Latest / The Bechdel Cast / Grease with Gracie Gillam

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Grease with Gracie Gillam · The Bechdel Cast

• 0:00
  Speaker 1: On the Beck Dol Cast, the questions asked if movies
• 0:03
  Speaker 1: have women in them, are all their discussions just boyfriends
• 0:07
  Speaker 1: and husbands, or do they have individualism? The patriarchy zef
• 0:11
  Speaker 1: invest start changing it with the bel cast. Tell me more,
• 0:17
  Speaker 1: tell me more? Is this the Beck Dol Cast? Okay, Okay,
• 0:22
  Speaker 1: I like this. You know, I'll be, I could be.
• 0:26
  Speaker 1: I could be a greaser. You could be you are supposed.
• 0:29
  Speaker 1: The thing that frustrates me about the Tea Birds is
• 0:32
  Speaker 1: that they have such good outfits, but then they're just
• 0:35
  Speaker 1: rampant misogynists. It's such a waste of a good outfit,
• 0:38
  Speaker 1: and they have the most the funniest um, the funniest voices. Yeah,
• 0:43
  Speaker 1: there's a They've got a lot going for them, and
• 0:46
  Speaker 1: then it's all squandered. The waste of a powerful aesthetic.
• 0:49
  Speaker 1: It's used for evil. That's true. Hello and welcome to
• 0:55
  Speaker 1: the Backtel Cast. My name is Caitlin Doronte Ames Jamie Loftus.
• 0:58
  Speaker 1: Sorry for totally bailing on the singing. You know, I'm
• 1:04
  Speaker 1: I'm used to it by now. Is that true before? No?
• 1:12
  Speaker 1: But I'm thinking so, I'm thinking back to our recent
• 1:15
  Speaker 1: Beauty and the Beast episode where you fully commit to
• 1:18
  Speaker 1: the song too much and pissing my pants laughing the
• 1:22
  Speaker 1: entire time. So it's not good singing. So we are there.
• 1:26
  Speaker 1: The Bechtel cast. We examine movies through an intersectional feminist lens,
• 1:31
  Speaker 1: using the Bechtel test simply as a jumping off point. Jamie,
• 1:35
  Speaker 1: what is it the Bechtel test? What is it? Well,
• 1:40
  Speaker 1: since you asked the Bechtel test, there's a media metric
• 1:44
  Speaker 1: invented by queer cartoonist Alison Bechdel, sometimes called the Bechdel
• 1:48
  Speaker 1: Wallace test, that, for our purposes, requires that two characters
• 1:54
  Speaker 1: with names of a marginalized gender speak to each other
• 1:57
  Speaker 1: about something other than uh may in it sounds like
• 2:01
  Speaker 1: it should be easy enough, but a lot of things
• 2:03
  Speaker 1: don't pass, and then some things that do pass. I'm
• 2:06
  Speaker 1: not foreshadowing in anyway. Um, some things that do pass
• 2:09
  Speaker 1: are still like really really not. It doesn't you know,
• 2:12
  Speaker 1: it doesn't vouch for content. It's not a metric that
• 2:15
  Speaker 1: vouches for content, But true, what was the worst one?
• 2:19
  Speaker 1: What the all time worst one? Is? Still? She's all
• 2:21
  Speaker 1: that right where it's like, oh yeah, Claire Duval is
• 2:25
  Speaker 1: like down you should kill yourself and Rachelieu cooks like, oh, no,
• 2:30
  Speaker 1: is that I forget how that comes? No? Thank you,
• 2:34
  Speaker 1: I don't remember. Well, h we have an amazing guest today.
• 2:38
  Speaker 1: I'm so existed. We do. She's an actor. You know
• 2:42
  Speaker 1: her from z Nation and Teen Beach Movie, which is
• 2:46
  Speaker 1: my favorite d com of all time. It's Gracie Gillum. Hi, everybody, welcome, Welcome,
• 2:54
  Speaker 1: I'm so active here. Wow? What so let's talk Greece,
• 3:00
  Speaker 1: shall we? I feel like your character in the Team
• 3:03
  Speaker 1: Beach movies is kind of like a grease or girl,
• 3:06
  Speaker 1: like a pink lady almost right, Yeah, definitely, it's all
• 3:12
  Speaker 1: coming together. Went back and watched it and I was like, wait,
• 3:14
  Speaker 1: it's all connected, It's all connected. And then well, Team
• 3:21
  Speaker 1: Beach movie is really supposed to take place like the
• 3:23
  Speaker 1: movie within a movie is more of a Frankie in
• 3:25
  Speaker 1: a Net movie. And then Greece definitely has Frankie avalon
• 3:29
  Speaker 1: and it and then has a joke about a Nets tips.
• 3:32
  Speaker 1: So it's pretty much the same movie as Team Beach movie,
• 3:34
  Speaker 1: same energy, energy, same energy. So apart from that, what
• 3:40
  Speaker 1: is your relationship with Greece? The movie? Grease the property
• 3:45
  Speaker 1: in general, tell us everything grease the word uh, Greece
• 3:49
  Speaker 1: is the word is the word? Is the word? Um?
• 3:53
  Speaker 1: Greece is a VHS tape that I had growing up.
• 3:56
  Speaker 1: It's a movie my dad I think went out of
• 3:58
  Speaker 1: his way to see three or more times in a theater.
• 4:02
  Speaker 1: I think it was serving me early, outdated, surface level
• 4:07
  Speaker 1: feminism in a way that really I loved as a child.
• 4:11
  Speaker 1: So I've seen this movie way more times than I
• 4:13
  Speaker 1: could possibly count. And then my high school ended up
• 4:17
  Speaker 1: doing Greece, even though it was kind of a fancy
• 4:20
  Speaker 1: arts high school that wouldn't do a show like Greece,
• 4:22
  Speaker 1: but Governor Rick Perry was going to cut arts funding
• 4:26
  Speaker 1: for the entire state of Texas, so we had to
• 4:27
  Speaker 1: prove that we could make money during the spring we
• 4:30
  Speaker 1: did Greece. That is so bleak. You're like forced to
• 4:35
  Speaker 1: do Greece so that you can continue to get an
• 4:37
  Speaker 1: arts education. Very chill, Rick Perry, very chill. Um. It
• 4:42
  Speaker 1: is how I got my first Hollywood agent as he
• 4:45
  Speaker 1: saw me play Rizzo in Greece and gave me his
• 4:47
  Speaker 1: business card after the show. What you got discovered through
• 4:53
  Speaker 1: Greece in Texas. It's a really old school kind of
• 4:59
  Speaker 1: story that's beautiful, And you played Rizzo. That's amazing. Yeah,
• 5:04
  Speaker 1: You're like, here's my card, kid, And I was like,
• 5:06
  Speaker 1: I have a four point three to g p A,
• 5:07
  Speaker 1: I'm going to college guy, And then I didn't nice
• 5:11
  Speaker 1: love that colleges a scam. So you know, I have
• 5:17
  Speaker 1: not seen Greece since I performed it my senior year
• 5:21
  Speaker 1: of high school. So I, oh, sorry, I have rewatched
• 5:24
  Speaker 1: it for this podcast. I've watched it a few times
• 5:27
  Speaker 1: within the span of a very few days. WHOA that
• 5:32
  Speaker 1: is like that's like a very deep relationship with Greece,
• 5:35
  Speaker 1: Like we can't follow that. Yeah, yeah, Jamie, what's your
• 5:39
  Speaker 1: pitiful history with It's nothing, No, it's um, it's just less.
• 5:46
  Speaker 1: My grand should be. Really, my grandma had the vhs
• 5:52
  Speaker 1: and she would make us watch like she's like two
• 5:54
  Speaker 1: vhs and one was Greece and one was River Dance,
• 5:57
  Speaker 1: and so I would always choose Greece, just kind of
• 5:59
  Speaker 1: like because I didn't want to watch River Dance. Um.
• 6:03
  Speaker 1: So I've seen that. I've seen the movie a bunch,
• 6:05
  Speaker 1: but then I feel like I've seen so many community
• 6:08
  Speaker 1: performances of it, Like my school didn't do it, but
• 6:11
  Speaker 1: like friends schools did it, and like summer theater always
• 6:15
  Speaker 1: would do Grease, and so I think I've seen the
• 6:17
  Speaker 1: movie a ton and then like five or six different
• 6:20
  Speaker 1: local productions and they're all mixed up in my head.
• 6:23
  Speaker 1: And yeah, I think I think that's that's kind of it.
• 6:27
  Speaker 1: I still the music is still so goddamn catchy. I know. Yeah, Caitlyn,
• 6:34
  Speaker 1: what's your history with it? I didn't grow up with
• 6:37
  Speaker 1: this movie. In fact, I'm not even sure I might
• 6:40
  Speaker 1: not have seen it until so it's kind of hard
• 6:43
  Speaker 1: to know because it's so cultural, like Osmo City for sure,
• 6:46
  Speaker 1: and like the songs would especially like Summer Nights and
• 6:52
  Speaker 1: You're the one that I want, and like maybe Grease Lightning,
• 6:54
  Speaker 1: and like some of the more popular songs devoted to you,
• 6:57
  Speaker 1: Like there's so many that you're just like, even if
• 6:59
  Speaker 1: you haven't been within ten feet of this movie, you
• 7:02
  Speaker 1: know what it sounds though with that song, those songs
• 7:04
  Speaker 1: would like play it like school Dances in our cafeteria
• 7:09
  Speaker 1: and like junior high and stuff like that. But I
• 7:11
  Speaker 1: don't think I really saw I don't think I really
• 7:13
  Speaker 1: saw the movie for the first time until honestly, I don't.
• 7:17
  Speaker 1: I think I may be like watched it once in college,
• 7:19
  Speaker 1: but then I rewatched it when we covered Greece too,
• 7:22
  Speaker 1: which we have done on the podcast years ago with
• 7:26
  Speaker 1: follow in Georgia. Yes, you know, for some reason we're like,
• 7:29
  Speaker 1: screw Grease, We're going to cover Greece too first, and
• 7:34
  Speaker 1: then we'll get to the first Greece four full years later.
• 7:39
  Speaker 1: How it was intended. Um So, I really have little
• 7:44
  Speaker 1: exposure to the movie itself, but I know the characters
• 7:48
  Speaker 1: like Danny Zuko and Sandy and Rizzo like their iconic characters.
• 7:52
  Speaker 1: The songs are iconic. It was yeah, very much just
• 7:54
  Speaker 1: like a cultural osmosis thing. It also was like re
• 7:58
  Speaker 1: released in theater several times for different you know, like anniversaries,
• 8:03
  Speaker 1: and it's definitely like one of those like Unkillable Proper
• 8:06
  Speaker 1: because there's like I was looking online to see because
• 8:09
  Speaker 1: I remember there was like one of those TV stage
• 8:12
  Speaker 1: productions that starred Vanessa Hudgens a couple of years ago.
• 8:15
  Speaker 1: As Sandy can't say, I watched it well because there
• 8:18
  Speaker 1: was only one Vanessa Hudgens in it, and it's like,
• 8:21
  Speaker 1: if you're not going to have more than one Vanessa
• 8:22
  Speaker 1: Hudgens in your movie, why bother wast waste my time?
• 8:26
  Speaker 1: She's doing one accent one accent per movie. I just
• 8:30
  Speaker 1: know she's capable of so much more, and so I
• 8:32
  Speaker 1: can't watch it. Um. But then there's also like a
• 8:38
  Speaker 1: new series, a paramount series called Grease, Rise of the
• 8:41
  Speaker 1: Pink Ladies coming out like next year, and then there's
• 8:45
  Speaker 1: another there's a prequel about the summer where they're loving
• 8:50
  Speaker 1: and it's like it's very interesting to me because in
• 8:54
  Speaker 1: like researching like where is I was like, I don't
• 8:57
  Speaker 1: know where grease discourses, I guess, and it seems to
• 8:59
  Speaker 1: be both like very like it is like not a
• 9:03
  Speaker 1: hot take by any means to say, like most of
• 9:06
  Speaker 1: Greece's plot points age exceptionally badly, but then also they're
• 9:10
  Speaker 1: still like making grease stuff. It's weird, but also at
• 9:14
  Speaker 1: the same by that same token, I could see, like
• 9:17
  Speaker 1: by nineteen eight standards and like the stage production first
• 9:21
  Speaker 1: one up and I think seventy one, I could see
• 9:25
  Speaker 1: like some components of the story being like kind of
• 9:31
  Speaker 1: progressive and maybe even like feminists for that time. Very
• 9:35
  Speaker 1: second wavy. Yeah, so you know it's it's a it's
• 9:41
  Speaker 1: nestled in an interesting place in history, and yeah, we're
• 9:45
  Speaker 1: we're still uh you know, adapting it to prequels and uh,
• 9:50
  Speaker 1: spinoffs and all kinds of stuff. So I truly can't
• 9:53
  Speaker 1: think of I'm like, what, Maybe it will be great,
• 9:55
  Speaker 1: but I'm like, who cares about the summer? Where they love?
• 9:58
  Speaker 1: And I learned everything I needed to know. And in
• 10:00
  Speaker 1: the first minute, right he's on the beach. It was summer,
• 10:03
  Speaker 1: they were loving. That's all I needed to know. But
• 10:07
  Speaker 1: what about those summer nights. Don't you want to know
• 10:09
  Speaker 1: about the summer nights? You're right, I didn't know enough.
• 10:13
  Speaker 1: I only saw them during the day and that was
• 10:18
  Speaker 1: That's what I'm saying. Um, well, should I dive into
• 10:22
  Speaker 1: the recap and we'll go from there. Yeah, let's party. Okay,
• 10:27
  Speaker 1: So we are in the late nineteen fifties. I think
• 10:30
  Speaker 1: we're in California in the movie, although it's not fully specified,
• 10:36
  Speaker 1: I feel like they're the race at the end, they're
• 10:38
  Speaker 1: like driving along the l A l A River. Yeah,
• 10:43
  Speaker 1: I think that I looked at I don't I know
• 10:46
  Speaker 1: that the stage play takes place in correct New York. Okay,
• 10:51
  Speaker 1: it's supposed to be upstate in New York, which is
• 10:53
  Speaker 1: why everyone in the play is like pretty explicitly Italian.
• 10:57
  Speaker 1: That makes so much more sense because explicitly a schell
• 11:02
  Speaker 1: it kind of This is a horrible connection, but it
• 11:04
  Speaker 1: kind of reminded me because I thought they were in
• 11:07
  Speaker 1: Socall in this movie, but I wasn't sure. I also
• 11:09
  Speaker 1: saw somewhere that it was supposed to be Delaware, and
• 11:11
  Speaker 1: I don't even know what Delaware looks like. So well,
• 11:15
  Speaker 1: Google has a beach like that. But maybe they were
• 11:19
  Speaker 1: vacationing the same place. Yeah, I well, the one of
• 11:24
  Speaker 1: the writers of the stage production based off of his
• 11:28
  Speaker 1: high school in Chicago. But yeah, for I don't know, yeah,
• 11:32
  Speaker 1: the movie. I googled like, where does Grease the movie
• 11:34
  Speaker 1: take place? And then someone like California came up, But
• 11:38
  Speaker 1: it was just because I think it was just shot
• 11:39
  Speaker 1: in California. I don't. It looks like California, but they
• 11:42
  Speaker 1: all sound like they have fifties New York New York. Right.
• 11:46
  Speaker 1: It reminds me of really terrible connection, but it reminds
• 11:52
  Speaker 1: me of really where. It's like Ben Affleck's Grace. Have
• 11:55
  Speaker 1: you seen Gelie? I'm sorry, definitely don't watch it. It
• 12:02
  Speaker 1: starts like Ben Affleck. It's another movie that takes place
• 12:05
  Speaker 1: in l A where like Ben Affleck has this like
• 12:09
  Speaker 1: weird Newsy's accent. The whole time. We were like, how
• 12:12
  Speaker 1: is this possible? He's wearing like a heavy coat the
• 12:14
  Speaker 1: whole movie, even though it's agree he's wearing a leather coat.
• 12:18
  Speaker 1: He's has his hair all slipped back. It's out of control. Um. Anyway,
• 12:27
  Speaker 1: so we are in an unclear location. Um, But Danny
• 12:32
  Speaker 1: Zuko that's John Travolta of course, and Sandy is Olivia
• 12:36
  Speaker 1: Newton John are teenagers who have just spent a romantic
• 12:39
  Speaker 1: summer together at the beach, but the romance has to
• 12:42
  Speaker 1: come to an end because Sandy has to go back
• 12:44
  Speaker 1: to Australia. I love that. I didn't realize that she
• 12:48
  Speaker 1: is not Australian in the in the play, and it's
• 12:51
  Speaker 1: just because Olivia Newton John couldn't do a passable American American.
