1: other men off the hook by just writing a character
• 43:29
  Speaker 1: that really no one is going to see themselves in.
• 43:31
  Speaker 1: And we've had this discussion in different genres to where
• 43:33
  Speaker 1: it's like we've had discussions about like when a man
• 43:39
  Speaker 1: is and I guess trigger warning, but like when a
• 43:41
  Speaker 1: man assaults a woman in a movie, it's very often
• 43:44
  Speaker 1: by a character that is so brutally evil that no,
• 43:48
  Speaker 1: like no average person would recognize themselves in it, And
• 43:52
  Speaker 1: so then it just becomes like, well, what are you
• 43:55
  Speaker 1: supposed to take away from that? You know, and this
• 43:57
  Speaker 1: is a much less version of that, But I do
• 44:00
  Speaker 1: think it is like kind of a flavor of like
• 44:03
  Speaker 1: these guys are not actually writing. The one thing that
• 44:07
  Speaker 1: they could do and use their lift experience to do
• 44:10
  Speaker 1: is right a dad character that isn't so ridiculous, and
• 44:15
  Speaker 1: they can't even do that just without getting like to like, oh, well,
• 44:22
  Speaker 1: I'm not like this, this guy's dumb. Like it's like okay,
• 44:25
  Speaker 1: but like they just can't self examine. Also John Lucas
• 44:30
  Speaker 1: being like my wife though she would never misbehave, she
• 44:35
  Speaker 1: is perfectly behaved, and it's like, did you miss the
• 44:39
  Speaker 1: point of your own shitty movie? Like it sounds like
• 44:43
  Speaker 1: based on like, uh, there there was a piece I
• 44:49
  Speaker 1: came across from I was just like looking through some
• 44:52
  Speaker 1: of the coverage in in both directions, the pro and
• 44:55
  Speaker 1: con um from when this came out in and there
• 44:58
  Speaker 1: was a piece I found in late that I actually,
• 45:01
  Speaker 1: uh quite liked, and I thought it was someone who
• 45:04
  Speaker 1: like a writer named Alyssa Strauss who enjoyed the movie
• 45:08
  Speaker 1: but kind of had all of the same points that
• 45:12
  Speaker 1: we have about why it's like, well, this isn't really
• 45:15
  Speaker 1: She was like, it's a fun movie, but it's not
• 45:16
  Speaker 1: really like the mother's experience, whereas I just wanted to
• 45:21
  Speaker 1: share a quick passage from that that I think like
• 45:23
  Speaker 1: ties in a lot of things that we've been talking
• 45:25
  Speaker 1: about so far. Um, she says, in real life, a
• 45:29
  Speaker 1: harried mom like Amy seeking some relief would probably recognize
• 45:32
  Speaker 1: that her unhelpful husband and unrealistic boss are her main problems.
• 45:36
  Speaker 1: The annoying mom at school would be nothing more than
• 45:38
  Speaker 1: a pebble in her shoes, something that bothers her for
• 45:40
  Speaker 1: a moment but can easily be resolved. Personally speaking, I
• 45:43
  Speaker 1: know few moms who have been exhausted or wounded by
• 45:46
  Speaker 1: inter mommy tension. I asked other moms I know, including
• 45:49
  Speaker 1: those with office jobs and those who are their family's
• 45:51
  Speaker 1: primary caretaker, and they all felt the same. Moms are
• 45:54
  Speaker 1: not at war with one another. We concluded, and most
• 45:56
  Speaker 1: of us don't care about what parenting or employment decisions
• 45:59
  Speaker 1: other moms are making. We might become irritated with a
• 46:02
  Speaker 1: mom thinks she is better for making a particular decision,
• 46:04
  Speaker 1: But the crime there is hubris, not how they are
• 46:06
  Speaker 1: feeding their baby or how many extracurriculators their kid is
• 46:10
  Speaker 1: enrolled in, which I feel like is a big flaw
• 46:13
  Speaker 1: of this movie, where it's like the way the problems
• 46:17
  Speaker 1: that Melacuna's character chooses to address versus what she doesn't like. Yeah,
• 46:23
  Speaker 1: they make the villain another woman we don't know very
• 46:26
  Speaker 1: well as opposed to any system that being her job,
• 46:32
  Speaker 1: which is like even that like gets conflated because of
• 46:36
  Speaker 1: the shitty writing where it's like with her workplace, it
• 46:39
  Speaker 1: would be very i think smart and the most logical
• 46:43
  Speaker 1: choice to make it a workplace that is not welcoming
• 46:46
  Speaker 1: to mothers. It's not offering flexible scheduling and and that
• 46:51
  Speaker 1: should be a clear but they don't do that. They
• 46:53
  Speaker 1: make it like, oh, these millennials and their coffee beans
• 46:55
  Speaker 1: and their Game of Thrones, Like the problem is like
• 47:00
  Speaker 1: people who are five years younger than Mila Kunas. It's
• 47:03
  Speaker 1: not the fact that workplaces are unwilling to accommodate mothers
• 47:08
  Speaker 1: and maternity leave and stuff like that. Like, yeah, it
• 47:11
  Speaker 1: doesn't even come it barely comes up, so that is
• 47:15
  Speaker 1: like conflated. And then the clear issue of like her
• 47:18
  Speaker 1: husband is cheating on her, she wants to divorce her husband.
• 47:21
  Speaker 1: It finally gets resolved way later. But men are not
• 47:27
  Speaker 1: like obstacles in this movie the way that other women are. Well,
• 47:32
  Speaker 1: that brings me to perhaps another little clip even all that,
• 47:37
  Speaker 1: because it's like one of those media interviews where it says,
• 47:39
  Speaker 1: like John Lucas on why women should be allowed to
• 47:43
  Speaker 1: be raunchy. Even like the introduction to their clips is
• 47:46
  Speaker 1: pretty the movie doesn't really get into a lot of dating.