• 12:56
  Speaker 1: I love it and the play. It's a surprise that
• 13:00
  Speaker 1: he is at that school because he lies about going
• 13:03
  Speaker 1: to a private school to her over the summer. So interesting,
• 13:07
  Speaker 1: that's a more effective plot point. Yeah, she was going
• 13:10
  Speaker 1: to go to the Catholic girls school and he was
• 13:12
  Speaker 1: going to go to the boys school or whatever, and
• 13:15
  Speaker 1: they both end up at the public school, but because
• 13:17
  Speaker 1: that's where he actually does so was he trying to
• 13:21
  Speaker 1: make him seem like a higher class, like a higher
• 13:24
  Speaker 1: economic class than he is and like less of us? Lad?
• 13:26
  Speaker 1: I guess yeah, sure love it. Um. First we cut
• 13:31
  Speaker 1: to right l High. It's the first day of senior
• 13:34
  Speaker 1: year for Danny and his greaser friends who call themselves
• 13:38
  Speaker 1: the t Birds, which also thirty five years old. There's
• 13:44
  Speaker 1: it's been held back so much. Even watching this movie
• 13:48
  Speaker 1: on in three a DP on to be I was like,
• 13:52
  Speaker 1: these these men are simply not seventeen air forty, especially
• 13:57
  Speaker 1: who was like the word like one of the most
• 14:00
  Speaker 1: misogynistic guy. This is not helpful, But I think his
• 14:03
  Speaker 1: name is Sunny Sonny the Dog. Yeah. First of all
• 14:09
  Speaker 1: upsetting for me because I already lived with a misogynist
• 14:11
  Speaker 1: named Sonny and it's my dad. But that the guy
• 14:15
  Speaker 1: who plays Sonny especially, I'm like, you're a father, Like
• 14:18
  Speaker 1: what do you? How did you? But then you're like, oh,
• 14:21
  Speaker 1: he's a he's a good dancer. He's a good dancer.
• 14:24
  Speaker 1: I think he's actually thirty one in that movie, although
• 14:26
  Speaker 1: I agree that he looks thirty eight. Rough break, rough break.
• 14:30
  Speaker 1: For Sonny, he's had a difficult life. Maybe yeah. Well,
• 14:34
  Speaker 1: in addition to Sonny, there's k Nicky and Putsy and Duty.
• 14:39
  Speaker 1: They run with a group of girls called the Pink Ladies.
• 14:44
  Speaker 1: Rizzo is the leader. Uh Stalkard Channing plays this rendition
• 14:48
  Speaker 1: of of Rizzo. Gracie Gillum has played an incredible version
• 14:53
  Speaker 1: of Rizzo, just saying many icons have played this role. Um.
• 14:59
  Speaker 1: And then there's also Jan Marty and Frenchy and French.
• 15:02
  Speaker 1: She introduces the Pink Ladies to Sandy, who ended up
• 15:06
  Speaker 1: not going back to Australia and who is instead going
• 15:09
  Speaker 1: to high school at Rydel this year. Um. But Danny
• 15:13
  Speaker 1: and Sandy don't know yet that they are both at
• 15:16
  Speaker 1: the same school. Then we get the Summer Night Song
• 15:19
  Speaker 1: where Danny tells the t Birds about the girl he
• 15:21
  Speaker 1: met over the summer, and Sandy tells the Pink Ladies
• 15:24
  Speaker 1: about the boy she met and that his name is
• 15:26
  Speaker 1: Danny Zuko and they're like, oh, oh, no scandal. Then
• 15:31
  Speaker 1: at a football game, the Pink Ladies are like, hey, Sandy,
• 15:35
  Speaker 1: look who it is, and it's Danny. But Danny, because
• 15:39
  Speaker 1: he's in front of his like tough guy friends, he
• 15:42
  Speaker 1: feels that he can't be vulnerable and show his feelings
• 15:45
  Speaker 1: for Sandy, so he plays it all cool and aloof
• 15:48
  Speaker 1: like he doesn't really care about her, which of course
• 15:52
  Speaker 1: hurts Sandy's feelings, and she runs off. She loves Sandy
• 15:57
  Speaker 1: does be running off. She runs off so many times.
• 16:01
  Speaker 1: She's just like, exit left. I can't handle this. She
• 16:06
  Speaker 1: is exiting the scene constantly. There. I liked that. That
• 16:10
  Speaker 1: was another fun like place where the whole Australia thing
• 16:14
  Speaker 1: um just sounds really bizarre. Where he's like, how did
• 16:19
  Speaker 1: you like? How are you here? I thought you were
• 16:21
  Speaker 1: going back to Australia. She's like, we change change. You
• 16:26
  Speaker 1: moved to like Echo Park instead of home to Australia. Wild,
• 16:31
  Speaker 1: I know. Um. So Sandy is very sad she has
• 16:35
  Speaker 1: run off, and to cheer her up French she invites
• 16:38
  Speaker 1: Sandy over to her house for like a pink lady's sleepover,
• 16:42
  Speaker 1: But then they all just end up like mocking Sandy
• 16:45
  Speaker 1: for being like a goody two shoes, and then the
• 16:49
  Speaker 1: tea birds show up, and then Rizzo goes off with
• 16:52
  Speaker 1: Knicky and then they have unprotected sex in the back
• 16:55
  Speaker 1: of his car. Meanwhile, Sandy is still sad about Danny
• 17:01
  Speaker 1: being a jerk. So she sings a song about being
• 17:04
  Speaker 1: hopelessly devoted to him. It's cute. I like the end
• 17:08
  Speaker 1: where it's like the water and then you just see
• 17:10
  Speaker 1: a John Travolta floating in the water and you're like, oh,
• 17:13
  Speaker 1: that's I love how she puts Marty's nice stationary into
• 17:18
  Speaker 1: a cave pool and then he leaves it like an asshole.
• 17:21
  Speaker 1: What a weird choice, Sandy. Someone had to clean that up, Sandy.
• 17:27
  Speaker 1: And then she runs off, and she loves to run off.
• 17:33
  Speaker 1: It is stunning how many I should have counted. She
• 17:36
  Speaker 1: runs off so much. I I think I have a
• 17:38
  Speaker 1: pretty good count in the recap alone here. But um so, Meanwhile,
• 17:44
  Speaker 1: so there's this other group. There's like a rival group
• 17:47
  Speaker 1: of Greaser's called the Scorpions, which is just like a
• 17:51
  Speaker 1: Jets and Sharks thing, right, Yeah, I think I think
• 17:56
  Speaker 1: maybe the Scorpions don't go to Rydell or some thing.
• 18:00
  Speaker 1: I'm not totally sin. You can't not be going to
• 18:03
  Speaker 1: ride all. That's not good. Their leader is someone who
• 18:07
  Speaker 1: I think is named Leo. I don't know if they
• 18:10
  Speaker 1: even never say his name. In the movie. They call
• 18:11
  Speaker 1: him crater Face. I think maybe that's his nickname. Anyway,
• 18:15
  Speaker 1: there's this guy who bangs up Kinnicky's car, so the
• 18:19
  Speaker 1: Tea Birds have to fix up this car. And this
• 18:22
  Speaker 1: is when we get the Grease Lightning song, which I
• 18:24
  Speaker 1: think is also the name of the car. A lot
• 18:27
  Speaker 1: of stuff around this that is pretty unclear for me,
• 18:30
  Speaker 1: as you can tell um that dance sequence is still
• 18:34
  Speaker 1: so good and the outfits the tea though, when the
• 18:37
  Speaker 1: Tea Birds do the outfit change in Grease Lightning, I'm like,
• 18:39
  Speaker 1: where do I get a silver one es for men?
• 18:44
  Speaker 1: Like I really want that? Something that I find fascinating
• 18:49
  Speaker 1: about this type of movie featuring this type of character
• 18:52
  Speaker 1: who are like these like macho grease or tough guys,
• 18:56
  Speaker 1: the kind of like cognitive dissonance of then them busting
• 19:00
  Speaker 1: out into like choreographed songs with like these flashy outfits
• 19:06
  Speaker 1: and they're dancing and they're singing, but it's like they're
• 19:09
  Speaker 1: supposed to be these like tough masculine guys, and like,
• 19:12
  Speaker 1: I just think that that dissonance is very funny. Chats
• 19:15
  Speaker 1: and Sharks Baby the best, Like that's like the most
• 19:18
  Speaker 1: iconic like like hyper masculinity and uh, while also like
• 19:25
  Speaker 1: effortlessly executing a dance right, very masculine combing of the hair,
• 19:33
  Speaker 1: you know how it's supermanly to constantly be grooming yourself.
• 19:37
  Speaker 1: Um um okay. So meanwhile, Danny goes and tries to
• 19:42
  Speaker 1: apologize to Sandy for being all aloof like he was,
• 19:46
  Speaker 1: but Sandy's like, screw you, I'm dating Tom. Now, who
• 19:50
  Speaker 1: is this football jock? So Danny starts to try to
• 19:55
  Speaker 1: be a jock also to impress Sandy, and then we
• 19:58
  Speaker 1: get this very long sequence where he tries a bunch
• 20:01
  Speaker 1: of different sports and sucks at all of them. I
• 20:03
  Speaker 1: did not remember that sequence at all. I honestly didn't
• 20:07
  Speaker 1: remember because I think that there's so much like valid conversation,
• 20:11
  Speaker 1: but like a lot of conversation about how Sandy changes
• 20:13
  Speaker 1: for Danny. I forgot that he also tries to change
• 20:18
  Speaker 1: everything about himself. The tone of it's a little different,
• 20:20
  Speaker 1: but like it's just I was like, oh right, huh okay,
• 20:24
  Speaker 1: I yeah, I totally did not remember that that happens.
• 20:27
  Speaker 1: Does that happen in the play as well? No, you
• 20:29
  Speaker 1: can't have that many costume changes in a play. Also,
• 20:32
  Speaker 1: plays don't really have fun and games sections the way
• 20:35
  Speaker 1: that movies do, and kind of a very literal fun
• 20:38
  Speaker 1: and game section of this movie. Yeah, he's just playing
• 20:42
  Speaker 1: a bunch of different games. It's just like John Travolta
• 20:46
  Speaker 1: in a series of different pairs of shorts and the
• 20:50
  Speaker 1: play it's just track. Yeah, And there's kind of no
• 20:53
  Speaker 1: metaphor for the long distance running that the coach kind
• 20:56
  Speaker 1: of gives where you go like, oh, because he has
• 20:57
  Speaker 1: to go long distance running because Sandy is a long
• 21:00
  Speaker 1: game win. Oh. I didn't even catch that. And the
• 21:08
  Speaker 1: movie it does the passage of time in a way
• 21:10
  Speaker 1: that I didn't get until I watched this with my
• 21:12
  Speaker 1: boyfriend because he was like, oh, because he's trying out
• 21:16
  Speaker 1: for sports in season order, and so he starts off
• 21:20
  Speaker 1: with like a false sport and then he's in track
• 21:24
  Speaker 1: and that gets us to it being the spring Dance
• 21:26
  Speaker 1: about so this is a year long quest for him. Yeah. Yeah,
• 21:31
  Speaker 1: he like grows and changes actually for a long time
• 21:35
  Speaker 1: if he's doing these different sports. And that's our passage
• 21:37
  Speaker 1: of time in the plot, which is so bizarre because yeah,
• 21:40
  Speaker 1: like the the beginning of the movie, it's their first
• 21:43
  Speaker 1: day of school. The end of the movie, it's like
• 21:44
  Speaker 1: their graduation basically, But the movie seems like it takes
• 21:48
  Speaker 1: place over the course of like a week, so it's
• 21:51
  Speaker 1: really more dissonance that I can't really wrap my head around.
• 21:55
  Speaker 1: But yeah, so in the movie, he does land on track,
• 21:59
  Speaker 1: which we don't even find out until the end, but
• 22:02
  Speaker 1: we see him kind of like practicing track and Sandy
• 22:05
  Speaker 1: sees this and she is impressed because I guess she
• 22:09
  Speaker 1: loves jocks. I guess she loves athletes. Yeah. Also, the
• 22:12
  Speaker 1: other started, so much of this movie is weird at
• 22:16
  Speaker 1: this school, Like cheerleaders and jocks are like not cool
• 22:20
  Speaker 1: or they're like less cool. They're not cool by the
• 22:23
  Speaker 1: greaser standards. So yeah, right right, it's like it's an
• 22:29
  Speaker 1: all the kids running high school never heard of it,
• 22:31
  Speaker 1: Like pretty fascinating concept, but I can't relate. Well that's
• 22:37
  Speaker 1: another I'm like, are they like, how popular are they?
• 22:42
  Speaker 1: Is it just that we because we are following their story,
• 22:46
  Speaker 1: you know, we're seeing it through their perspectives, so they're like, Oh,
• 22:49
  Speaker 1: these must be like the cool kids around. But are
• 22:51
  Speaker 1: they I don't know. I don't know. It seems like
• 22:53
  Speaker 1: they're ruled the school with an iron fist, maybe because
• 22:56
  Speaker 1: I could because they're thirty years old that much. Well,
• 23:00
  Speaker 1: that's true. Because the the the cheerleader girl. I think Patty, Yeah,
• 23:05
  Speaker 1: Patty like it's throwing herself at Danny Zuko, so yeah yeah,
• 23:10
  Speaker 1: and she wants Rizzo to like think she's cool kind
• 23:12
  Speaker 1: of when she comes up to the lunch table and
• 23:15
  Speaker 1: it's like trying to fit in with the I think
• 23:17
  Speaker 1: the pink ladies ruled the school with an iron fist.
• 23:21
  Speaker 1: I like, I'll allow it. I mean horny all kids
• 23:24
  Speaker 1: running the school as a concept, I like same. So
• 23:32
  Speaker 1: Sandy is now impressed with Danny again and she's like, Hey,
• 23:35
  Speaker 1: there's this dance coming up. You should take me to it,
• 23:38
  Speaker 1: and he's like okay. But before that, Danny takes Sandy
• 23:42
  Speaker 1: to this diner, but Danny is embarrassed because his friends
• 23:45
  Speaker 1: are there, and things kind of fall apart for everyone.
• 23:49
  Speaker 1: We also get the Beauty School dropout song because there's
• 23:52
  Speaker 1: a random subplot where French she has dropped out of
• 23:55
  Speaker 1: high school to go to beauty school. Then the dance
• 23:58
  Speaker 1: happens where the National Bandstand TV show is there to
• 24:03
  Speaker 1: televise this like dance competition, and Danny ends up winning
• 24:08
  Speaker 1: the competition, but it's by dancing with another girl cha chaw.
• 24:13
  Speaker 1: So Sandy sees this dance with Cha Chaw and she'll
• 24:17
  Speaker 1: never guess what she does. She gets jealous and runs off.
• 24:21
  Speaker 1: So another very weird scene. Yeah. Then we cut to
• 24:26
  Speaker 1: a drive in movie theater and Rizzo she thinks she
• 24:30
  Speaker 1: might be pregnant. The whole school finds out about it
• 24:33
  Speaker 1: in like ten seconds. I think we're missing that. Marty
• 24:36
  Speaker 1: alludes to the host of the dance trying to drug
• 24:41
  Speaker 1: her or successfully, and it just gets brushed rider reased
• 24:46
  Speaker 1: right past. Put an aspirin in my drink and I
• 24:49
  Speaker 1: was like, I don't think that was an aspirin, Like
• 24:52
  Speaker 1: maybe brush up and not brush over that. Yeah, there's
• 24:58
  Speaker 1: so many things that people just like in this movie.
• 25:00
  Speaker 1: And then you're like, is that going to come back?
• 25:03
  Speaker 1: Like that was really fucked up? And then it never
• 25:05
  Speaker 1: comes back Like they didn't think that was sucked up.
• 25:09
  Speaker 1: They just thought that was a joke that was normal
• 25:12
  Speaker 1: in night, I guess. So. So Danny and Sandy are
• 25:16
  Speaker 1: also at the drive in and Danny gives her his
• 25:19
  Speaker 1: class ring and then he tries to force himself on
• 25:22
  Speaker 1: her and she doesn't want that, so she runs off again.
• 25:28
  Speaker 1: That's one of the running off that I'm very I
• 25:30
  Speaker 1: was like, Okay, that's that's a good that's a good
• 25:32
  Speaker 1: run off Sometimes and she runs away, I'm like where
• 25:34
  Speaker 1: are you going? But then that time you're like, oh
• 25:36
  Speaker 1: that is you do run away? Yeah you do. We
• 25:38
  Speaker 1: also get a song here that I feel like, it's
• 25:40
  Speaker 1: not very memorable. I totally forgot about it. It's yeah,
• 25:44
  Speaker 1: I mean it is like objectively watching that of like
• 25:48
  Speaker 1: he forces himself on his girlfriend and then sings a
• 25:50
  Speaker 1: whole song about like why is she so Like it's
• 25:55
  Speaker 1: when he's supposed to reflect and learn about his mistakes
• 25:58
  Speaker 1: in the plot for us to like him at the end,
• 26:02
  Speaker 1: and instead he just complains about it and what will
• 26:05
  Speaker 1: they say Monday at school? And he obviously means like
• 26:07
  Speaker 1: she left me, that's embarrassing. Not they saw me assault
• 26:11
  Speaker 1: somebody and she screamed and ran away. How embarrassing? Like
• 26:15
  Speaker 1: that that I told I had no recollection of that song,
• 26:20
  Speaker 1: And it is so jarring to listen to now because
• 26:23
  Speaker 1: and it also sounds like at certain parts of like yeah,
• 26:25
  Speaker 1: he's kind of like blaming her for making him look
• 26:28
  Speaker 1: bad because he's it's not an introspective song. He's just
• 26:33
  Speaker 1: like that song was wild and it's like Danny go home,
• 26:45
  Speaker 1: take a long, hard look in the mirror, like figure,
• 26:52
  Speaker 1: Danny needs to work on himself, and also that like
• 26:56
  Speaker 1: men working on themselves in this movie means joining the
• 26:58
  Speaker 1: track team. It's like a sure, okay, I guess okay.
• 27:07
  Speaker 1: So then we cut to the next day, or what
• 27:09
  Speaker 1: it might be the next day, it might be five
• 27:11
  Speaker 1: weeks later, We're not sure whatever, but um Sandy tries
• 27:16
  Speaker 1: to extend an olive branch to Rizz. Oh. I think
• 27:19
  Speaker 1: it's implied that she heard that Rizzle might be pregnant,
• 27:23
  Speaker 1: so she's trying to reach out, and I really like that.
• 27:28
  Speaker 1: In between, I was like, I do I love Sandy.
• 27:31
  Speaker 1: I just wish that she could stay the way she is.
• 27:33
  Speaker 1: She's a sweetheart. She's very she's very quick to scare,
• 27:38
  Speaker 1: but she's but she's like such a sweet kind person.
• 27:42
  Speaker 1: I think she has scary parents. It's implied by the
• 27:45
  Speaker 1: movie and more explicitly implied by the play that she's
• 27:48
  Speaker 1: pretty afraid of her parents. I didn't pick up on
• 27:51
  Speaker 1: that watching me, and I don't know what she's gonna
• 27:54
  Speaker 1: do with all that hair spray. At the end of
• 27:56
  Speaker 1: the movie, she gonna have to shower. French cheese house
• 27:59
  Speaker 1: and get in trouble for having wet hair. She's gonna
• 28:02
  Speaker 1: have to live a double life now. Her parents were like, hey,
• 28:07
  Speaker 1: you thought you were going back home to your home
• 28:10
  Speaker 1: in Australia. Too bad, you live in the United States
• 28:13
  Speaker 1: now in some city. We don't know where we are, Okay.
• 28:17
  Speaker 1: So in the play I'm sorry to be in the
• 28:19
  Speaker 1: play a guy, but in the place I want to
• 28:22
  Speaker 1: know and the play, Sandy is going to go to
• 28:25
  Speaker 1: the private Christian school, but then her dad gets in
• 28:28
  Speaker 1: a fight with the nun lady there about her patent
• 28:32
  Speaker 1: leather shoes because the school is claiming that that means
• 28:36
  Speaker 1: that people can see up her skirt because her shoes
• 28:38
  Speaker 1: are too shiny. But her dad is obviously the kind
• 28:41
  Speaker 1: of rageful person that can't take that criticism and so
• 28:43
  Speaker 1: pulled her from the school and center to public schooling.
• 28:48
  Speaker 1: See I think like again, it's like knowing that framework
• 28:52
  Speaker 1: helps you understand Sandy a little bit better, because in
• 28:55
  Speaker 1: the in this movie, it seems like she is just
• 28:59
  Speaker 1: like that's just what she's like. She's like kind of
• 29:01
  Speaker 1: conservative and how she dresses and behaves, and then everyone's
• 29:05
  Speaker 1: like that sucks. You have to change but it's like
• 29:08
  Speaker 1: if there was a context, any context for like she
• 29:11
  Speaker 1: is behaving that way out of reaction to something else
• 29:15
  Speaker 1: and like wants to live in like a more sexually freeway.
• 29:19
  Speaker 1: That's that makes more sense, I don't think. But the
• 29:23
  Speaker 1: movie don't do that. The movie is for prude self,
• 29:26
  Speaker 1: is her true self, and it makes a no case
• 29:28
  Speaker 1: against that. Yeah, yeah, damn, that did I I did
• 29:32
  Speaker 1: not know that she had a scary I mean, that's
• 29:36
  Speaker 1: it's just mildly implied by the play, but it's definitely
• 29:39
  Speaker 1: more present rageful parents. Okay, So Sandy has kind of
• 29:46
  Speaker 1: like extended in olive branch to Rizzo, and then Rizzo
• 29:49
  Speaker 1: sings a song about how there are worse things that
• 29:52
  Speaker 1: she could do. Then it is time for thunder Road,
• 29:56
  Speaker 1: which is a race between the t birds and the
• 30:01
  Speaker 1: Scorpions and KNICKI was supposed to race against the head
• 30:04
  Speaker 1: Scorpion guy, but he gets bonked on the head, so
• 30:07
  Speaker 1: Danny has to race and classic jacket guy injury, so
• 30:15
  Speaker 1: Danny races against the scorpion instead, and Sandy is there
• 30:19
  Speaker 1: to watch. She sees Danny Wynn and then she gets
• 30:23
  Speaker 1: an idea, which is awful idea. Sandy gets a terrible,
• 30:29
  Speaker 1: awful ideas, a terrible idea. She runs off to execute
• 30:32
  Speaker 1: this idea, which is to change anything about herself. She's
• 30:38
  Speaker 1: there to help her, and she basically changes her entire
• 30:41
  Speaker 1: look and her entire personality, and she shows up at
• 30:44
  Speaker 1: the school carnival looking like a greas Or girl, all
• 30:48
  Speaker 1: decked out in black leather, and Danny is like, oh,
• 30:52
  Speaker 1: hubble hubba, and he takes off his letterman cardigan. I
• 30:55
  Speaker 1: feel like that because he's wearing like I didn't need
• 30:58
  Speaker 1: to change. I did forget that he showed up prepared
• 31:01
  Speaker 1: to change everything about himself. But then she shows up
• 31:04
  Speaker 1: already having changed everything about herself, and then he immediately
• 31:07
  Speaker 1: is like, fuck it, we're both Danny again. Forget about
• 31:12
  Speaker 1: that ship away, never a discussion. I was like, well, okay,
• 31:16
  Speaker 1: but but then it's like, but then they're only ever
• 31:19
  Speaker 1: like happy when they're themselves with each other. So I
• 31:23
  Speaker 1: don't like, how was that whole thing at the unnecessary?
• 31:25
  Speaker 1: He liked, He liked how she was exactly I don't.
• 31:29
  Speaker 1: It's yeah, there's a lot to talk about there. So
• 31:34
  Speaker 1: she shows up all completely different. Danny likes it. They
• 31:37
  Speaker 1: saying you're the one that I want to each other. Um,
• 31:40
  Speaker 1: and there's some other kind of date moll stuff like
• 31:45
  Speaker 1: pregnant those shouts from a ferris wheel. It turns out
• 31:48
  Speaker 1: him was a false a law. That was the most
• 31:52
  Speaker 1: abrupt resolution to what was like a pretty large plot points,
• 31:58
  Speaker 1: like Jess kidding Eddie is like, Whooo, I'm gonna make
• 32:02
  Speaker 1: an honest woman out of you? Does that? Wait? Does
• 32:05
  Speaker 1: that happen in the play? Did you get to yell
• 32:07
  Speaker 1: from a distance? Um? There's definitely no ferris wheel in
• 32:10
  Speaker 1: the play, And no, that ending is a little different, um,
• 32:14
  Speaker 1: And it sort of isn't brought up that much except
• 32:17
  Speaker 1: for after they've sung and it's the end. She's like, hey,
• 32:21
  Speaker 1: can we go to the pharmacy? I think I'm getting
• 32:23
  Speaker 1: my friend? And that's like the third to last or
• 32:26
  Speaker 1: fourth the last line of the whole play, Like her period.
• 32:30
  Speaker 1: She's getting her period? Okay, while all right, but she's
• 32:34
  Speaker 1: not she doesn't know she isn't pregnant. Oh, she just
• 32:38
  Speaker 1: thinks that she's going to get her friend. You can
• 32:42
  Speaker 1: sometimes you feel it coming on, you know, Oh yeah
• 32:45
  Speaker 1: for sure. But I don't know how you know that
• 32:48
  Speaker 1: if you've never known what pregnancy feels like. Hey, CONNICKI,
• 32:51
  Speaker 1: can we stop at the drug store. I think I'm
• 32:53
  Speaker 1: getting my friend. CONNICKI puts an arm around her, and
• 32:56
  Speaker 1: all the kids smile and cheer for Rizzo French. The
• 32:59
  Speaker 1: whole crowd together again. I could cry Jan Jimmie too, Sandy. Yeah, curtain.
• 33:08
  Speaker 1: Now that's plot resolution in the movie. The last thing
• 33:14
  Speaker 1: we see is Danny and Sandy flying into the sky
• 33:19
  Speaker 1: in Danny's convertible in the fantasy car. Because that's not
• 33:24
  Speaker 1: what the real grease lightning looks like. That's what it
• 33:27
  Speaker 1: looks like in the fantasy Yes, do they all die?
• 33:31
  Speaker 1: That's the best fan theory. Are we going to get
• 33:35
  Speaker 1: into the fan theory? Oh? We could well before we
• 33:38
  Speaker 1: do that. That's the end of the movie. So let's
• 33:40
  Speaker 1: take a quick break and then we will come right
• 33:42
  Speaker 1: back to discuss. So what do we want to talk about? First? Wait,
• 33:51
  Speaker 1: what is this fan theory? I would love to hear.
• 33:52
  Speaker 1: I would love to hear the fan theories just to
• 33:55
  Speaker 1: get things all heated up. Well, there's a really popular
• 33:59
  Speaker 1: fan theory. Okay, that's Sandy dies in the beginning sequence
• 34:06
  Speaker 1: and the whole thing is her coma dream until she
• 34:10
  Speaker 1: finally properly dies. At the end, and then that's why
• 34:14
  Speaker 1: there's the shot of the heavenly clouds, So that theory
• 34:17
  Speaker 1: being that when they get splashed in the footage, she
• 34:21
  Speaker 1: actually drowns instead of him just lying about because he sings,
• 34:27
  Speaker 1: she nearly drowned, And so that fan theory takes Zuko's
• 34:32
  Speaker 1: obvious lie about saving her life and says that's true
• 34:36
  Speaker 1: and the whole thing makes sense, and that's why they're
• 34:37
  Speaker 1: singing because she's either been dead the whole time or
• 34:40
  Speaker 1: in a coma, and then she dies at the end. God. Wait,
• 34:44
  Speaker 1: that's fan theories always like scramble my brain because I'm like,
• 34:48
  Speaker 1: there's no way. But then also it's like, why is
• 34:52
  Speaker 1: there a shot of them flying into the clouds? Then
• 34:55
  Speaker 1: I don't know. I did. I did, Like I remember, like,
• 34:58
  Speaker 1: especially when I was a kid, I did not question it.
• 35:00
  Speaker 1: I was like, Yeah, they're so happy, they're so happy
• 35:04
  Speaker 1: she changed everything about herself and now a car can fly,
• 35:07
  Speaker 1: Like that's the power of women changing for people. Uh well,
• 35:13
  Speaker 1: shall we shall we talk about that because that is
• 35:17
  Speaker 1: kind of one of the most glaring things, I mean,
• 35:20
  Speaker 1: one of many glaring things of this movie. And I
• 35:23
  Speaker 1: think it's like the most popular criticism of the movie
• 35:26
  Speaker 1: now too right, Yeah, because to me, so like a
• 35:30
  Speaker 1: main arc of this movie is like Danny kind of
• 35:34
  Speaker 1: being in this prison of his own toxic masculinity and
• 35:38
  Speaker 1: like needing to learn that it's okay to be emotionally
• 35:41
  Speaker 1: vulnerable and to like let his friends know that he
• 35:44
  Speaker 1: cares about a girl. Watching him reach these conclusions and
• 35:49
  Speaker 1: how he goes about doing that is like not handled
• 35:53
  Speaker 1: the best. But I was like, okay, like this movie
• 35:56
  Speaker 1: it does have more of a commentary on toxic masculinity
• 36:00
  Speaker 1: then I remembered. So I was like, okay, yeah, that
• 36:04
  Speaker 1: this is something. But then he comes to this realization,
• 36:08
  Speaker 1: but it doesn't really matter because Sandy has just completely
• 36:13
  Speaker 1: changed everything about herself for this guy, and he is like, okay, great,
• 36:20
  Speaker 1: thanks for doing that. We can be in love now.
• 36:24
  Speaker 1: It's really bizarre. I feel like watching through it these
• 36:28
  Speaker 1: like two times to get Ready, it was like I
• 36:31
  Speaker 1: think that, like the popular criticism is like a little
• 36:34
  Speaker 1: overly simplistic, because you're right that, like they it's just weird,
• 36:38
  Speaker 1: Like this movie starts saying a lot of things and
• 36:41
  Speaker 1: then kind of doesn't finish saying any of them, and
• 36:43
  Speaker 1: then at the end they like, actually the status quo
• 36:45
  Speaker 1: was fine, Like it's just bizarre because it's like there
• 36:48
  Speaker 1: were moments where you were like, oh, that seems like
• 36:50
  Speaker 1: an intentional like this like hyper masculine life that Danny's
• 36:55
  Speaker 1: living is like affecting him negatively and like he's he's
• 37:00
  Speaker 1: not his like most authentic self when he's like with
• 37:03
  Speaker 1: the t birds, and it's clear that the movie wants
• 37:06
  Speaker 1: you to think that way. But then like in the
• 37:08
  Speaker 1: back half of the movie, they're kind of like, but
• 37:10
  Speaker 1: fuck it, who cares? Like it's so weird. It's but
• 37:14
  Speaker 1: I feel like the conversation is started, but then it's
• 37:16
  Speaker 1: just like abandoned, and it was what is like okay
• 37:21
  Speaker 1: question for the group? What is the like what is
• 37:26
  Speaker 1: what are you supposed to think? At the end of
• 37:28
  Speaker 1: this movie, Like now I was like being like what
• 37:33
  Speaker 1: what was that movie about? You know, it's just everything
• 37:37
  Speaker 1: he does that we are like, oh, Danny, why did
• 37:41
  Speaker 1: you do that? Stop? That is like it is because
• 37:43
  Speaker 1: he's trying to maintain this persona, maintain this like macho
• 37:48
  Speaker 1: persona of toxic masculinity to like impress his his guy friends,
• 37:52
  Speaker 1: his tough greaser boys. And when he like very clearly
• 37:56
  Speaker 1: wants to be able to be emotionally vulnerable and too
• 37:59
  Speaker 1: like like him be on the beach exactly, although he
• 38:04
  Speaker 1: doesn't suck up stuff on the beach too. Or he's like,
• 38:06
  Speaker 1: I'm going to kiss you and she's like, no, Danny,
• 38:08
  Speaker 1: don't spoil it. Yeah, only making it better. Yeah, And
• 38:15
  Speaker 1: it's like he forces himself onto her in the first scene,
• 38:19
  Speaker 1: the first scene, in the driving scene, in many scenes. Um,
• 38:23
  Speaker 1: and there's a lot to talk about there as well.
• 38:26
  Speaker 1: But yeah, it's just the takeaway seems like true like
• 38:30
  Speaker 1: either it just is like the takeaway seems just like
• 38:33
  Speaker 1: and the status quote is fine the whole time, and
• 38:37
  Speaker 1: and it's and that's fine. It's just well yeah. So
• 38:41
  Speaker 1: one of the writers of the original production, Jim Jacobs,
• 38:46
  Speaker 1: and I'm pulling this from our favorite scholarly journal Wikipedia,
• 38:50
  Speaker 1: So and I wasn't able to find exactly where what
• 38:55
  Speaker 1: this original quote was or what the original source was,
• 38:57
  Speaker 1: so kind of take this with a grain of salt.