• 47:49
  Speaker 1: I mean consciously chose to like every time we felt
• 47:51
  Speaker 1: as guy writers ourselves injecting guy stuff in. We sort
• 47:55
  Speaker 1: of wanted to treat men in this movie a lot
• 47:57
  Speaker 1: like how women are generally treated in guy comedies, which
• 47:59
  Speaker 1: is sort of like love objects and a little bit
• 48:02
  Speaker 1: of comedy here and there, But we really want to
• 48:04
  Speaker 1: get it not about like the relationships, like the struggles
• 48:07
  Speaker 1: between moms and dads. This is a mom movie. This
• 48:08
  Speaker 1: is not a movie about the two things Okay, I mean,
• 48:13
  Speaker 1: I don't even disagree that that's like a fun inversion.
• 48:16
  Speaker 1: But then it's like that sentence continues with like, also,
• 48:20
  Speaker 1: I don't know what it's like to be a mom.
• 48:22
  Speaker 1: I didn't do a lot of research, and I don't
• 48:24
  Speaker 1: know what I'm fucking talking about. So the whole movie
• 48:28
  Speaker 1: comes off a bit weird. There. They're so lucky they
• 48:33
  Speaker 1: had like three talented leads who are mothers to make
• 48:37
  Speaker 1: this movie remotely convincing, truly, and the writing doesn't do
• 48:43
  Speaker 1: them justice of what they are capable of. Anyway. Um,
• 48:48
  Speaker 1: here's another clip, and this is Scott Moore talking now.
• 48:52
  Speaker 1: So so John may have said this, but we didn't
• 48:55
  Speaker 1: so much as write this script as listen to our
• 48:58
  Speaker 1: wives and the moms around us and write down they
• 49:00
  Speaker 1: were saying. And so really a lot of it is
• 49:02
  Speaker 1: just observing the moms around us and putting it into
• 49:05
  Speaker 1: a movie. And I have to say, you're talking about
• 49:07
  Speaker 1: sort of cutting loose. I know my wife would love
• 49:09
  Speaker 1: to cut loose every day, but there's so much responsibility
• 49:12
  Speaker 1: placed on her that eventually she gets to the today
• 49:14
  Speaker 1: and it's like midnight and she's got to go to bed,
• 49:16
  Speaker 1: and it's that frustration of not getting to do anything
• 49:18
  Speaker 1: that she wants all day, and so this movie is
• 49:22
  Speaker 1: what if she got to just like do whatever the
• 49:25
  Speaker 1: hell she wanted. Can we start like a go fund
• 49:27
  Speaker 1: me for these wives? They're like, we need to get
• 49:30
  Speaker 1: them out of there. There. The way they talk about
• 49:33
  Speaker 1: their wives is literally like their possessions, Like my, my
• 49:37
  Speaker 1: wife would love to cut loose, but unfortunately I'm making
• 49:40
  Speaker 1: a ton of money like off of her experiences. So
• 49:43
  Speaker 1: I can't really like do much to contribute because I'm
• 49:47
  Speaker 1: writing bad moms, Like you're just like do you hear
• 49:51
  Speaker 1: your do you hear yourself? So and then I have
• 49:54
  Speaker 1: one last clip to share I know it's and then
• 49:58
  Speaker 1: and then I'm done. I'm promised. I think there are
• 50:00
  Speaker 1: less pressures and less expectations on fathers. It seems like
• 50:03
  Speaker 1: if you show up at an occasional soccer game, you're
• 50:06
  Speaker 1: a hero for being there. But moms sort of have
• 50:08
  Speaker 1: to be at every soccer game and make sure they
• 50:10
  Speaker 1: brought the treats and make sure the kids around time,
• 50:12
  Speaker 1: make sure they have all the gear and that they
• 50:14
  Speaker 1: have the shin pads. And there's just a lot that
• 50:17
  Speaker 1: I feel like our society has placed a lot more
• 50:19
  Speaker 1: pressure on moms to be perfect that dad's uh for
• 50:24
  Speaker 1: right or wrong, probably for wrong. Are just expected to
• 50:27
  Speaker 1: be at work and occasionally show up, but moms are
• 50:29
  Speaker 1: expected to do everything. I personally feel like I get
• 50:32
  Speaker 1: a lot more applaudits for doing very little, and my
• 50:35
  Speaker 1: wife does a lot and doesn't get very little and
• 50:37
  Speaker 1: I do very little consciously. Uh no, but I think
• 50:39
  Speaker 1: there's I think that's we can get into a really
• 50:42
  Speaker 1: deep philosophical conversation to why it is. But whatever, whatever
• 50:45
  Speaker 1: it cause you want to point to it, it is
• 50:47
  Speaker 1: reality that moms are held to a far higher stand
• 50:49
  Speaker 1: and it's not there. Yeah, okay, but what have you done?
• 50:54
  Speaker 1: But what have you done? But what have you done?
• 50:57
  Speaker 1: You know? They just they're like, um, I think I've
• 51:00
  Speaker 1: heard of this thing called the patriarchy. Um I'm not
• 51:03
  Speaker 1: really sure what it does or who it is, but
• 51:06
  Speaker 1: it seems really shitty. I would be so pissed if
• 51:11
  Speaker 1: that were me. So I guess what I'm saying is, wow,
• 51:16
  Speaker 1: really sucks. And by these are the duface is who
• 51:23
  Speaker 1: tried to write like an empowering mom movie. Yeah they
• 51:27
  Speaker 1: did not succeed. Um that then that's all I have
• 51:30
  Speaker 1: to say about it. They just did not succeed there.