• 38:59
  Speaker 1: But according to Wikipedia, if you look at the Grease
• 39:02
  Speaker 1: Musical page, it says that Jacobs has described the stage
• 39:08
  Speaker 1: productions basic plot as a subversion of common troops of
• 39:13
  Speaker 1: like fifties movies where in fifties movies, like the female
• 39:18
  Speaker 1: lead would often kind of transform this alpha male into
• 39:21
  Speaker 1: a more sympathetic and sensitive character. So Jim Jacobs was
• 39:26
  Speaker 1: trying to subvert that and make it so that like
• 39:30
  Speaker 1: the story is not doing good and like he stays
• 39:37
  Speaker 1: unsympathetic and she has to change to conform to his
• 39:41
  Speaker 1: fantasies and to his desires. It's and it's like, why
• 39:46
  Speaker 1: would you why would you subvert that? Like, yeah, it's
• 39:51
  Speaker 1: it's kind of saying like the movie is saying slut
• 39:54
  Speaker 1: shamming is bad, you know what's good? Prude shaming? Right,
• 39:59
  Speaker 1: Like it's just in like okay, having the context of
• 40:02
  Speaker 1: that attempted inversion, I feel like it's it's kind of
• 40:05
  Speaker 1: follows the same logic of why a lot of these
• 40:08
  Speaker 1: like all female reboots don't work is like let's just
• 40:11
  Speaker 1: have let's just um gender swap this premise and then
• 40:15
  Speaker 1: not resolve any of the harmful aspects of the premise um,
• 40:22
  Speaker 1: which it doesn't. It doesn't work, like and I guess
• 40:26
  Speaker 1: it is like very second wave feminism to me to
• 40:31
  Speaker 1: to have that kind of like rooted in sexual freedom
• 40:36
  Speaker 1: and like not shaming women for having sex but then
• 40:40
  Speaker 1: also like outwardly shaming any woman who doesn't feel that way,
• 40:45
  Speaker 1: or like just assuming that, well, now every woman has
• 40:48
  Speaker 1: to be extremely horny and if you're not, like you're
• 40:51
  Speaker 1: stuck in the past, you better have sex right now
• 40:54
  Speaker 1: or John Travolta will force it. Like it's also worth
• 40:58
  Speaker 1: mentioning that Danny's you Go is an incredible slut shamer,
• 41:03
  Speaker 1: and he seems to devalue anyone that he's already slept with,
• 41:06
  Speaker 1: and we see that consistently. Yes, it's like we see
• 41:10
  Speaker 1: him at school for the first time and he says, oh,
• 41:12
  Speaker 1: same old broads everyone's made it with, Like he dismisses
• 41:15
  Speaker 1: them is unworthy because he's already slept with them. And
• 41:18
  Speaker 1: he does that with Rizzo, he does that with cha Chaw,
• 41:21
  Speaker 1: and it leaves me wondering what how he's going to
• 41:23
  Speaker 1: treat Sandy when he finally sleeps with her, right, And
• 41:27
  Speaker 1: it seems like part of my okay, So part of
• 41:31
  Speaker 1: how I was reading his like determination to win her
• 41:35
  Speaker 1: over was connected to, like, I think that there's just
• 41:38
  Speaker 1: like a lot of Madonna hore stuff going on here
• 41:41
  Speaker 1: where part of why he's pursuing Sandy. So aggressively is
• 41:44
  Speaker 1: because she will not have sex with him and like
• 41:48
  Speaker 1: that and just like kind of yeah, it's like valuing
• 41:51
  Speaker 1: her exactly and where like he see he perceives her
• 41:55
  Speaker 1: as this like oh if I can get this girl,
• 41:57
  Speaker 1: It's it's almost like the cruel intentions thing where Ryan
• 42:00
  Speaker 1: Phillippi is aggressively pursuing Reese Witherspoon because she's this like
• 42:06
  Speaker 1: ultra virgin type and that's why he's interested in her
• 42:09
  Speaker 1: because like she like she'll never give it up, but
• 42:12
  Speaker 1: if he can manage to do it, then he's like
• 42:14
  Speaker 1: the Gaul like the King of the World kind of thing.
• 42:16
  Speaker 1: Not to quote Titanic, of course, but a sleep Titanic
• 42:20
  Speaker 1: a perfect movie. This I feel like, I mean, we
• 42:23
  Speaker 1: have no choice but to assume that that's what Danny
• 42:27
  Speaker 1: sees in Sandy because so little there's like zero time
• 42:30
  Speaker 1: spent in the movie showing why they like each other
• 42:34
  Speaker 1: or what is compatible about them, So like that's just
• 42:38
  Speaker 1: what I assume that. That was another like point that
• 42:42
  Speaker 1: I felt like the movie started to make and then
• 42:44
  Speaker 1: completely abandoned, was that double standard, because the movie seems aware,
• 42:49
  Speaker 1: like very aware of the double standard of how sexually
• 42:53
  Speaker 1: active like teen boys and sexually active teen girls are
• 42:56
  Speaker 1: treated very differently, and that's mostly through iconic Grace character Rizzo,
• 43:03
  Speaker 1: where it's like Rizzo is like that the character where
• 43:07
  Speaker 1: you get that split most clearly demonstrated to you, where
• 43:11
  Speaker 1: you know, it's like she um thinks that she's pregnant
• 43:14
  Speaker 1: and like is just kind of left completely to her
• 43:17
  Speaker 1: own devices. She's shamed for it, she's cast out for it,
• 43:20
  Speaker 1: and the movie want you to think, like, that's not okay,
• 43:23
  Speaker 1: that's not right, but then it never never resolves in
• 43:26
  Speaker 1: any meaningful way. She they're like, oh, just kidding, and
• 43:29
  Speaker 1: we're not going to talk about the fact that you
• 43:31
  Speaker 1: were ready to the whole school, was you know, ready
• 43:34
  Speaker 1: to completely ostracize her if if it wasn't a false
• 43:38
  Speaker 1: alarm or like it's just bizarre. But there's another interesting
• 43:43
  Speaker 1: thing happening there too. She has unprotected sex with Kinnicky
• 43:48
  Speaker 1: he finds out about her pregnancy her Gregnancy scare sorry,
• 43:53
  Speaker 1: she's she's almost heavy with Greg, but he I think
• 44:02
  Speaker 1: un maybe not unlike Danny, but there's like, I think
• 44:06
  Speaker 1: an interesting comparison to be made between Danny and CONNICKI,
• 44:10
  Speaker 1: where Knick is like, hey, I heard you might be
• 44:13
  Speaker 1: knocked up. What can I do to help? And she's like,
• 44:17
  Speaker 1: it's not even your problem, right, I wasn't expecting that either.
• 44:20
  Speaker 1: She's like, it's not your problem. It was someone else's problem.
• 44:23
  Speaker 1: But she doesn't quite say that, like and she kind
• 44:26
  Speaker 1: of uses it. She says it was don't worry about it, CONNICKI,
• 44:29
  Speaker 1: it was somebody else's mistake, And I think that is
• 44:33
  Speaker 1: sort of like I think CONNICKI kind of takes it
• 44:35
  Speaker 1: as it's not his kid. But I think I think
• 44:39
  Speaker 1: that Stoker Channing subtext is it was my mistake. I
• 44:43
  Speaker 1: don't want your father. Yeah, because that line is different
• 44:47
  Speaker 1: than the play. Interesting. I never thought for a second
• 44:51
  Speaker 1: that she like had sex with someone else and she
• 44:54
  Speaker 1: thinks it might be like someone else might be the father.
• 44:56
  Speaker 1: It's it's clear to me that like he is the
• 44:59
  Speaker 1: father if she is pregnant, but she's more just like
• 45:03
  Speaker 1: lashing out sort of thing. But I found it interesting
• 45:06
  Speaker 1: that like he was like, I don't run away from
• 45:08
  Speaker 1: my mistakes, Like I'm going to be here from you,
• 45:11
  Speaker 1: you know, like we'll figure this out. But she kind
• 45:13
  Speaker 1: of dismisses him, so he you know, he runs off.
• 45:18
  Speaker 1: He's like He almost like skips away. He's like, oh right,
• 45:23
  Speaker 1: no responsibilities. Another interesting thing about that is that, um
• 45:28
  Speaker 1: so a lot of the like these tea Bird guys
• 45:30
  Speaker 1: are all about like, how can I exert my masculinity?
• 45:33
  Speaker 1: How can I demonstrate my masculinity? Oh, they're in prison.
• 45:37
  Speaker 1: In prison, They're like, but if they're like, oh, if
• 45:39
  Speaker 1: I've made it with a girl, if I've had sex before,
• 45:42
  Speaker 1: that just shows how awesome I am, which is like
• 45:44
  Speaker 1: a very like standard thing, right. But when we see
• 45:49
  Speaker 1: him and Rizzo kissing in the backseat of his car,
• 45:53
  Speaker 1: she's like, do you have you know, something for protection?
• 45:56
  Speaker 1: He pulls out a condom. It immediately breaks because he's like,
• 45:59
  Speaker 1: I bought this in this seventh grade, implying this he's
• 46:01
  Speaker 1: never had sex before. Yeah, so, I mean, I don't know.
• 46:05
  Speaker 1: There's just something fascinating to me about Kinnicki where he
• 46:09
  Speaker 1: is kind of like putting on this persona of like, yeah,
• 46:12
  Speaker 1: I'm a greaser boy, I'm a tiber blah blah blah.
• 46:15
  Speaker 1: But he also is like he seems less concerned than
• 46:19
  Speaker 1: Danny does about being emotionally attentive to like to the
• 46:24
  Speaker 1: girl he likes. Yeah, I mean the bar is on
• 46:27
  Speaker 1: the floor for these guys. But like KINNICKI is like,
• 46:30
  Speaker 1: I guess he's definitely not the worst one I got.
• 46:33
  Speaker 1: I I totally forgot the whole like implication that that
• 46:37
  Speaker 1: was his first time having sex too, and that's like
• 46:39
  Speaker 1: another like that's like starting something interesting of like, oh,
• 46:43
  Speaker 1: there's some double standards ap play here, but then it's
• 46:47
  Speaker 1: just like nothing happening. But I do. I mean, it's like,
• 46:52
  Speaker 1: I Rizzo was my favor as a kid because she's
• 46:57
  Speaker 1: cool and she smokes a cigarette, and that is what
• 47:00
  Speaker 1: being cool means, um in a movie. Even though I
• 47:05
  Speaker 1: remember my mom being because my mom smokes cigarettes like
• 47:08
  Speaker 1: a fiend. Umill she was. She was like, that's what
• 47:12
  Speaker 1: happened to me. I started smoking cigarettes as a teenager,
• 47:15
  Speaker 1: just like Rizzo, and look at me now, I'm a disaster,
• 47:18
  Speaker 1: you know. So she so she used Rizzo as an
• 47:21
  Speaker 1: anti smoking ad. She's like, oh, Rizzo thought she was
• 47:25
  Speaker 1: so cool, but she wasn't Jamie. Um. But I like,
• 47:30
  Speaker 1: I I really like how complex Rizzo is, even though
• 47:35
  Speaker 1: it feels like especially the movie doesn't take advantage of
• 47:39
  Speaker 1: how complex her character is because she often even when
• 47:42
  Speaker 1: people offer her help, she it seems like, I guess
• 47:47
  Speaker 1: I'm curious. Maybe I'm reading too much into it, but
• 47:50
  Speaker 1: it just seems like she has like a lot of
• 47:53
  Speaker 1: internalized shame and is like unable to accept help from
• 47:59
  Speaker 1: others even when it's well intended, and like she just
• 48:01
  Speaker 1: seems to have like a lot of I don't know, Yeah,
• 48:03
  Speaker 1: it seems like she holds a lot of shame and
• 48:05
  Speaker 1: that's why she pushes Sandy away and Sandy offers to
• 48:07
  Speaker 1: be her friend, That's why she pushes Knicky away, and
• 48:12
  Speaker 1: I don't know, I feel like it's kind of rare
• 48:13
  Speaker 1: in a teen musical to see a character with deep
• 48:17
  Speaker 1: internalized shame. I wish it like went somewhere, but I
• 48:21
  Speaker 1: just yeah, Rizzo's interesting. There's one of the only things
• 48:26
  Speaker 1: that we really know about Rizzo and Kinnicki's relationship is
• 48:29
  Speaker 1: that they're having a giant fight in front of their
• 48:32
  Speaker 1: friends that is upsetting enough to her so that she
• 48:34
  Speaker 1: throws a milkshake at him. You know nothing about that fight.
• 48:38
  Speaker 1: It never gets rid of. Daniel day Lewis like my cake,
• 48:43
  Speaker 1: you have um. Yeah, so we know that their relationship
• 48:49
  Speaker 1: isn't perfect before she gets pregnant, and then their problems
• 48:53
  Speaker 1: are solved by her not being pregnant. H right, and
• 48:57
  Speaker 1: it still doesn't I don't know like it. Sandy is
• 49:01
  Speaker 1: a saint first all being nice to Rizzo after how
• 49:04
  Speaker 1: cruel like Rizzo is so mean to her all the
• 49:06
  Speaker 1: time from the moment they meet. But it's it's like
• 49:10
  Speaker 1: I almost wanted more of like a moment of like
• 49:14
  Speaker 1: understanding or reconciliation with them. I guess they sort of
• 49:17
  Speaker 1: have it there in that scene where Rizzo is like, oh,
• 49:19
  Speaker 1: I will never accept help because of that's just who
• 49:24
  Speaker 1: I am. But thanks anyways, But I mean, it's like,
• 49:28
  Speaker 1: I can't. It's just like an interesting plot point to
• 49:31
  Speaker 1: have someone take out their frustrations on another teen girl,
• 49:36
  Speaker 1: um for something that they're insecure about in themselves, because
• 49:39
  Speaker 1: I feel like that happens in real life at times.
• 49:43
  Speaker 1: And it's like, but you have to say something about you.
• 49:47
  Speaker 1: I don't know. Yeah, there's sort of an absence of
• 49:51
  Speaker 1: commentary a lot of the time in a movie that
• 49:54
  Speaker 1: you would expect there to be more commentary. I guess
• 49:59
  Speaker 1: maybe not not know, maybe my hopes are too high.
• 50:01
  Speaker 1: I'm a Rizzo stand I'm just like Rizzo. People are
• 50:04
  Speaker 1: reaching out to you off take and take someone's hand.
• 50:09
  Speaker 1: But she isn't pregnant, so then her life is perfect. Perfect.
• 50:14
  Speaker 1: Let's take another quick break and then we'll come back
• 50:16
  Speaker 1: for more discussion, and we're back part well to kind
• 50:25
  Speaker 1: of just continue a little bit on the Rizzo conversation,
• 50:29
  Speaker 1: she she sort of almost uses Sandy. She's like trying
• 50:34
  Speaker 1: to get back at Danny I thing for for like
• 50:37
  Speaker 1: kind of leaving her high and dry sort of thing,
• 50:40
  Speaker 1: and she knows that like Danny's gonna react the way
• 50:44
  Speaker 1: he reacts at that like football game bonfire thing. I
• 50:48
  Speaker 1: just feel so bad for Sandy because she's like using
• 50:50
  Speaker 1: her as a as a pawn. And then there's also
• 50:52
  Speaker 1: this like component with that Patty Simcox like popular girl
• 50:56
  Speaker 1: cheerleader character where Rizzo's like, oh, I'm this is what
• 51:01
  Speaker 1: the other girls are like, and I'm not like the
• 51:03
  Speaker 1: other childs. And that plays in to what to me
• 51:12
  Speaker 1: is like this this movie is sort of like an
• 51:14
  Speaker 1: encapsulation of like white fifties like suburban Americana, where there
• 51:22
  Speaker 1: are these archetypes that we see of teenage boys and
• 51:25
  Speaker 1: teenage girls. Where we have of the boys, there's like
• 51:28
  Speaker 1: the greaser type, the jocks who we see and like Tom.
• 51:32
  Speaker 1: And then there's like the nerd type because there's this
• 51:34
  Speaker 1: Eugene character who like kind of comes and goes. And
• 51:38
  Speaker 1: then with the girls, we have, um, kind of the
• 51:42
  Speaker 1: greaser girls who don't have a hobby of their own.