• 51:34
  Speaker 1: I really hope that in a couple of years we
• 51:36
  Speaker 1: like look back on this episode when eight I would
• 51:39
  Speaker 1: love around Like it's not don't misunderstand us. We would
• 51:43
  Speaker 1: love a raunchy comedy starring moms written by anyone else there,
• 51:50
  Speaker 1: written by like someone with experience, someone who has at
• 51:53
  Speaker 1: least researched like it just there couldn't be a more cynical,
• 52:00
  Speaker 1: like Hollywood choice for someone to be in charge of
• 52:02
  Speaker 1: this movie. It just shows a complete distrust in lit.
• 52:06
  Speaker 1: I mean, and having Annie Mamalo there really was like
• 52:09
  Speaker 1: a knife to the gut for me of like you
• 52:11
  Speaker 1: have cast someone in a shitty tiny roll of someone
• 52:15
  Speaker 1: who could be doing circles around. It's just ridiculous. Yeah,
• 52:21
  Speaker 1: and and especially because like to have these two men
• 52:25
  Speaker 1: write this movie about motherhood and it's like them being like,
• 52:29
  Speaker 1: but like, you know, it's it's bad mums. It's mums.
• 52:33
  Speaker 1: Like what if mums could be bad and runchy and
• 52:36
  Speaker 1: drunk and have sex and like all this stuff, And
• 52:39
  Speaker 1: it's like, great, Yeah, that would be cool to see.
• 52:42
  Speaker 1: That would be a subversion of what we normally see
• 52:46
  Speaker 1: on screen. But like again, it always it just comes
• 52:49
  Speaker 1: down to, like, these are not the people to tell
• 52:51
  Speaker 1: this story, because these are guys whose comedy relies almost
• 52:55
  Speaker 1: entirely on punching down and writing dialogue. In a way,
• 53:00
  Speaker 1: it like I really don't like women. It's very like
• 53:03
  Speaker 1: Catherine Hans character, the way that she's always like, oh
• 53:05
  Speaker 1: my cooter, my couch, my pussy. You're like, that's how
• 53:09
  Speaker 1: fifty year old men talk about women. That is not
• 53:11
  Speaker 1: how women talk about themselves, Like, unless there's something I'm missing,
• 53:18
  Speaker 1: but like, I've never known any one of my generation
• 53:24
  Speaker 1: or my mom's that has spoken of themselves in that way.
• 53:27
  Speaker 1: And my and that's not to say that my mom
• 53:29
  Speaker 1: and her friends don't talk about themselves in gross ways.
• 53:32
  Speaker 1: They do, but not, but they don't talk about them
• 53:34
  Speaker 1: So like I feel like there is this weird Sometimes
• 53:38
  Speaker 1: there are semi good monologues that I theorize were rewritten
• 53:44
  Speaker 1: later on because they're just like this is too. Like
• 53:46
  Speaker 1: Melacunas will occasionally have a good small monologue that is, yes,
• 53:50
  Speaker 1: extremely on the nose, but at least it's making a
• 53:53
  Speaker 1: competent point, like when she's at the bar and she's like,
• 53:56
  Speaker 1: there's so much pressure on this blah blah blah blah,
• 53:58
  Speaker 1: like and you're just like, okay, yes, I agree with this. Cool. Nice.
• 54:00
  Speaker 1: But then it's like, for the most part, it's moms
• 54:03
  Speaker 1: talking to each other the way their husbands talk about
• 54:07
  Speaker 1: them and not how they talk about themselves because of
• 54:10
  Speaker 1: who's writing the movie and so so, And I just
• 54:16
  Speaker 1: want to clarify something. I want to clarify what we mean.
• 54:20
  Speaker 1: I don't think that men should avoid writing movies about
• 54:25
  Speaker 1: women or avoid writing female driven stories. I think oftentimes
• 54:31
  Speaker 1: it's awesome when men want to write compelling female characters.
• 54:35
  Speaker 1: Like I have a lot of students in my online
• 54:38
  Speaker 1: screenwriting classes. Wow, another plug. Incredible. It can be done
• 54:44
  Speaker 1: really well, Like, it can be done for well as
• 54:46
  Speaker 1: long as you're you know, doing it with empathy and
• 54:49
  Speaker 1: you're informed, Like that is the key. And these writers
• 54:52
  Speaker 1: have a very trackable history of that not being the case. Yeah,
• 54:57
  Speaker 1: Like there's a way to do it respond posibly, and
• 55:00
  Speaker 1: there's a way to do it not responsibly. And like again,
• 55:03
  Speaker 1: like the students in my class, if I'm not mistaken,
• 55:06
  Speaker 1: every single one of them is writing a screenplay with
• 55:10
  Speaker 1: a female protagonists. Like they are. I know they like
• 55:12
  Speaker 1: they want to be contributing to inclusivity, and that's awesome
• 55:17
  Speaker 1: and we encourage that. But yes, it's it's a matter
• 55:20
  Speaker 1: of like these specific filmmakers is who we are railing
• 55:24
  Speaker 1: against John Lucas and Scott More. They have this terrible
• 55:27
  Speaker 1: track record, and I think I'm also like we just
• 55:30
  Speaker 1: came off of that Hangover episode that we did, I mean,
• 55:33
  Speaker 1: on the major very like we have very fresh memories
• 55:36
  Speaker 1: of how bad these writers are at writing women. And
• 55:40
  Speaker 1: I think that it also speaks to I mean, if
• 55:43
  Speaker 1: you're writing I mean, I think it's wonderful that like
• 55:46
  Speaker 1: where I mean as writers opening up more inclusivity. But
• 55:49
  Speaker 1: it's like women should be allowed to the front of
• 55:51
  Speaker 1: the line on this story for sure, and and it's
• 55:55
  Speaker 1: and it's i think another example of like the jilliant
• 55:58
  Speaker 1: time that and all male uh screenwriting duo gets a
• 56:04
  Speaker 1: million chances to do something well and never does it well,
• 56:09
  Speaker 1: and here we are talking about it right like they
• 56:14
  Speaker 1: don't deserve another chance. That's what I'm saying, they don't.
• 56:16
  Speaker 1: And the other like another thing I think is worth
• 56:20
  Speaker 1: talking about is that like this isn't to say that
• 56:24
  Speaker 1: people can't change, and like writers can't grow over time,
• 56:28
  Speaker 1: and that like people don't deserve redemption because like a
• 56:32
  Speaker 1: lot of Hollywood screenwriters should be trying to change and
• 56:36
  Speaker 1: should be growing and should be trying to course correct.
• 56:38
  Speaker 1: But and I like, you know, I do admire that
• 56:41
  Speaker 1: when people do put in the effort, but still like
• 56:43
  Speaker 1: these guys, but it's not these guys. Yeah, they don't
• 56:46
  Speaker 1: qualify for that conversation. It's not these guys. I just
• 56:50
  Speaker 1: am insulted by them trying to write this like female
• 56:55
  Speaker 1: driven story that I think is attempting to be empowering
• 56:58
  Speaker 1: for moms, but it's just like falls flat on its faith.
• 57:02
  Speaker 1: And if that's true, I think that that interview with
• 57:05
  Speaker 1: them is for me, that interview is the nail in
• 57:08
  Speaker 1: the coffin of like this was a very cut and
• 57:11
  Speaker 1: dry cash grab. The story does not mean anything to them.
• 57:15
  Speaker 1: They like reference their wives as if it's like the
• 57:18
  Speaker 1: nineteen fifties like that. I don't think that this. I mean,
• 57:22
  Speaker 1: it's very hard to believe that they went into this
• 57:25
  Speaker 1: project more wanting to make women feel seen than they
• 57:29
  Speaker 1: did just want millions of dollars. Right, Yes, that's just
• 57:33
  Speaker 1: one of the examples of how to write a female
• 57:37
  Speaker 1: driven story. Irresponsibly and not doing it responsibly, which is
• 57:42
  Speaker 1: what we are encouraging people to do. You know, if
• 57:45
  Speaker 1: you're a man who wants to write stories about women
• 57:48
  Speaker 1: and that include women, great, please do that. Just do
• 57:52
  Speaker 1: your fucking homework. That's doing it. Just do your homework
• 57:56
  Speaker 1: and and ask yourself, you know, like, who else do
• 57:59
  Speaker 1: I need to include in this process in order to
• 58:02
  Speaker 1: make it an authentic story? For sure? I d k
• 58:05
  Speaker 1: my BF of Jill, remember that, Oh my gosh, you
• 58:10
  Speaker 1: is your best friend, sush mom, my gildfriend. I've truly
• 58:14
  Speaker 1: in quarantine. I think I think I've told you this
• 58:17
  Speaker 1: a little bit. So I like digitized all my family's
• 58:20
  Speaker 1: home tapes and there's like sixty hours of them, and
• 58:23
  Speaker 1: so I feel like I've been with them NonStop. And
• 58:25
  Speaker 1: the way my mom narrates things is just like I'm
• 58:29
  Speaker 1: going to edit this thing down and she's gonna win
• 58:32
  Speaker 1: an Oscar for cinematography. Her slow zooms and her omniscient
• 58:37
  Speaker 1: narration is unmatched, incredible. I've seen a few of the
• 58:42
  Speaker 1: little clips you've posted on Instagram. There's I'm currently getting
• 58:46
  Speaker 1: through this really long video of my parents on their
• 58:49
  Speaker 1: sixth anniversary. My mom like puts her wedding dress on,
• 58:54
  Speaker 1: and my dad is like, this is weird. And then
• 58:56
  Speaker 1: my Mom's like, it's actually fun. And I'm like, now,
• 58:59
  Speaker 1: this is what we need in a movie. Whatever is
• 59:03
  Speaker 1: going on here? Where is bad Jill, bad Chills? We
• 59:10
  Speaker 1: need bad bad Jill's bad Jill and bad Lorie. I
• 59:13
  Speaker 1: would watch that movie. That would be so fun. And
• 59:16
  Speaker 1: then and then Jada Pinkett Smith would be also be
• 59:19
  Speaker 1: there and actually get to have a line this time. Yes, yes,
• 59:22
  Speaker 1: my mom not to brag, but my mom would let
• 59:24
  Speaker 1: Jada Pinkett Smith talk. In fact, she would only my
• 59:28
  Speaker 1: mom would not talk at all. She's like, Jada, you
• 59:30
  Speaker 1: have the floor, I know. And then my mom would
• 59:33
  Speaker 1: go around talking about, like telling everyone for the rest
• 59:35
  Speaker 1: of her life how Jada Pinket Smith is her best
• 59:37
  Speaker 1: friend in the world. It would be a whole thing. Oh,
• 59:41
  Speaker 1: moms are great, if only they had a better movie
• 59:43
  Speaker 1: to watch. It's true. Um, okay, here are some things
• 59:47
  Speaker 1: that I didn't hate about the movie. Um and again,
• 59:51
  Speaker 1: like I just I know, there's a lot to like
• 59:54
  Speaker 1: about this. There is some small attempt, even if it's
• 59:57
  Speaker 1: by the wrong people, to to explore certain aspects of
• 1:00:02
  Speaker 1: being a mom. It tries, it does try, So I
• 1:00:06
  Speaker 1: do want to include some things that I like. I
• 1:00:09
  Speaker 1: do enjoy that between Amy's two children, more focus is
• 1:00:15
  Speaker 1: given on the mother daughter relationship than the mother's son
• 1:00:19
  Speaker 1: relationship with the whole like soccer storyline, and they go
• 1:00:24
  Speaker 1: to the spa and they bond at the spa and
• 1:00:26
  Speaker 1: they have a nice little time. Um. I enjoyed that.