• 51:46
  Speaker 1: They're not actually fixing up cars the way the boy
• 51:48
  Speaker 1: the greaser boys are, but they just like run with
• 51:50
  Speaker 1: that crowd like the pink ladies. Yeah, okay, I guess
• 51:55
  Speaker 1: they're not like greaser girls, but it's like the right,
• 51:59
  Speaker 1: but they run with that crowd their hair, so there
• 52:04
  Speaker 1: they seem to like I mean, it's like it's kind
• 52:06
  Speaker 1: of framed that they they they exist because their friends,
• 52:10
  Speaker 1: but also just kind of to date the tea birds.
• 52:14
  Speaker 1: Like that's just kind of what that's why they unionize.
• 52:17
  Speaker 1: I don't know, did they unionize. I Well, they do
• 52:21
  Speaker 1: wear their own merch, so that's true. That's true. They
• 52:25
  Speaker 1: at least have a tea public ye, and so do
• 52:28
  Speaker 1: the tea birds. Um. But yeah, that kind I was like, oh,
• 52:33
  Speaker 1: like they hang with the greaser boys who have this
• 52:36
  Speaker 1: hobby of like fixing up old cars, but what are
• 52:39
  Speaker 1: the girls, what's their hobby? Anyway, Then we've got like
• 52:42
  Speaker 1: the Patty simcocks, like cheerleader girl. And then we've got
• 52:45
  Speaker 1: like the goody two shoes type, which is sandy. So
• 52:49
  Speaker 1: there's all these archetypes which fit into this perception that
• 52:54
  Speaker 1: I think still exists today of like the fifties it
• 52:57
  Speaker 1: was this the good old days. You know, every toodle, skirts, milkshake, yeah, everyone,
• 53:03
  Speaker 1: you know, mary couples, didn't slept in different beds, no
• 53:07
  Speaker 1: one had sex, and everything was hunky dory. And like
• 53:11
  Speaker 1: Greece shows a different side of this like common misconception.
• 53:18
  Speaker 1: I think the movie sort of seeks in the in
• 53:20
  Speaker 1: the play like seeks to be like, hey, no, like
• 53:22
  Speaker 1: teens have always been this way, like you know, they
• 53:25
  Speaker 1: get into trouble, they have sex, their horny there, you know,
• 53:30
  Speaker 1: doing all stuff. But it's also like Greece is still
• 53:33
  Speaker 1: preserving this idea of like white fifties middle class Americana,
• 53:39
  Speaker 1: and it like does nothing to like challenge that status quo.
• 53:44
  Speaker 1: There's just like, yeah, like the fact that this is
• 53:49
  Speaker 1: like it comes out in seventy eight, it's about so
• 53:52
  Speaker 1: it's already a period piece, and it's like, I don't
• 53:56
  Speaker 1: know just even like writing wise, if you're going to
• 53:58
  Speaker 1: make a period piece, then you should probably try to
• 54:01
  Speaker 1: say something about the time that you're um and not
• 54:04
  Speaker 1: just be like and everything was way better twenty years ago.
• 54:09
  Speaker 1: Like there's just even though it's like the the idea
• 54:13
  Speaker 1: of the fifties is very clearly represented here, there's no
• 54:16
  Speaker 1: there's no commentary on it really like there's no there's
• 54:19
  Speaker 1: nothing being I don't know, like it just again it's
• 54:23
  Speaker 1: it's like, well, what, why does this movie take place
• 54:26
  Speaker 1: in the fifties, Why is it important that it does?
• 54:29
  Speaker 1: Is there anything about this culture that is like it's
• 54:33
  Speaker 1: just really bizarre? And then yeah, they're romanticizing of the
• 54:36
  Speaker 1: fifties in particular, I mean most romanticizing the past is
• 54:40
  Speaker 1: just like ten Miles Bad Road. But um, but like
• 54:44
  Speaker 1: the fifties in particular, it was like a like uniquely
• 54:47
  Speaker 1: oppressive time in the US for like anyone who wasn't
• 54:53
  Speaker 1: Danny Zuko basically like it's very like high schools were
• 54:59
  Speaker 1: mostly not even integrated, and women were like being encouraged
• 55:04
  Speaker 1: to stay at home and not have jobs, like it
• 55:06
  Speaker 1: was worse than ten years before in like Cartierra was
• 55:11
  Speaker 1: also it was like totally like restrictive time. But the
• 55:15
  Speaker 1: fat but the but the looks were good and so that,
• 55:19
  Speaker 1: and we all like milkshakes, so you know, there's a
• 55:22
  Speaker 1: little push and pull there. But it's like romanticizing the
• 55:25
  Speaker 1: fifties is always I don't know, I can't, I can't
• 55:29
  Speaker 1: get there. But also I guess you know, people seeing
• 55:32
  Speaker 1: this movie in may have been alive for it, um
• 55:35
  Speaker 1: and but they're like what, like what is the thing?
• 55:38
  Speaker 1: They're like, oh, remember when women couldn't have jobs and
• 55:42
  Speaker 1: schools were still segregated. I'm like that, huh why. So
• 55:47
  Speaker 1: apparently this play got written at a time at the
• 55:51
  Speaker 1: very beginning of there being this fifties fanaticism in the seventies,
• 55:56
  Speaker 1: And I don't know how the writers in particular felt
• 55:59
  Speaker 1: about it, but definitely the seventies became hugely pop, but
• 56:02
  Speaker 1: the fifties become hugely popular in the seventies, I think,
• 56:05
  Speaker 1: sort of as a reaction to how socially liberal the
• 56:08
  Speaker 1: seventies were becoming. And that's where the Also, the show
• 56:14
  Speaker 1: was written without music right after somebody with a good
• 56:18
  Speaker 1: sense read it was like this made needs something, maybe
• 56:22
  Speaker 1: needs a little more than this plot. I've definitely never
• 56:25
  Speaker 1: seen a non musical stage version of it. No, I
• 56:29
  Speaker 1: don't think it got very far before they put music
• 56:31
  Speaker 1: in it. That's that's so interesting. I had no idea. Well,
• 56:35
  Speaker 1: and I haven't read or seen I don't think any
• 56:39
  Speaker 1: stage versions of this, and the stage version that premiered
• 56:44
  Speaker 1: had music in it, but it was originally written without it,
• 56:48
  Speaker 1: So like the like before it was brought to Broadway,
• 56:51
  Speaker 1: got it? I have the I I've read, and Gracie,
• 56:55
  Speaker 1: you can speak to this better than I can't having
• 56:57
  Speaker 1: just reread it. But like I've read that, um, the
• 57:00
  Speaker 1: movie is like a pretty sanitized version of the play,
• 57:06
  Speaker 1: where the play does seem to attempt to touch on
• 57:10
  Speaker 1: more kind of social issues and like some class stuff
• 57:14
  Speaker 1: and like more about like teen sexuality, and maybe in
• 57:17
  Speaker 1: a more meaningful way. Maybe not. I'm not sure, but
• 57:20
  Speaker 1: I think one of the main criticisms of the movie
• 57:22
  Speaker 1: was that it was a kind of watered down version
• 57:25
  Speaker 1: in terms of it's like social commentary. Got it of
• 57:29
  Speaker 1: the of the stage production. They definitely in the movie
• 57:33
  Speaker 1: took away moments of Danny actually being nice to her
• 57:37
  Speaker 1: that exists in the play, And they also took away
• 57:41
  Speaker 1: Sandy sticking up for herself when when Rizzo sings, look
• 57:46
  Speaker 1: at me, I'm Sandra d and the diner, Sandy walks
• 57:50
  Speaker 1: in on it and literally attacks Rizzo, and the boys
• 57:53
  Speaker 1: have to pull the two apart, and then they try
• 57:56
  Speaker 1: to fight again and they have to be pulled apart again.
• 57:58
  Speaker 1: So Sandy is willing to beat somebody up about her emotions,
• 58:01
  Speaker 1: and that is very absent in the film. Yeah, all
• 58:05
  Speaker 1: stuff that would have been great. Yeah, it's like because
• 58:07
  Speaker 1: we we don't see him be very nice to her,
• 58:09
  Speaker 1: and it's like it's truly only like moments of a
• 58:13
  Speaker 1: couple of seconds and never when anyone is looking, which
• 58:17
  Speaker 1: is like, well, it's also never when anyone is looking
• 58:19
  Speaker 1: into play. He's only nice to her in private, but
• 58:21
  Speaker 1: he says more things that are nice, so like, oh
• 58:25
  Speaker 1: that I mean again, I have to keep reminding myself
• 58:28
  Speaker 1: that this, like this came out over forty years ago.
• 58:32
  Speaker 1: It is about a time period that's like sixty years ago,
• 58:36
  Speaker 1: you know there. But like, I'm just like, why did
• 58:38
  Speaker 1: they end up together? Why did Sandy just like put
• 58:41
  Speaker 1: up with this horrible He's mistreated her so much the
• 58:45
  Speaker 1: entire story And then she's like, well, I better change
• 58:47
  Speaker 1: everything about myself so that he'll like me and then
• 58:50
  Speaker 1: maybe he'll treat me better. But probably not he does
• 58:54
  Speaker 1: stop touching her. He does, he doesn't touch her without
• 58:58
  Speaker 1: her initiating it during or the one that I want
• 59:01
  Speaker 1: so was she had to change everything about herself so
• 59:04
  Speaker 1: that she that was what made him respect to consent
• 59:09
  Speaker 1: was her changing her entire personality. She had to dress
• 59:11
  Speaker 1: up like a literal dominatrix with tight leather pants in
• 59:16
  Speaker 1: order for him to listen when she's like, don't touch me. Yeah, yeah,
• 59:21
  Speaker 1: it's it's it's tough. It's tough there, and I get
• 59:26
  Speaker 1: and I get, like, I like their romance is very
• 59:29
  Speaker 1: simple and for like the kind of movie it is
• 59:32
  Speaker 1: like most I don't know, I don't even mind a
• 59:36
  Speaker 1: movie musical couple being like pretty simple and just being
• 59:40
  Speaker 1: told like they like each other, and like, I don't
• 59:43
  Speaker 1: really care that much about that. It's just the fact
• 59:47
  Speaker 1: that we only see him be not nice to her
• 59:50
  Speaker 1: and then her have to and any time she acts
• 59:54
  Speaker 1: in like quote unquote defiance towards him, anytime she just
• 59:57
  Speaker 1: does her own thing, or like goes in dates Tom
• 1:00:00
  Speaker 1: goes in immediately gets on the cheerleading squad at a
• 1:00:02
  Speaker 1: new school. What an amazing life. Um, even though she's
• 1:00:07
  Speaker 1: pretty bad, she sucks' but I was like, oh, wow,
• 1:00:12
  Speaker 1: she's really struggling to fit in. Just kidding, she's immediately
• 1:00:15
  Speaker 1: the most popular girl at school. Um. But yeah, just
• 1:00:20
  Speaker 1: the fact that we never see him treat her, well,
• 1:00:23
  Speaker 1: I don't know, this movie is so weird, but I
• 1:00:26
  Speaker 1: like all the music so much. Um, but it doesn't it.
• 1:00:29
  Speaker 1: I feel like it is. Even if even though it's
• 1:00:31
  Speaker 1: a very simple relationship and we're just told they like
• 1:00:35
  Speaker 1: each other how they were at the beginning of the movie,
• 1:00:38
  Speaker 1: if we're taking that at face value, that the way
• 1:00:40
  Speaker 1: the movie plays out is still kind of makes no
• 1:00:42
  Speaker 1: sense because he like he liked her when she was
• 1:00:44
  Speaker 1: like a very passive sweetheart at the beginning of the movie.
• 1:00:49
  Speaker 1: But then she's like, now I'm a dominatrix, and he's like, actually,
• 1:00:53
  Speaker 1: I like this because I don't think you like her.
• 1:00:56
  Speaker 1: Right Well, it's like it's like, now that my friends
• 1:00:58
  Speaker 1: are around and we're wearing the same outfit, now they
• 1:01:02
  Speaker 1: can respect that I like you, Sandy. So it's fine
• 1:01:07
  Speaker 1: if I show that I like I Just like, I
• 1:01:08
  Speaker 1: don't follow the logic at all. Yeah, right, when you're
• 1:01:12
  Speaker 1: about to not be in that social situation too, Right,
• 1:01:17
  Speaker 1: right when it doesn't matter, and but no, they're they're
• 1:01:21
  Speaker 1: like double down. At the end, they're like, we're never
• 1:01:23
  Speaker 1: gonna leave our hometowns ever, we're always gonna, We're gonna,
• 1:01:28
  Speaker 1: which is like fine, but also just a very aggressive
• 1:01:31
  Speaker 1: ending message to the movie. I think, okay, isolating the
• 1:01:36
  Speaker 1: music and taking it away because to me, they're like
• 1:01:39
  Speaker 1: the song and dance numbers. And this is coming from
• 1:01:41
  Speaker 1: someone who doesn't like musicals generally, those are the best
• 1:01:44
  Speaker 1: parts of this movie. If you take those away and
• 1:01:47
  Speaker 1: just like examine beat for beat the plot and like
• 1:01:50
  Speaker 1: the different like character arcs and stuff like that, this
• 1:01:52
  Speaker 1: movie makes no fucking sense, Like and it's it's like
• 1:01:57
  Speaker 1: it's a it's a badly written story. Just like there's
• 1:02:00
  Speaker 1: no lesson that anyone really learns. There's no growth demonstrated,
• 1:02:06
  Speaker 1: which is so weird because there's so many characters who
• 1:02:08
  Speaker 1: are like edging on learning a lesson and then they
• 1:02:12
  Speaker 1: just don't. Yeah, like you said, like it seems like
• 1:02:15
  Speaker 1: things are being set up for again, Like yeah, the
• 1:02:18
  Speaker 1: setup of like Danny Zuko being a prisoner of his
• 1:02:22
  Speaker 1: own toxic masculinity and like it seems like he's going
• 1:02:25
  Speaker 1: to have to learn how to break out of that
• 1:02:27
  Speaker 1: and like grow past that, and then it just doesn't happen,
• 1:02:32
  Speaker 1: and he just keeps like forcing himself on Sandy and
• 1:02:36
  Speaker 1: mistreating her throughout the entire story and then complaining when
• 1:02:39
  Speaker 1: she doesn't respond if you like, stop embarrassing me, like
• 1:02:44
  Speaker 1: or French, she is going to choose her own life path.
• 1:02:49
  Speaker 1: But then an angel comes and is mean to her.
• 1:02:52
  Speaker 1: So then she goes and graduated high school, which it
• 1:02:55
  Speaker 1: seems almost like the theme is going to be anybody
• 1:02:58
  Speaker 1: can pass high school because that's on the announcements at
• 1:03:01
  Speaker 1: a crucial time, and it's like kind of reinstated, like
• 1:03:04
  Speaker 1: stay in class, you can pass. And then that doesn't
• 1:03:08
  Speaker 1: really seem to end up being meaningful. I feel like
• 1:03:12
  Speaker 1: I felt for Frenchie has such an incomplete story, But
• 1:03:16
  Speaker 1: I like Frenchie. I like that she's like trying to
• 1:03:20
  Speaker 1: do her own things, trying to figure herself out, and
• 1:03:22
  Speaker 1: then she fails once and Frankie Avalon so mean to her.
• 1:03:29
  Speaker 1: He's just so great outfit, though no customer would go
• 1:03:33
  Speaker 1: to you unless she was a hooker. Like just again,
• 1:03:37
  Speaker 1: I was just like a yikes, that line, that line
• 1:03:41
  Speaker 1: a disaster. And then on top first of all, um
• 1:03:44
  Speaker 1: I know it wasn't of the time, but I thought
• 1:03:45
  Speaker 1: frenchice hair was cute. But the pink, the pink. I
• 1:03:49
  Speaker 1: was like, Okay, you just have to move to two
• 1:03:51
  Speaker 1: one and you're going to be the most popular girl.
• 1:03:54
  Speaker 1: You're gonna be the most popular thirty year old in school.
• 1:03:58
  Speaker 1: But even in that song, I feel like it's implied
• 1:04:03
  Speaker 1: in one of the lyrics that she should go back
• 1:04:05
  Speaker 1: to graduate high school and then not get a job
• 1:04:08
  Speaker 1: and kind of be a housewife, where he basically says like,
• 1:04:11
  Speaker 1: you're not cut out for a job, so go finish.
• 1:04:14
  Speaker 1: First says, go finish high school and you can join
• 1:04:17
  Speaker 1: the steno pool. He's like, you can't be a hairdresser,
• 1:04:19
  Speaker 1: but you could be a stenographer. But then later he
• 1:04:22
  Speaker 1: implies that she couldn't hold a job and she's just
• 1:04:25
  Speaker 1: not cut out for it. It's so sad every time
• 1:04:28
  Speaker 1: that scene it the way that that song is set up,
• 1:04:30
  Speaker 1: at least in the movie, I you always think that
• 1:04:33
  Speaker 1: the older waitress is going to be singing to Frenchie
• 1:04:36
  Speaker 1: and that she's going to end up being the fairy godmother.