• 1:00:29
  Speaker 1: And then what little we do see with Amy's son
• 1:00:33
  Speaker 1: is her basically saying like, don't grow up to be
• 1:00:35
  Speaker 1: an entitled white guy. And because she's like, you need
• 1:00:40
  Speaker 1: to do your own homework, you need to cook your
• 1:00:42
  Speaker 1: own breakfast, he teaches himself how to cook, so you
• 1:00:45
  Speaker 1: see makes time. So you see a boy learning a
• 1:00:50
  Speaker 1: domestic skill, which I feel like you almost never see
• 1:00:53
  Speaker 1: in a movie. And he's not mocked for it either,
• 1:00:56
  Speaker 1: which I feel would have been another easy writing trust
• 1:00:58
  Speaker 1: that they didn't go with. I like for sure too.
• 1:01:01
  Speaker 1: I liked I liked that her daughter was also on
• 1:01:04
  Speaker 1: a sports team, and that the main tension with the daughter.
• 1:01:08
  Speaker 1: I mean, there was mother daughter stuff, but it was
• 1:01:10
  Speaker 1: also like, my daughter really wants to be on this
• 1:01:13
  Speaker 1: sports team. So they didn't relegate the daughter to like
• 1:01:16
  Speaker 1: traditional you know stuff there either she's an act right,
• 1:01:20
  Speaker 1: they also do she takes Mandarin classes and then says
• 1:01:24
  Speaker 1: some racist stuff about Mandarin and then also and then
• 1:01:29
  Speaker 1: Milo Cunas also says, wow, that's a little racist, and
• 1:01:32
  Speaker 1: you're like, this is not a funny joke for this year,
• 1:01:34
  Speaker 1: Like you know, that's in response to um her daughter
• 1:01:38
  Speaker 1: like worrying about whether or not she's going to be
• 1:01:40
  Speaker 1: able to get into an Ivy League school, and she's like, yeah,
• 1:01:43
  Speaker 1: they they're rejecting Asians these days. And then Mila Kunas
• 1:01:47
  Speaker 1: is like, oh, that's racist. But it's like, yeah, that's
• 1:01:50
  Speaker 1: another like having it both waysy and as that you're
• 1:01:52
  Speaker 1: decided that's not that doesn't if you just like that's
• 1:01:57
  Speaker 1: such just another like dumbass like directors of the Hangover thing,
• 1:02:01
  Speaker 1: they're like, well, if we say it's racist, you're just like, no,
• 1:02:06
  Speaker 1: that's not how that works. Yeah. I won't go through
• 1:02:09
  Speaker 1: my whole list, but there's a lot of like punching down. Yeah,
• 1:02:13
  Speaker 1: I mean, substantially less than you would expect from a
• 1:02:15
  Speaker 1: movie from these guys, but still bad. But it's still
• 1:02:18
  Speaker 1: present for sure. Some other stuff I did, like I
• 1:02:22
  Speaker 1: actually really enjoyed although I did not think it needed
• 1:02:25
  Speaker 1: to be there, but since it is there and we
• 1:02:28
  Speaker 1: have to talk about it, I liked the romantic subplot
• 1:02:32
  Speaker 1: between Amy and Jesse. If it had to be there,
• 1:02:35
  Speaker 1: they could have done a lot worse. They could have
• 1:02:36
  Speaker 1: done worse. And the reason I like it is that
• 1:02:40
  Speaker 1: he treats her far better than Certainly we've seen these
• 1:02:43
  Speaker 1: writers and directors having male characters treat women. I know,
• 1:02:47
  Speaker 1: I know, but that it's also like I like that.
• 1:02:50
  Speaker 1: It would have been worse if he treated her badly, obviously,
• 1:02:53
  Speaker 1: but then I'm also like, these guys went out of
• 1:02:55
  Speaker 1: their way to treat a male character kindly that they
• 1:03:00
  Speaker 1: would never have done for a female character. That's true
• 1:03:04
  Speaker 1: in the same position, but I am glad. I mean,
• 1:03:06
  Speaker 1: I liked, I liked. I know nothing about him, but
• 1:03:09
  Speaker 1: he's nice. He has for consent. There's like he's doing
• 1:03:12
  Speaker 1: a bare minimum on a very level. That's true. Yeah,
• 1:03:15
  Speaker 1: he he asks if she's okay when he learns about
• 1:03:19
  Speaker 1: like her husband having just cheated on her. He he
• 1:03:23
  Speaker 1: doesn't neg her. Right, We're mostly saying things that he
• 1:03:26
  Speaker 1: doesn't do it as opposed to think he does I
• 1:03:30
  Speaker 1: which just like speaks to the sad state of the
• 1:03:32
  Speaker 1: way women are treated, especially in like romantic context, because
• 1:03:36
  Speaker 1: we've so we're so accustomed to seeing men being so
• 1:03:40
  Speaker 1: shitty to women and like negging them and stalking them
• 1:03:44
  Speaker 1: and wearing them down and surprise kissing them. In this movie,
• 1:03:47
  Speaker 1: she surprised kisses him, which you know was also not
• 1:03:50
  Speaker 1: good good but different different. Um. He compliments her on
• 1:03:56
  Speaker 1: her parenting skills. You know, again, this is just bare
• 1:03:59
  Speaker 1: minimum the decent thing to do. But because we're so
• 1:04:03
  Speaker 1: conditioned to see men treating women terribly, we're like, wow,
• 1:04:07
  Speaker 1: give this man a medal. They also they objectify men
• 1:04:14
  Speaker 1: far more than they do women in the movie to
• 1:04:19
  Speaker 1: the extent it is often a joke where like when
• 1:04:21
  Speaker 1: we meet Jesse, he's introduced in this like slow mo
• 1:04:24
  Speaker 1: gazy shot that's like you know, panning up his body
• 1:04:28
  Speaker 1: um to you know, draw the audience's attention to the
• 1:04:31
  Speaker 1: fact that this is the guy that the moms think
• 1:04:34
  Speaker 1: is hot. There's the like movie, the fake movie that
• 1:04:37
  Speaker 1: they watch in the movie theater where like this man
• 1:04:40
  Speaker 1: is like in space with this woman. He's like love
• 1:04:43
  Speaker 1: is stronger than space, and he like rips his shirt
• 1:04:46
  Speaker 1: exposing his chest and stuff. So it's like okay, yeah,
• 1:04:52
  Speaker 1: I mean and again this movie, I mean, like every
• 1:04:55
  Speaker 1: movie and this kind of very bloated genre, it can't
• 1:05:00
  Speaker 1: possibly happen if everyone in the movie isn't pretty well off. Absolutely,
• 1:05:06
  Speaker 1: and by extension, there's very little diversity in the movie
• 1:05:11
  Speaker 1: at all. You just see a lot of different kinds
• 1:05:14
  Speaker 1: of rich white moms. Yes, this is a hundred percent
• 1:05:17
  Speaker 1: of movie about like middle class two upper middle class
• 1:05:21
  Speaker 1: white women. I mean Amy's house, Yes, I would say that,
• 1:05:25
  Speaker 1: like I mean, like Carla is more like middle class,
• 1:05:28
  Speaker 1: but like, yeah, Amy, it seems quite well to do.
• 1:05:32
  Speaker 1: And this is something that we see in media where
• 1:05:35
  Speaker 1: moms are allowed to be boozy and like distant and
• 1:05:39
  Speaker 1: irresponsible as long as they are financially stable white women,
• 1:05:44
  Speaker 1: because that when that's the case, it's funny, it's a joke,
• 1:05:47
  Speaker 1: it's hilarious. But like, if you're a black mom or
• 1:05:51
  Speaker 1: a low income mom and you like step out of
• 1:05:54
  Speaker 1: line as a mother for one second, there's a million
• 1:05:57
  Speaker 1: other ways that you're going to be stigmatized and treated
• 1:05:59
  Speaker 1: poorly totally. And it's not to like lessen you know,
• 1:06:03
  Speaker 1: it's like it there is pressure on the bad moms,
• 1:06:06
  Speaker 1: but it's like there's really no like indication that the
• 1:06:11
  Speaker 1: writers are aware that like this is on the low
• 1:06:14
  Speaker 1: end of difficult, you know. Also, like another thing the
• 1:06:21
  Speaker 1: movie does again it makes the ever so slightest attempt
• 1:06:25
  Speaker 1: to try to hold men more accountable, to be good fathers,
• 1:06:30
  Speaker 1: but which is like something a movie could and should do,
• 1:06:35
  Speaker 1: Like I would like to see more movies with those themes,
• 1:06:38
  Speaker 1: but like it's really glossed over. There's just not enough
• 1:06:42
  Speaker 1: of an attempt to actually hold men accountable. Like the
• 1:06:46
  Speaker 1: closest thing we get, I think, is that little through
• 1:06:49
  Speaker 1: line with Kiki's husband, Kent, who we see him being
• 1:06:52
  Speaker 1: really controlling and border line may be abuse of two Kiki,
• 1:06:57
  Speaker 1: And then she has a cathartic moment at the end
• 1:07:00
  Speaker 1: where she yells at him, and that's like the only
• 1:07:03
  Speaker 1: thing we know about her, And it's also just like
• 1:07:06
  Speaker 1: that's the lowest level of resolution you can possibly get
• 1:07:11
  Speaker 1: for the very little we know about this character. Is
• 1:07:13
  Speaker 1: like she told off her husband one time to go
• 1:07:16
  Speaker 1: to a PTA meeting, Like that's like but then and
• 1:07:19
  Speaker 1: then like the scene we get after that is like
• 1:07:22
  Speaker 1: I don't know his behavior has change and he's like,
• 1:07:25
  Speaker 1: oh mom, I'm so sorry. I forgot the backpack. I'll
• 1:07:27
  Speaker 1: go back and get it. And meanwhile she's like, there's
• 1:07:31
  Speaker 1: a weird the way Again, these directors, like their visual
• 1:07:34
  Speaker 1: language that they use to indicate certain things is really
• 1:07:39
  Speaker 1: off because like in this scene, Kristen Belle is wearing makeup,
• 1:07:43
  Speaker 1: and before she hadn't been wearing makeup. So now that
• 1:07:46
  Speaker 1: she's a middle part and then at the end she
• 1:07:48
  Speaker 1: doesn't have a middle part. Love this love this arc
• 1:07:51
  Speaker 1: for her, Like, now that she's in control of her life,
• 1:07:55
  Speaker 1: she she's makeup. Now she's wearing his makeup. Now there, Yeah,
• 1:08:01
  Speaker 1: you're like, sure, great, and like I like make up
• 1:08:07
  Speaker 1: just as much as the next person. But like these
• 1:08:09
  Speaker 1: filmmakers are like, oh well, um, makeup equals confidence, right,
• 1:08:15
  Speaker 1: And I feel like that's just such an oversimplified male
• 1:08:20
  Speaker 1: understanding of being a woman. And it's like, who let
• 1:08:24
  Speaker 1: you make this movie? Oh? I mean who wouldn't let them?