• 1:04:39
  Speaker 1: If I ever staged with this show, I'm stealing that idea.
• 1:04:42
  Speaker 1: That's so good, I always like, because it's always she
• 1:04:46
  Speaker 1: was like, well, I don't know. I was like, Oh,
• 1:04:48
  Speaker 1: she's about to turn around and it's going to be
• 1:04:50
  Speaker 1: sequence and she's gonna tell Frenchie how she's made it
• 1:04:54
  Speaker 1: in her life. And then but then it's just like,
• 1:04:56
  Speaker 1: oh no, here's here's a character we've never met and
• 1:04:59
  Speaker 1: we never see again, telling her she could never hold
• 1:05:02
  Speaker 1: a job, like you know, poor French. There's also I mean,
• 1:05:07
  Speaker 1: we touched on this, but the one of the other
• 1:05:09
  Speaker 1: pink ladies, Marty, we touched on how an adult man
• 1:05:15
  Speaker 1: praise on her and apparently tries to roofy her, and
• 1:05:18
  Speaker 1: that just gets completely blown past and played off as
• 1:05:21
  Speaker 1: a joke. In the play, he is scripted as going
• 1:05:25
  Speaker 1: around the dance feeling people up. That is a part
• 1:05:28
  Speaker 1: of the stage directions in the place that he's like
• 1:05:31
  Speaker 1: watching people dance, and then he is occasionally like copying
• 1:05:33
  Speaker 1: a field horrifying. It's funny. Sexual violence from old people's
• 1:05:41
  Speaker 1: funny lious. It's because it's like in or they like
• 1:05:47
  Speaker 1: it was a simpler time. I'm like, I'm pretty sure
• 1:05:49
  Speaker 1: people were also doing that in ninety eight, so maybe
• 1:05:52
  Speaker 1: it was just at his hands. Slithered down and rubbed
• 1:05:57
  Speaker 1: one of the girls across the ass or nonchalantly trying
• 1:06:01
  Speaker 1: to quote cop of Field is in the stage direction. Uh.
• 1:06:07
  Speaker 1: Interesting note on Marty. In the play, she is explicitly
• 1:06:12
  Speaker 1: engaged to the marine, and then she has a song
• 1:06:15
  Speaker 1: about it, and then they've changed it in the movie
• 1:06:19
  Speaker 1: so that she's in penpal relationships with lots and lots
• 1:06:22
  Speaker 1: of men, which is more of a comedic beat and
• 1:06:23
  Speaker 1: not a song beat, and has also been used. I
• 1:06:27
  Speaker 1: read and watched a few arguments as to why this
• 1:06:31
  Speaker 1: is a highly feminist film, and one of the points
• 1:06:34
  Speaker 1: that has made is that these women don't seem interested
• 1:06:37
  Speaker 1: in domesticity or having babies, are getting married, which is
• 1:06:41
  Speaker 1: less true in the play because Marty is engaged and
• 1:06:44
  Speaker 1: I guess she seems like a little bit more like
• 1:06:46
  Speaker 1: she's living in an exciting like because she has multiple
• 1:06:49
  Speaker 1: men in her life that are across the sea, but
• 1:06:54
  Speaker 1: it doesn't seem like they have career interests either, So
• 1:06:57
  Speaker 1: I don't really think that that argument has a like
• 1:06:59
  Speaker 1: to and on. I think it makes sense to me
• 1:07:02
  Speaker 1: in like the framework of like what second wave feminism
• 1:07:06
  Speaker 1: seemed to mostly be, where it's like still very like it.
• 1:07:11
  Speaker 1: I feel like second way feminism in particular kind of
• 1:07:13
  Speaker 1: really enables a lot of like rape culture because because
• 1:07:19
  Speaker 1: it's like it rejects domesticity, it encourages women to, you know,
• 1:07:24
  Speaker 1: at least on paper, um like have sex with whoever
• 1:07:27
  Speaker 1: they want and like get a job if you want,
• 1:07:29
  Speaker 1: like have more freedom. But in a way that almost
• 1:07:32
  Speaker 1: like endorses all this gross behavior from men and framing
• 1:07:38
  Speaker 1: it as like no women are allowed to enjoy it.
• 1:07:40
  Speaker 1: You don't have to pretend that you don't like it
• 1:07:43
  Speaker 1: because you're approved, And it's like almost I don't know,
• 1:07:46
  Speaker 1: it's I'm telling you I don't like it, Yeah, exact exactly.
• 1:07:50
  Speaker 1: I'm like, but what if? But what if? What if
• 1:07:52
  Speaker 1: you meant it? Like there's also like a during that
• 1:07:58
  Speaker 1: beat when she's like, oh, like I'm dating a Marine
• 1:08:02
  Speaker 1: and a whole bunch of other guys too. She puts
• 1:08:04
  Speaker 1: on this robe and she's like, yeah, Bobby got it
• 1:08:07
  Speaker 1: from me and Korea, and then I forget which one
• 1:08:10
  Speaker 1: it is. But someone's like, you're not dating a Korean,
• 1:08:12
  Speaker 1: are you? And she's like, no, he's in Marines, So
• 1:08:15
  Speaker 1: it's like, of course I'm not dating a Korean. You stupid,
• 1:08:19
  Speaker 1: Like Okay, so there's there's like, yeah, there's that racist joke.
• 1:08:23
  Speaker 1: There was like the like little homophobic moment at the
• 1:08:29
  Speaker 1: dance I'll look inna you Eugene. Yeah whatever, Yeah, and
• 1:08:35
  Speaker 1: then there's just like a ton of I mean, and again,
• 1:08:38
  Speaker 1: this is like the most basic criticism of Greece. I
• 1:08:42
  Speaker 1: don't even want to harp on it, but like, the
• 1:08:44
  Speaker 1: amount of like rape culture in this movie is so wild.
• 1:08:49
  Speaker 1: It's like that's that's all of the T Birds just
• 1:08:52
  Speaker 1: just like their character. It's barely worth mentioning. But like
• 1:08:56
  Speaker 1: the I mean, what is worth mentioning? But it's like
• 1:08:58
  Speaker 1: this has been already mentioned and a million times by
• 1:09:01
  Speaker 1: a million people. But like the lyric, dude she put
• 1:09:03
  Speaker 1: up a fight and it's like yeah, that's like God,
• 1:09:07
  Speaker 1: the debate, I mean, it's like at this point it's like, yeah,
• 1:09:10
  Speaker 1: that's rave culture. I don't know why it's an argument this.
• 1:09:13
  Speaker 1: I'm there are certain like arguments that people are never
• 1:09:17
  Speaker 1: sick of having that it's like can we just can
• 1:09:19
  Speaker 1: we just put it to rest? It's obviously a very
• 1:09:22
  Speaker 1: rape line, and um, I don't like, what's the argument, right? Well,
• 1:09:29
  Speaker 1: but yeah, all the T Birds, I mean that all
• 1:09:31
  Speaker 1: the tea birds are are in a prison that they
• 1:09:34
  Speaker 1: have constructed them. Well, like again, there's a moment that
• 1:09:39
  Speaker 1: I'm like, oh this this could be fun or there
• 1:09:41
  Speaker 1: could there could have been more commentary on this where
• 1:09:44
  Speaker 1: Knnicki is trying to ask Danny Zuko if he'll be
• 1:09:48
  Speaker 1: his like driving buddy. So I don't even know what
• 1:09:51
  Speaker 1: He's like, you will you be my shuck in in
• 1:09:53
  Speaker 1: command for thunder borderline like a romantic moment only sort
• 1:09:58
  Speaker 1: of makes sense. What's happening. I don't know what he's
• 1:10:01
  Speaker 1: asking it, but he's basically just like will you be
• 1:10:03
  Speaker 1: there for me? Bro? And will you be my second?
• 1:10:05
  Speaker 1: At Thunder Road? It's like do you want me to
• 1:10:07
  Speaker 1: be in the passenger seat? Like what are you asking? Anyway?
• 1:10:09
  Speaker 1: And so he didn't you also didn't understand that because
• 1:10:12
  Speaker 1: I was like because Danny zo like react, so he's
• 1:10:15
  Speaker 1: so thrilled. I'm like, what the what? What's the question?
• 1:10:19
  Speaker 1: Does that mean you'll fill in for me in case
• 1:10:21
  Speaker 1: I get my head bombed by a car door and
• 1:10:23
  Speaker 1: I'm unwilling to raise? Is that what he's preparing for?
• 1:10:26
  Speaker 1: I guess like can you be my study? So weird
• 1:10:33
  Speaker 1: because like Danny doesn't even know what he's asking it
• 1:10:35
  Speaker 1: first either, but then he's like, oh yeah, and then
• 1:10:38
  Speaker 1: they like so once you realize and get embarrassed, yeah,
• 1:10:41
  Speaker 1: they hug and then there's like this nice, tender moment
• 1:10:43
  Speaker 1: of like platonic male friendship. And then they realize what
• 1:10:46
  Speaker 1: they're doing and that they're like you know, grease or
• 1:10:48
  Speaker 1: guy friends are also right there watching, So then they
• 1:10:51
  Speaker 1: pull apart. They start like you know, coming back, slicking
• 1:10:55
  Speaker 1: back their hair and like resuming their like you know,
• 1:10:57
  Speaker 1: macho persona, and like, can't we talk more about that?
• 1:11:02
  Speaker 1: Like why can't the movie explore that more? And then
• 1:11:05
  Speaker 1: but it's just like this fleeting moment they really cannot explore.
• 1:11:09
  Speaker 1: They cannot male friendship. I wanted to go back to
• 1:11:13
  Speaker 1: the Pink Ladies to Jan because there's a there's a
• 1:11:17
  Speaker 1: strange thing happening there, and I didn't even realize what
• 1:11:21
  Speaker 1: was happening until like halfway through the movie. So basically
• 1:11:24
  Speaker 1: there's a scene at the diner where she starts talking
• 1:11:27
  Speaker 1: to one of the t birds and I truly have
• 1:11:30
  Speaker 1: no idea which one it is. Putsy the blonde guy
• 1:11:33
  Speaker 1: right whose character is Roger, and the play and Roger
• 1:11:36
  Speaker 1: is also supposed to be fat, so there's supposed to
• 1:11:38
  Speaker 1: be two fat characters, and then the movie there's one
• 1:11:40
  Speaker 1: fat character and no fat acts and actually no fact
• 1:11:43
  Speaker 1: that was so confusing. Okay, so what basically what happens
• 1:11:48
  Speaker 1: here is that jan is talking to Petsy and they
• 1:11:52
  Speaker 1: start kind of like flirting and connecting, and Putsy is like,
• 1:11:56
  Speaker 1: I've always seen you as more than just fat, and
• 1:11:59
  Speaker 1: she's like, oh things, and You're just like what what
• 1:12:02
  Speaker 1: did what what are you talking about? Because Jan, that
• 1:12:06
  Speaker 1: is not fat, not fat, the actor is not fat.
• 1:12:09
  Speaker 1: But then when I went back and rewatched the movie,
• 1:12:11
  Speaker 1: I realized that she is apparently supposed to be coded
• 1:12:14
  Speaker 1: as fat because she is wearing baggy clothes and she's
• 1:12:18
  Speaker 1: always eating. Yeah, which if I didn't notice that on
• 1:12:21
  Speaker 1: the first watch, and then I had to rewind when
• 1:12:24
  Speaker 1: it hit that point, I was like, what was this
• 1:12:26
  Speaker 1: signal to us in anyway? But it is. It is
• 1:12:30
  Speaker 1: in the way that they like, like, you're like in
• 1:12:32
  Speaker 1: the way that she is eating sometimes, because right, because like,
• 1:12:37
  Speaker 1: if you're fat, you're always eating. That's what the movie,
• 1:12:40
  Speaker 1: which is like the laziest plot point in the book.
• 1:12:43
  Speaker 1: Also the fact that in the play, they were that
• 1:12:45
  Speaker 1: whole implication that like fat people can only date other
• 1:12:48
  Speaker 1: fat people, Like that's another exhausting like yeah, there's three
• 1:12:54
  Speaker 1: times more jokes, so oh no, yeah, it's it's pretty bad.
• 1:12:59
  Speaker 1: I guess I'm bad that those aren't included like in
• 1:13:02
  Speaker 1: the movie. It was just very jarring, especially especially because
• 1:13:06
  Speaker 1: then it's like the sad thing where she when they
• 1:13:10
  Speaker 1: say explicitly that this is supposed to be a fat character,
• 1:13:13
  Speaker 1: and then you're like huh, and then she implies that
• 1:13:16
  Speaker 1: she's been like starving herself and she's been like dieting,
• 1:13:19
  Speaker 1: and that now that she's dieting, a boy likes her,
• 1:13:23
  Speaker 1: Like you're just like fuck. And then at the very end,
• 1:13:27
  Speaker 1: when there's like the whole like carnival dance sequence, she's
• 1:13:30
  Speaker 1: in like a form fitting dress, and I think it's
• 1:13:33
  Speaker 1: the implication is, oh, she's lost weight. I think that
• 1:13:36
  Speaker 1: that's how the actor looks there. That's just how she's
• 1:13:38
  Speaker 1: always looked the whole time. I was just like I
• 1:13:40
  Speaker 1: could not even begin to wrap my head around what
• 1:13:44
  Speaker 1: the intention was of any of that. But I was like,
• 1:13:47
  Speaker 1: I think the movie is trying to tell us that
• 1:13:50
  Speaker 1: this character was supposed to be fat even though the
• 1:13:53
  Speaker 1: actor is thin, but we're supposed to think she's fat
• 1:13:57
  Speaker 1: because she's eating all the time. I was just like,
• 1:14:00
  Speaker 1: what choice is this? I was so CONFA, that was
• 1:14:03
  Speaker 1: a very confusing plot point to take in. I mean,
• 1:14:07
  Speaker 1: that's I vaguely now that you say that there's more
• 1:14:09
  Speaker 1: jokes in this stage show. That kind of brings a
• 1:14:13
  Speaker 1: bell to like productions of it I've seen before, which
• 1:14:17
  Speaker 1: is also just like, especially when you're like often casting
• 1:14:20
  Speaker 1: kids in that show, incredibly cruel and fucked up to do. Yikes, Um,
• 1:14:28
  Speaker 1: that was weird. I thought her like I didn't know
• 1:14:30
  Speaker 1: because I was like, there are all these like stock characters,
• 1:14:35
  Speaker 1: and there's a wide I'm like, the most I can
• 1:14:37
  Speaker 1: kind of say, for like, there are different types of
• 1:14:40
  Speaker 1: women in this movie, but it's just kind of like
• 1:14:42
  Speaker 1: a lot of different types of female stock characters. Yeah,
• 1:14:47
  Speaker 1: it's archetypes. It's not there's a wide provide range of
• 1:14:51
  Speaker 1: archetypes for in this movie. I thought that she was
• 1:14:55
  Speaker 1: at first, I was like jan is a. I went
• 1:14:59
  Speaker 1: a for a direction like, oh, she's wearing glasses, so
• 1:15:02
  Speaker 1: the movie wants me to think that she liked school,
• 1:15:06
  Speaker 1: But apparently that's not what I was to think. Oh, no,
• 1:15:09
  Speaker 1: I think wears glasses. Who wears glasses? Marty? Oh she
• 1:15:14
  Speaker 1: has the horn from glasses at the beginning, Yeah, she
• 1:15:17
  Speaker 1: has glasses in the first scenes. I was like, got it, books,
• 1:15:21
  Speaker 1: But I was wrong. I was smarted by a different thing.
• 1:15:25
  Speaker 1: Don't they make me look smarter? No, I can still
• 1:15:28
  Speaker 1: see your face. Ye. Hey, here's something though. The mechanic
• 1:15:36
  Speaker 1: at their school who helps Knicky fix up his car
• 1:15:40
  Speaker 1: is a woman, Mrs Murdoch. So do think she's the
• 1:15:45
  Speaker 1: shop teacher? I guess I think so. Yeah, she gets
• 1:15:47
  Speaker 1: a matching outfit, but that's not a role that a
• 1:15:52
  Speaker 1: woman would traditionally play as like a shop teacher, like
• 1:15:56
  Speaker 1: an auto mechanic, especially during that time. So I was like, okay,
• 1:16:01
  Speaker 1: that's something. Yeah, that's something. That's something. I liked her outfit.