• 1:08:28
  Speaker 1: Who with influence and power would not let them make
• 1:08:30
  Speaker 1: this movie? Unfortunately? Um, so yeah, I mean moms deserve
• 1:08:37
  Speaker 1: I'm glad that this this is this is I feel
• 1:08:39
  Speaker 1: like kind of a classic example of like a tiny
• 1:08:43
  Speaker 1: step in the right direction. So that's good, but it's
• 1:08:47
  Speaker 1: also infuriating to be like, wow, progress or is slow,
• 1:08:50
  Speaker 1: isn't it? But yeah, I don't know. I I personally
• 1:08:55
  Speaker 1: blame this all on Christie to applicate, it's actually been
• 1:09:01
  Speaker 1: her fault all along. She invented patriarchy and if she
• 1:09:04
  Speaker 1: hadn't done that, none of this would be happening. I
• 1:09:08
  Speaker 1: think my final thoughts are just that like, this is
• 1:09:12
  Speaker 1: unfortunately because this is like one of the only examples
• 1:09:15
  Speaker 1: of a like female mom driven narrative that is also
• 1:09:20
  Speaker 1: like a romp, because there's other there's a few other
• 1:09:23
  Speaker 1: like movies that explore motherhood that came around out around
• 1:09:26
  Speaker 1: this time. And I mean there's there's narratives about this
• 1:09:29
  Speaker 1: all throughout film history, but like some more recent ones
• 1:09:33
  Speaker 1: were things like Twenty Century Women, Tully, the Bubba Duck.
• 1:09:38
  Speaker 1: You know, you can't beat the Babba Duck from a
• 1:09:40
  Speaker 1: psychon the Babba Duck. But these and Queer Icon the
• 1:09:43
  Speaker 1: Babba Duck absolutely true, but they these aren't romps. So
• 1:09:47
  Speaker 1: the fact that like kind of the one example of
• 1:09:49
  Speaker 1: like a mainstream broad comedy mom romp is a movie
• 1:09:55
  Speaker 1: made by people who don't know what it is firsthand
• 1:09:59
  Speaker 1: to be a mom is just such a frustrating misstep.
• 1:10:02
  Speaker 1: And that doesn't mean like, if you like this movie,
• 1:10:04
  Speaker 1: I can see why. There are some things about it
• 1:10:07
  Speaker 1: to take away that it would be very relatable and
• 1:10:10
  Speaker 1: that that would resonate with moms. But I long for
• 1:10:14
  Speaker 1: the day that we get moms writing mom movies and
• 1:10:18
  Speaker 1: directing mom movies because I think that they will resonate
• 1:10:22
  Speaker 1: with moms even more. Believe it or not, I wholeheartedly agree.
• 1:10:30
  Speaker 1: But it does pass the Vactel test. So there's a
• 1:10:35
  Speaker 1: fair amount affair amount. There are whole scenes where they're
• 1:10:38
  Speaker 1: just talking about Dick, but there's also whole scenes where
• 1:10:41
  Speaker 1: they're not that's true. Sometimes they're talking about their couiters.
• 1:10:44
  Speaker 1: Sometimes they're talking about their sugars. The most feminist thing
• 1:10:48
  Speaker 1: that we do, we do it all the time. I
• 1:10:51
  Speaker 1: think it is funny that you're just like, yeah, they're
• 1:10:52
  Speaker 1: talking about their vaginas. So it like it passes the
• 1:10:56
  Speaker 1: Vactel test, but I don't want it to because of
• 1:10:58
  Speaker 1: the people who are writing deadlines. But it does. It
• 1:11:01
  Speaker 1: does pass. It does pretty handle. It does, and I
• 1:11:05
  Speaker 1: think it might not pass the reverse Spectel tests. I
• 1:11:09
  Speaker 1: don't think we would see men interacting really at all
• 1:11:14
  Speaker 1: except which is kind of nice. And it's kind of nice.
• 1:11:16
  Speaker 1: I think there's one. There's a few exchanges where Amy's
• 1:11:20
  Speaker 1: husband and son just have like a quick exchange. But
• 1:11:24
  Speaker 1: other than that, yeah, I think it is not men
• 1:11:27
  Speaker 1: talking to each other really at all. So hey, so
• 1:11:32
  Speaker 1: there's that thankful for small miracles. What would you rate
• 1:11:38
  Speaker 1: this movie on our nipples scale? Uh, you know, from
• 1:11:41
  Speaker 1: zero to five nipples based on how well you feel
• 1:11:43
  Speaker 1: it portray women in a movie. I will give it
• 1:11:50
  Speaker 1: to I was feeling the same way because, and again,
• 1:11:55
  Speaker 1: I want there to be much more representation of moms
• 1:12:00
  Speaker 1: from all walks of life, not just rich white women,
• 1:12:04
  Speaker 1: the whole spectrum of people if they are parents. I
• 1:12:08
  Speaker 1: want to see that. We don't really get much of
• 1:12:11
  Speaker 1: it at all, and when we do see it, it
• 1:12:13
  Speaker 1: is very limited the types of moms we are allowed
• 1:12:17
  Speaker 1: to see on screen. I've never seen any mom like
• 1:12:21
  Speaker 1: my mom, Lorie. I've never seen anything remotely resembling my
• 1:12:27
  Speaker 1: mom on screen, which means I need to write a
• 1:12:32
  Speaker 1: movie about my mom. Yeah, I I agree. I I
• 1:12:38
  Speaker 1: kind of like and just based on the way that
• 1:12:40
  Speaker 1: we've had to tiptoe around ourselves kind of throughout the
• 1:12:42
  Speaker 1: discussion of this movie because that's the only movie of
• 1:12:45
  Speaker 1: its kind. I kind of I kind of resent a
• 1:12:48
  Speaker 1: little bit that we have to you know, keep you
• 1:12:51
  Speaker 1: like but it's okay, the movie's okay, because it's just
• 1:12:53
  Speaker 1: like that's just such a clear indicator that there are
• 1:12:56
  Speaker 1: not enough options in this genre. It is the only option.
• 1:12:59
  Speaker 1: I don't think it's a good movie. I'm glad that
• 1:13:03
  Speaker 1: it portrays a few different types of moms in a
• 1:13:06
  Speaker 1: very specific area of the world, and not that every
• 1:13:09
  Speaker 1: movie needs to represent everything, but it's like, this is
• 1:13:12
  Speaker 1: a movie written by people who don't know how to
• 1:13:14
  Speaker 1: write female characters. It just this movie just feels like
• 1:13:18
  Speaker 1: so focused, grouped, and I'm glad that there are elements
• 1:13:21
  Speaker 1: of it where moms feel seen, but it's I mean,
• 1:13:25
  Speaker 1: it's like it's so frustrating that it's like, oh, we
• 1:13:28
  Speaker 1: have to like give us movie points because it has
• 1:13:30
  Speaker 1: mom representations. But then it's like, but it's not a
• 1:13:33
  Speaker 1: good movie, Like moms deserve a good, thoughtful movie that
• 1:13:38
  Speaker 1: can still be raunchy and funny, but like just let
• 1:13:40
  Speaker 1: someone who knows what they're talking about right it and sorry,
• 1:13:45
  Speaker 1: And that's the police coming to arrest John Lucas and
• 1:13:48
  Speaker 1: Scott Moore. Yeah, I live in their neighborhood. Uh no,
• 1:13:53
  Speaker 1: but yeah. And then then just like like we talked
• 1:13:55
  Speaker 1: about just how how intensely like whitewashed um this movie,
• 1:13:59
  Speaker 1: and there's genre is to the extent where you can
• 1:14:03
  Speaker 1: have Jada Pinkett Smith in the movie and not give
• 1:14:05
  Speaker 1: her a line like outside of like yes, Christina Applegate.
• 1:14:09
  Speaker 1: Just I don't know. I feel like there's a lot
• 1:14:12
  Speaker 1: of broad stereotypes that these guys are known for perpetuating
• 1:14:16
  Speaker 1: for all genders races. They only know how to write
• 1:14:20
  Speaker 1: in stereotypes, and that doesn't really service what I feel
• 1:14:24
  Speaker 1: like is needed in the terms of portraying moms in
• 1:14:27
  Speaker 1: a cool and funny way. I feel so, I don't know.
• 1:14:31
  Speaker 1: For now, watch TV instead. Two nipples, one to Catherine
• 1:14:38
  Speaker 1: Hahn and one to Jada Pinkett Smith. Nice, I'm going
• 1:14:42
  Speaker 1: to give one to wand to Sykes, and one to Vertigo,
• 1:14:46
  Speaker 1: dog feminist, very good dog, the best character in the film. Truly,
• 1:14:54
  Speaker 1: I felt like I have Vertigo this whole movie. Well,
• 1:14:59
  Speaker 1: there you have it. Bad Moms. Happy Mother's Day to
• 1:15:02
  Speaker 1: all the bad moms, the good moms, the whole, the
• 1:15:06
  Speaker 1: whole beautiful spectrum of moms. We love you all and
• 1:15:09
  Speaker 1: thank you for what you do. And yeah, and then
• 1:15:13
  Speaker 1: just for everybody, we hope you're doing well. You hope
• 1:15:15
  Speaker 1: we ever stand safe? Are What a time to be alive?
• 1:15:18
  Speaker 1: Truly right? And then I guess we should say word
• 1:15:22
  Speaker 1: we can be. You can find us on Twitter and
• 1:15:25
  Speaker 1: Instagram at becktel Cast for starters. For starters, you can
• 1:15:30
  Speaker 1: subscribe to our Patreon a k a. Matreon if you
• 1:15:34
  Speaker 1: have not already and if you are able the fun time,
• 1:15:38
  Speaker 1: it's a fun time. It's May. So it's my birthday
• 1:15:40
  Speaker 1: months we're doing fun, which we're doing some fun. We're
• 1:15:43
  Speaker 1: doing um Sean of the Dead and Monty Python and
• 1:15:48
  Speaker 1: The Holy Grail. Just so much feminism, just who is
• 1:15:52
  Speaker 1: the kind of these films that I'm very excited. Unfortunately,
• 1:15:57
  Speaker 1: they are some of my favorite movies and that's my
• 1:16:01
  Speaker 1: cross to bear. Those are my picks for my birthday
• 1:16:04
  Speaker 1: May Treon Treon. But we've been we've been really I
• 1:16:09
  Speaker 1: think cranking out the hits over in the Matreon recently.
• 1:16:11
  Speaker 1: So yeah, head over there during the community have some
• 1:16:14
  Speaker 1: fun with us. You can get to get some merch
• 1:16:17
  Speaker 1: at t public dot com, slash the Bechdel Cast. They're
• 1:16:20
  Speaker 1: selling masks now. We're selling masks now. So that's if
• 1:16:25
  Speaker 1: I mean, we all need one one another now from
• 1:16:29
  Speaker 1: Molena mask. Get a Molena mask. You know, go cucku um.
• 1:16:37
  Speaker 1: And if you are interested in taking my online screenwriting class,
• 1:16:42
  Speaker 1: you can go to Caitlin Durante dot com slash classes
• 1:16:46
  Speaker 1: for more information, or feel free to just tweet at
• 1:16:51
  Speaker 1: me at Caitlin Durante uh and let me know that
• 1:16:54
  Speaker 1: you're interested. And with that, have a happy Mother's Day
• 1:16:59
  Speaker 1: or happy be bad moms Day, very bad Mom's Christmas,
• 1:17:06
  Speaker 1: Bye Bye's Day. In a way, it is just bad
• 1:17:08
  Speaker 1: Mom's Christmas. Okay, that's true. Bye bye