• 1:16:08
  Speaker 1: I just I love all the outfits, all the outfits.
• 1:16:12
  Speaker 1: Cannot argue with them. Um, I just have a couple
• 1:16:15
  Speaker 1: of other really quick just again, like the promotion of
• 1:16:19
  Speaker 1: rape culture that this movie likes to do a little
• 1:16:23
  Speaker 1: gloss of really quickly. Um, there's the I think it's
• 1:16:26
  Speaker 1: which I forget which tea bird it is? Again, they
• 1:16:28
  Speaker 1: all just sort of blend together for me, but one
• 1:16:30
  Speaker 1: of them is like looking up a girl's skirt on
• 1:16:33
  Speaker 1: the bleachers, and like one of his friends does the
• 1:16:36
  Speaker 1: absolute bare minimum to like stop him and call him
• 1:16:38
  Speaker 1: out on it, but it's too embarrass Petsy, It's not
• 1:16:43
  Speaker 1: to stop it from happening. It's ok because he got caught. Yeah, yeah, okay.
• 1:16:48
  Speaker 1: That makes just go like a um. And then there's
• 1:16:54
  Speaker 1: also a moment where it's like during or after the
• 1:16:57
  Speaker 1: Summer Night's Song, where Sandy has said how great this
• 1:17:00
  Speaker 1: boy was that she met, and then Rizzo says, oh,
• 1:17:04
  Speaker 1: you know, this is supposed to be true love, but
• 1:17:06
  Speaker 1: he didn't even lay a hand on you. Sounds like
• 1:17:09
  Speaker 1: a so like the girls, unfortunately, are also kind of
• 1:17:13
  Speaker 1: like have been conditioned to buy into this rape culture
• 1:17:17
  Speaker 1: idea that if like a man isn't throwing himself on
• 1:17:20
  Speaker 1: you and assaulting you constantly, he must not like you.
• 1:17:24
  Speaker 1: I think it's also connected to Gracie what you were
• 1:17:27
  Speaker 1: saying earlier about how like that is kind of like
• 1:17:30
  Speaker 1: what is supposed to make this movie feminist for its time,
• 1:17:35
  Speaker 1: is like, oh, they're not prudes, so therefore, like that's feminist.
• 1:17:40
  Speaker 1: When you're like, no, this could actually be encouraging some
• 1:17:43
  Speaker 1: pretty like harmful. It's so I don't know. Summer Nights
• 1:17:47
  Speaker 1: is the wildest song of all time because it's so
• 1:17:49
  Speaker 1: catchy and I love it so much. But it's like
• 1:17:52
  Speaker 1: they're just it's just like people singing in this like
• 1:17:56
  Speaker 1: cell of gender normativity that they've created. Yipes. Yeah, Well,
• 1:18:02
  Speaker 1: does anyone have any other thoughts? Um? Should we talk
• 1:18:07
  Speaker 1: about chaw chaw our Only she's not explicitly a character
• 1:18:15
  Speaker 1: of color in the play, Okay, but then she's kind
• 1:18:19
  Speaker 1: of our only character, Like that's on our only speaking
• 1:18:22
  Speaker 1: character of color. I think I thought she's a Italian. Oh,
• 1:18:28
  Speaker 1: she's supposed to be Italian in the movie too. I
• 1:18:30
  Speaker 1: think based on the last name. I read a whole
• 1:18:32
  Speaker 1: bunch of criticism about her character from that standpoint. Okay, yeah,
• 1:18:36
  Speaker 1: because I I know that the actor who played cha
• 1:18:40
  Speaker 1: Shaw is Mexican Italian. Yeah, I'd like to know more
• 1:18:44
  Speaker 1: about the criticism around it, because that whole I mean,
• 1:18:47
  Speaker 1: the way that that character is treated at every stage
• 1:18:50
  Speaker 1: is I mean, she shows up, she is immediately a villain.
• 1:18:53
  Speaker 1: She's one of um, you know, Danny Zuko's discarded women.
• 1:18:57
  Speaker 1: But what what is? What is some of the criticism
• 1:18:59
  Speaker 1: around around that bend. You know, it was it wasn't
• 1:19:02
  Speaker 1: like a super in depth article, but it was pretty
• 1:19:04
  Speaker 1: much just you know, they refer to her um I
• 1:19:07
  Speaker 1: forget which is the plane, which is the movie, but
• 1:19:09
  Speaker 1: they refer to her chest hair. At one point in
• 1:19:12
  Speaker 1: the play they call her a gorilla. That and ends
• 1:19:16
  Speaker 1: in the movie where like she gives because she's like
• 1:19:19
  Speaker 1: sort of dating crater Face sometimes, I think, and she
• 1:19:24
  Speaker 1: like pulls a little necklace out of her like cleavage
• 1:19:27
  Speaker 1: or something like that and gives her like a little
• 1:19:29
  Speaker 1: charm or something and gives it to him. And then
• 1:19:32
  Speaker 1: one of the pink ladies is like, oh, she just
• 1:19:34
  Speaker 1: pulled chest gave him some chest hair or something like that.
• 1:19:38
  Speaker 1: Oh I missed that line. That's yeah horrible. Yeah, it's
• 1:19:42
  Speaker 1: it's worse than the play. But we could talk a
• 1:19:46
  Speaker 1: little bit if we want to about women are kind
• 1:19:49
  Speaker 1: of mean to each other. Like for it being an
• 1:19:52
  Speaker 1: explicit clique and group, there is not a lot of
• 1:19:56
  Speaker 1: supporting each other's wants and needs going on. Even among
• 1:20:00
  Speaker 1: the pink ladies there especially mean to each other, Like
• 1:20:03
  Speaker 1: and they're supposed to be friends, they're pretty mean to
• 1:20:06
  Speaker 1: each other. Marty doesn't keep her secret and like even
• 1:20:09
  Speaker 1: like the principle is really mean to the office administrator.
• 1:20:13
  Speaker 1: Oh yeah, yeah, I had. I had a few notes
• 1:20:16
  Speaker 1: about that as well, where it was like there is
• 1:20:19
  Speaker 1: no support within this group that we're being presented as,
• 1:20:23
  Speaker 1: like oh, look at like visually they're presented as being
• 1:20:25
  Speaker 1: very close with each other, but they can't talk to
• 1:20:28
  Speaker 1: each other. Like Rizzo is like kind of drowning in
• 1:20:31
  Speaker 1: her own like shame and insecurity, and she can't communicate
• 1:20:36
  Speaker 1: honestly with anybody. French. She doesn't tell anyone that she's
• 1:20:40
  Speaker 1: dropping out of beauty school because I guess she doesn't
• 1:20:42
  Speaker 1: like trust her friends enough to share that information. She
• 1:20:45
  Speaker 1: only shares it with a waitress who immediately leaves the scene.
• 1:20:49
  Speaker 1: Like that made me sad. I was like, wow, no
• 1:20:51
  Speaker 1: one has Like everyone is very isolated for a group
• 1:20:55
  Speaker 1: that we're supposed to be like rooting for as best
• 1:20:58
  Speaker 1: friends like that, and and then and then Sandy too,
• 1:21:02
  Speaker 1: where they immediately except for Frenchie who doesn't really who
• 1:21:06
  Speaker 1: does who also joins in too bully Sandy when it's convenient,
• 1:21:10
  Speaker 1: but they immediately isolate Sandy as well. And it's again
• 1:21:14
  Speaker 1: it's like there there is. There's not even really an
• 1:21:18
  Speaker 1: attempt at a comment on it where there's no yeah,
• 1:21:23
  Speaker 1: there's just never any resolution, Like it's just like and
• 1:21:26
  Speaker 1: that's just the way things are. Women get jealous of
• 1:21:29
  Speaker 1: each other and they're catty and they're mean, and that's
• 1:21:33
  Speaker 1: just what they're like. And meanwhile men are horny and
• 1:21:37
  Speaker 1: it's like, yeah, we gotta yeah with with with no
• 1:21:40
  Speaker 1: attempts to even try to explore like what the context
• 1:21:45
  Speaker 1: for any of that might be, or like it's it's
• 1:21:47
  Speaker 1: the thing we talked about all the time where it's
• 1:21:49
  Speaker 1: like men have seen women being mean to each other.
• 1:21:52
  Speaker 1: They can't imagine why that would be, but they've noticed it,
• 1:21:55
  Speaker 1: so they're like, well, women are just mean to each other,
• 1:21:57
  Speaker 1: and like not stopping to say for a second that
• 1:22:01
  Speaker 1: it might be because our patriarchal society means that women
• 1:22:05
  Speaker 1: have to compete with each other for the very limited
• 1:22:08
  Speaker 1: resources and opportunities that are ever allotted to women. But
• 1:22:13
  Speaker 1: men are just like, nah, it's probably because women hate
• 1:22:17
  Speaker 1: each other because they're all petty, right, which, like this
• 1:22:21
  Speaker 1: movie would be I think like able to tackle if
• 1:22:26
  Speaker 1: it wanted to to. It's like I don't mind seeing
• 1:22:28
  Speaker 1: like teen girls in conflict with each other. There's a
• 1:22:31
  Speaker 1: lot of movies that do that very well and like
• 1:22:34
  Speaker 1: have it makes sense and you understand the argument and like,
• 1:22:37
  Speaker 1: but this is this one just just presents it as
• 1:22:40
  Speaker 1: like this is just what happens. It makes me say
• 1:22:44
  Speaker 1: they're also alone, Like they really are so like in
• 1:22:48
  Speaker 1: terms of like emotionally and like who either are able
• 1:22:51
  Speaker 1: to open up to. I can't even really think of
• 1:22:54
  Speaker 1: two characters that I'm like, oh, there's a strong bond
• 1:22:57
  Speaker 1: of trust and affection between these characters. Like no one
• 1:23:00
  Speaker 1: can be their authentic self with anyone else in the
• 1:23:03
  Speaker 1: entire movie. It's really I don't feel sad. It's trying
• 1:23:09
  Speaker 1: to be critical of a world in which everyone is
• 1:23:12
  Speaker 1: so busy performing their assigned genders and fitting into society
• 1:23:17
  Speaker 1: that look at these cool people. They're on the outskirts
• 1:23:20
  Speaker 1: of society and they aren't doing that, but they're also
• 1:23:23
  Speaker 1: busy performing their alternative versions of gender identity that they
• 1:23:27
  Speaker 1: are doing the exact same thing as their peers right exactly.
• 1:23:30
  Speaker 1: So it's really depressing. As a god boomers are they're
• 1:23:34
  Speaker 1: hurting so much. Yeah, yeah, like I just no one
• 1:23:41
  Speaker 1: can be themselves in this movie. Because everyone is so
• 1:23:44
  Speaker 1: so focused on performing for each other and rejecting people
• 1:23:51
  Speaker 1: for arbitrary reasons. And I understand that that's like a
• 1:23:55
  Speaker 1: pretty authentic adolescent experience for a lot of means, especially
• 1:24:01
  Speaker 1: like in the seventies, especially in the fifties. You know,
• 1:24:04
  Speaker 1: Like again, I keep having having to remind myself, like
• 1:24:07
  Speaker 1: this was all stuff from decades and decades ago, and
• 1:24:10
  Speaker 1: therefore we can't have high hopes for it. But if
• 1:24:14
  Speaker 1: you're gonna explore the like turmoil and pain that like
• 1:24:19
  Speaker 1: a team goes through with like trying to figure out
• 1:24:21
  Speaker 1: their identity and like behaviors that manifest because of like
• 1:24:26
  Speaker 1: their internalized misogyny or because of their you know, the
• 1:24:31
  Speaker 1: prison of their toxic masculinity. Like, then again, I think
• 1:24:35
  Speaker 1: the bottom line for this movie is like it starts
• 1:24:38
  Speaker 1: to try to make some arguments or like make some commentary,
• 1:24:42
  Speaker 1: but never there's like absolutely no follow through. Mmma. That's
• 1:24:51
  Speaker 1: how it gets solved in the end A booget boogety
• 1:24:56
  Speaker 1: boggety boget cheap we do well well hell like hell,
• 1:25:02
  Speaker 1: everyone is so trapped except I mean, if I was Sandy,
• 1:25:07
  Speaker 1: I would be thrilled to be you know, flying into
• 1:25:09
  Speaker 1: the sun and burning to her risk, Like at that point, sure,
• 1:25:13
  Speaker 1: why not? Clearly no one here is going to ever
• 1:25:15
  Speaker 1: learn a goddamn thing. I do. Like when when Frenchy
• 1:25:18
  Speaker 1: is like men of rats, No they're fleas on rats. No,
• 1:25:23
  Speaker 1: they're a me bis on fleas all rats, and then
• 1:25:26
  Speaker 1: she says the only girl a guy can depend on
• 1:25:28
  Speaker 1: is her daddy, And I'm like, like, the only man
• 1:25:32
  Speaker 1: a girl can depend on is her daddy, which no,
• 1:25:35
  Speaker 1: thank you, unless she at least has a good relationship
• 1:25:38
  Speaker 1: with her dad. Yeah, I don't have an emotionally honest
• 1:25:42
  Speaker 1: but apparently she can't because she didn't tell him that
• 1:25:45
  Speaker 1: you know, about any beauty school thing. She only tells
• 1:25:49
  Speaker 1: and she has to, Like French she has to make
• 1:25:52
  Speaker 1: someone up to have a conversation with anyone, and that
• 1:25:55
  Speaker 1: person also bullies her. Maybe yeah, maybe Frankie Avalon is
• 1:26:00
  Speaker 1: her dad, and he has so many children it's probably true.
• 1:26:06
  Speaker 1: I know I'm supposed to know who Frankie Avalon is,
• 1:26:09
  Speaker 1: but I truly have no idea. It's okay, thank you
• 1:26:13
  Speaker 1: so much. He's not in the best early nineteen sixties
• 1:26:15
  Speaker 1: b to writing movies, Like if I was to recommend one,
• 1:26:17
  Speaker 1: I would say watch The Jama Party. His characters also
• 1:26:21
  Speaker 1: really mean in those movies, Like you're supposed to like
• 1:26:24
  Speaker 1: him and want him to be with a net, but
• 1:26:25
  Speaker 1: he's an asshole in all of the movies and he's terrible.
• 1:26:28
  Speaker 1: God damn it, Rats there abase on Rats. There's one
• 1:26:35
  Speaker 1: theory that I wanted to bring up, and that's, uh,
• 1:26:38
  Speaker 1: the interpretation that the reason Rizzo is so glib about
• 1:26:43
  Speaker 1: her pregnancy being a false alarm is that that isn't
• 1:26:45
  Speaker 1: what happened. And and you know, she kind of she
• 1:26:49
  Speaker 1: has a line. The movie is so different than the play,
• 1:26:53
  Speaker 1: but she has a line after Patty runs by giggling
• 1:26:56
  Speaker 1: at her and Sandy tries to be nice, and she's like,
• 1:26:58
  Speaker 1: you think, I don't know what people are saying about me, right,
• 1:27:02
  Speaker 1: and that could be just that she's pregnant, but then
• 1:27:04
  Speaker 1: she I don't know. I think that's a fun interpretation.
• 1:27:08
  Speaker 1: I think it's an interpretation that has sort of been
• 1:27:10
  Speaker 1: concocted after the fact to try to make it seem
• 1:27:13
  Speaker 1: like a more feminist movie than the filmmakers intended for
• 1:27:15
  Speaker 1: it to be. Like, I don't think that that's the
• 1:27:18
  Speaker 1: movie is intent is that she had an abortion, but
• 1:27:21
  Speaker 1: if you watch it with that in mind, you're like, oh, yeah,
• 1:27:23
  Speaker 1: you could totally see that. That's that's, at least in
• 1:27:26
  Speaker 1: the performance, an option of interpretation, And that does seem
• 1:27:31
  Speaker 1: like something like that feels kind of aligned with Rizzo's character,
• 1:27:34
  Speaker 1: Like she deals with her problems on her own and
• 1:27:36
  Speaker 1: she doesn't ask for any help or support that she
• 1:27:40
  Speaker 1: might actually need. I mean, that's that's interesting, I kind
• 1:27:44
  Speaker 1: of I mean that plot point would make more sense
• 1:27:47
  Speaker 1: than just being like just kidding. Yeah. Well, she says
• 1:27:51
  Speaker 1: she missed a period, which that seems severe, and the
• 1:27:55
  Speaker 1: play she's just five days late, which is not that
• 1:27:59
  Speaker 1: big a deal, right, I missed a period, Yeah, is
• 1:28:05
  Speaker 1: a little different. And then she's like, turns out it
• 1:28:07
  Speaker 1: was a false alarm and that could be a lie.
• 1:28:10
  Speaker 1: I want Risso to be able to talk to someone
• 1:28:12
  Speaker 1: that isn't via just bullying the girl closest to her.
• 1:28:16
  Speaker 1: Rizzo's also trapped in this very strange everyone it's toxic
• 1:28:23
  Speaker 1: feminine toughness. Yeah. Yeah, it is like she can only
• 1:28:27
  Speaker 1: express herself but listen to hurt people. Hurt people. It
• 1:28:31
  Speaker 1: really is true, Rizzo. I just yeah, and then yeah,
• 1:28:38
  Speaker 1: it's like the women don't push back like it's weird.
• 1:28:42
  Speaker 1: It's like the pink ladies seem like aware that they
• 1:28:45
  Speaker 1: know of the double standard of like girls are s
• 1:28:49
  Speaker 1: if they have sex, guys are amazing if they have sex.
• 1:28:52
  Speaker 1: But then they still slut shame each other anyways, almost
• 1:28:55
  Speaker 1: in a way that's like it strikes me as like
• 1:28:58
  Speaker 1: a little coping mechanism of like, well, no one's ever gonna,
• 1:29:02
  Speaker 1: you know, not shame us, so let's also slunch shame
• 1:29:05
  Speaker 1: each other, like if you can't beat them, I don't know,
• 1:29:10
  Speaker 1: I want to see these girls down. Let's yeah. The
• 1:29:15
  Speaker 1: last thing I wanted to bring up was just there's
• 1:29:18
  Speaker 1: always this um when I was just looking into, like
• 1:29:21
  Speaker 1: I was trying to look into, like what does like
• 1:29:24
  Speaker 1: a teenager right now think of Greece. It seems like
• 1:29:27
  Speaker 1: for all of the many many, many many reboots of
• 1:29:30
  Speaker 1: Greece it has happened that have happened, it seems like
• 1:29:33
  Speaker 1: teenagers kind of don't aren't very receptive to the movie
• 1:29:36
  Speaker 1: now and they buy in larger like yuck, like I
• 1:29:40
  Speaker 1: don't you know, they have no nostalgic attachment to it
• 1:29:43
  Speaker 1: um and don't seem that interested and so as recently
• 1:29:47
  Speaker 1: as like a couple of days ago. Um, I guess
• 1:29:49
  Speaker 1: the BBC like played Greece on like one of their
• 1:29:54
  Speaker 1: larger channels, and there was like this big Twitter backlash
• 1:29:58
  Speaker 1: of like stop showing this movie on t BE we
• 1:30:00
  Speaker 1: hate it. Like there was a really big like everything
• 1:30:03
  Speaker 1: about this is like misogynist and gross and it scares
• 1:30:07
  Speaker 1: me when there's only white people in a movie, like
• 1:30:10
  Speaker 1: teenagers do not like this movie and good, like great
• 1:30:14
  Speaker 1: for them, but then they're still but they're still making
• 1:30:17
  Speaker 1: a lot, so it's like there's a little bit of
• 1:30:19
  Speaker 1: dissonance there. And then Olivia Newton John was asked to
• 1:30:23
  Speaker 1: comment on this last year, which is like, well, this
• 1:30:27
  Speaker 1: usually doesn't go well. Um, and it didn't. It didn't
• 1:30:31
  Speaker 1: go that well. Um, yeah, she was. She was asked
• 1:30:35
  Speaker 1: by The Guardian of like, you know, like Greece has
• 1:30:40
  Speaker 1: gotten all this feminist, you know, criticism over the years.
• 1:30:44
  Speaker 1: What do you think And she said, it's a movie.
• 1:30:47
  Speaker 1: It's a story from the fifties where things were different.
• 1:30:50
  Speaker 1: Everyone forgets that at the end he changes for her too.
• 1:30:53
  Speaker 1: There's nothing deep in there about the me too movement.
• 1:30:57
  Speaker 1: I agree with that last part. Uh, it's just a girl,
• 1:31:02
  Speaker 1: she said, It's just a girl who loves a guy
• 1:31:03
  Speaker 1: and she thinks if he if she does that, he'll
• 1:31:05
  Speaker 1: like her, and he thinks if he does that, she'll
• 1:31:08
  Speaker 1: like him. I think that's pretty real. People do that
• 1:31:10
  Speaker 1: for each other. It was a fun love story. And
• 1:31:13
  Speaker 1: I see what she's saying there of like it's a
• 1:31:17
  Speaker 1: it's an extremely goofy movie. Don't take it too seriously.
• 1:31:24
  Speaker 1: But it's like it's such a famous I don't know.
• 1:31:27
  Speaker 1: I feel like that's like basic media literacy, Olivia. If
• 1:31:31
  Speaker 1: people are beat over the head with the message of
• 1:31:34
  Speaker 1: your movie, it's impactful. And so, yeah, she's fine. And
• 1:31:38
  Speaker 1: I also there was there was like a lot written
• 1:31:39
  Speaker 1: about how her career changed in a very sandy ish
• 1:31:43
  Speaker 1: way after Greece came out, where she had she had
• 1:31:46
  Speaker 1: like done some She had released a couple of successful
• 1:31:50
  Speaker 1: albums before Greece, but they were more kind of like
• 1:31:54
  Speaker 1: they just weren't like explicitly sexual songs. They were pretty
• 1:31:57
  Speaker 1: like just pure songs about love of blah blah blah.
• 1:32:01
  Speaker 1: And then after Greece came out, they kind of pivoted
• 1:32:04
  Speaker 1: her image to be like really sexually driven. And so
• 1:32:07
  Speaker 1: in the early eighties there's like let's get physical and
• 1:32:10
  Speaker 1: her next album is called Totally Hot, and like her
• 1:32:14
  Speaker 1: image was kind of pivoted in a in a sandy
• 1:32:17
  Speaker 1: ish way. That's all I got. Life imitating art maybe,
• 1:32:24
  Speaker 1: Um does this movie pass the Bechdel test? It does?
• 1:32:29
  Speaker 1: It does. Right near the beginning, Sandy asks French, she
• 1:32:34
  Speaker 1: do I look okay? French she? Frenchie says, sure, you
• 1:32:37
  Speaker 1: look good. Sandy says, I'm really nervous, you know, and
• 1:32:41
  Speaker 1: so Frenchie says, you look terrific. Yeah, they like they have.
• 1:32:46
  Speaker 1: I don't know. I mean, it's like there there was
• 1:32:49
  Speaker 1: more exchanges between the girls in this movie that passed
• 1:32:54
  Speaker 1: than I thought. What They spend a lot of time
• 1:32:56
  Speaker 1: talking about guys, like a lot of time, and then
• 1:32:59
  Speaker 1: they also have they also talk a lot about just
• 1:33:02
  Speaker 1: like a little more interesting, like how they feel they're
• 1:33:04
  Speaker 1: perceived by other people. Um, but they usually are talking
• 1:33:08
  Speaker 1: about how I don't know. And then a lot of
• 1:33:11
  Speaker 1: the passes are them bullying each other? Yes, but they do.
• 1:33:15
  Speaker 1: Like women are talking a lot in this movie, more
• 1:33:18
  Speaker 1: than I like remembered their being. There's a lot of
• 1:33:21
  Speaker 1: conversations between women. It's just sometimes they're just bullying each other. Yeah,
• 1:33:27
  Speaker 1: so you know, not ideal, but they do talk to
• 1:33:32
  Speaker 1: each other. Uh, let's write the movie on our nipple
• 1:33:35
  Speaker 1: scale zero to five nipples based on an examination of
• 1:33:40
  Speaker 1: intersectional feminism. I will have to give this I think
• 1:33:45
  Speaker 1: like a point five. And again, like everyone's gonna be like,
• 1:33:50
  Speaker 1: but it came out a million years ago, like you
• 1:33:53
  Speaker 1: have to consider the historical context, and yes, that is true.
• 1:33:58
  Speaker 1: But I also feel like this movie started like it
• 1:34:01
  Speaker 1: felt like it was equipped to like make some commentary.
• 1:34:05
  Speaker 1: And if you're going to do like a fifties nostalgia
• 1:34:09
  Speaker 1: story and you have hindsight of what the fifties were like,
• 1:34:14
  Speaker 1: and you you want to comment on that, like we've said,
• 1:34:18
  Speaker 1: it feels like the movie feels equipped to make some
• 1:34:21
  Speaker 1: of that commentary because it starts to and then it
• 1:34:24
  Speaker 1: just completely bails on it halfway through or not even
• 1:34:27
  Speaker 1: like it builds on it after like twenty minutes, and
• 1:34:31
  Speaker 1: then it's like, well, wouldn't it be fun if we
• 1:34:33
  Speaker 1: just keep seeing Danny Zuko mistreating his love interest and
• 1:34:38
  Speaker 1: then until she decides that it doesn't actually matter to her,
• 1:34:41
  Speaker 1: until she stops running away from him, and then and
• 1:34:44
  Speaker 1: then puts on some other pants and changes her entire
• 1:34:49
  Speaker 1: personality and that's what enables them to be together. Question Mark,
• 1:34:56
  Speaker 1: It's just yeah, obviously it doesn't um hold up by
• 1:35:00
  Speaker 1: our standards today. I do see some of the arguments
• 1:35:03
  Speaker 1: that it would have been perceived as, yeah, like second
• 1:35:07
  Speaker 1: wave feminist at the time, but thankfully we have moved
• 1:35:12
  Speaker 1: past that and progressed beyond that at least a little bit.
• 1:35:17
  Speaker 1: So um yeah, even with all the you know, the
• 1:35:22
  Speaker 1: historical context in mind, I have to give it a
• 1:35:25
  Speaker 1: point five and I'll give my nipple to Rizzo. I
• 1:35:32
  Speaker 1: feel like she was the most interesting and complex character,
• 1:35:35
  Speaker 1: and she she deserves better, and I wish we had
• 1:35:38
  Speaker 1: gotten more from her and for her. Stucker Channing is
• 1:35:43
  Speaker 1: also so great. I'm always I'm never not so jarred
• 1:35:47
  Speaker 1: by how dirty she's done by that whoever illustrated the
• 1:35:51
  Speaker 1: title credits, so just not how she looks. And they
• 1:35:57
  Speaker 1: made they shrink her mouth down to like five percent
• 1:36:00
  Speaker 1: of its size, and then they're like, oh, you know
• 1:36:03
  Speaker 1: how Stockard Channing has a tiny mouth, and you're like,
• 1:36:06
  Speaker 1: I don't know that, No, no, I don't know that.
• 1:36:08
  Speaker 1: Very weird. They also make Sandy look like just a
• 1:36:12
  Speaker 1: generic animated princess without any of her flaws caricatured at all,
• 1:36:18
  Speaker 1: and like her face would be easy to do that too.
• 1:36:20
  Speaker 1: It's not like she looks just like a far away
• 1:36:23
  Speaker 1: drawing of Cinderella. Yeah, there's some animation choices in the
• 1:36:28
  Speaker 1: beginning as much as like that. I love the animation
• 1:36:31
  Speaker 1: style of that sequence. Um, but the way they draw
• 1:36:35
  Speaker 1: some of the actors is questionable. Um. Yeah, I guess
• 1:36:40
  Speaker 1: I'll go with point five as well. I feel like
• 1:36:43
  Speaker 1: the I mean, I I see the second wave feminism
• 1:36:47
  Speaker 1: arguments there, but it also ends up being like, oh,
• 1:36:49
  Speaker 1: women are allowed to have sex now, they're still going
• 1:36:51
  Speaker 1: to get shamed for it aggressively by each other and
• 1:36:54
  Speaker 1: by everyone around them and assaulted constantly. But I mean,
• 1:36:58
  Speaker 1: after revisiting this movie, I feel like the even the
• 1:37:01
  Speaker 1: fact that it's like a movie made about the fifties
• 1:37:04
  Speaker 1: in the seventies, that almost makes it like I view
• 1:37:07
  Speaker 1: it a little like less well historically, because it's like
• 1:37:11
  Speaker 1: a movie made in a more sexually liberal, progressive time
• 1:37:17
  Speaker 1: as nostalgia for when that wasn't true, and in a
• 1:37:20
  Speaker 1: way that is completely uncritical of that era. So I
• 1:37:23
  Speaker 1: just it's just all very weird. Um. And it is
• 1:37:28
  Speaker 1: definitely like extremely impactful to this day, to the point
• 1:37:32
  Speaker 1: where it's like, Helen, you don't even know if you've
• 1:37:34
  Speaker 1: seen it, because it's so like maybe you have movie
• 1:37:37
  Speaker 1: you haven't. It's so like ingrained into American culture and
• 1:37:41
  Speaker 1: also just kind of pedals this like false image of
• 1:37:45
  Speaker 1: what the fifties were, which we're like, not really a
• 1:37:49
  Speaker 1: good time while also trying to like not do that
• 1:37:52
  Speaker 1: but then like still doing that. I just yeah, the
• 1:37:56
  Speaker 1: period choices of it just are very weird. Um, but
• 1:38:00
  Speaker 1: the music slabs, the outfits are incredible, and they're like,
• 1:38:06
  Speaker 1: the performances are good. It's just man, so much potential.
• 1:38:10
  Speaker 1: I like that they start saying things. But then there's
• 1:38:12
  Speaker 1: also that definitely that vibe that we talked about sometimes
• 1:38:15
  Speaker 1: of like uh, man, like an adult man desperately trying
• 1:38:20
  Speaker 1: to write a teenage girl and completely like it was
• 1:38:24
  Speaker 1: an attempt. Yeah, I don't know, some half formed thoughts,
• 1:38:28
  Speaker 1: but and and it's still fun to watch. I don't know,
• 1:38:32
  Speaker 1: but I'll give it a have nipple for our purposes. Um.
• 1:38:35
  Speaker 1: And also just I mean it goes without saying that.
• 1:38:39
  Speaker 1: Literally At one point I was like, is this not
• 1:38:41
  Speaker 1: an integrated high school in like canonically? But there are
• 1:38:45
  Speaker 1: There are a few black students at the school, but
• 1:38:49
  Speaker 1: it's they don't even have grounds. But it's so aggressively
• 1:38:52
  Speaker 1: white that I looked it up. Yeah yeah, yeah, not
• 1:38:57
  Speaker 1: even to meat. Yeah, it's so that's also, I mean,
• 1:38:59
  Speaker 1: it's like I understand where the teens are coming from.
• 1:39:02
  Speaker 1: That's a very jarring thing to see and not have
• 1:39:05
  Speaker 1: addressed in any way. I don't know. Romanticizing is just
• 1:39:10
  Speaker 1: like a bad idea. It's'm gonna give it, give it
• 1:39:14
  Speaker 1: half a nipple, and I'll also give it to Rizzo,
• 1:39:18
  Speaker 1: but I'll give it to Vanessa hudgens Is Rizzle. Oh,
• 1:39:23
  Speaker 1: good grief, Gracie, what about you? Rizzo too? Rizzo again?
• 1:39:28
  Speaker 1: That was supposed to be a princess switched again that play.
• 1:39:32
  Speaker 1: I'm gonna change it. I'm gonna give my half nipple
• 1:39:34
  Speaker 1: to Rizzo, but Rizzo the rat, the muppet, Oh my gosh,
• 1:39:39
  Speaker 1: rat different. My strategy is, I'm going to give out
• 1:39:45
  Speaker 1: some nipples and then I'm going to take some nipples away.
• 1:39:47
  Speaker 1: Please love this. I'm gonna give a nipple to the
• 1:39:51
  Speaker 1: opening sequence because it's fabulous. Um. I have this little
• 1:39:56
  Speaker 1: addition subtraction thing I've written that involves taking away nipples
• 1:40:00
  Speaker 1: for soccer Channing's drawing, but it adds up to the
• 1:40:03
  Speaker 1: same amount, and I'm gonna go past it. I'm going
• 1:40:07
  Speaker 1: to give a nipple to look at me, I'm Sandra
• 1:40:10
  Speaker 1: d because out of the context of her making kind
• 1:40:13
  Speaker 1: of making fun of a real person. I think it
• 1:40:15
  Speaker 1: is kind of a feminist moment, at least the messaging
• 1:40:18
  Speaker 1: of that song. Taking out of its context, I'm going
• 1:40:22
  Speaker 1: to take away a nipple for looping together Danny pressing
• 1:40:28
  Speaker 1: himself on Sandy, and they'm going to take away a
• 1:40:30
  Speaker 1: nipple from the t birds showing patties panties to the camera. Yes,
• 1:40:36
  Speaker 1: I forgot about that. Yeah, that's an assault we didn't
• 1:40:39
  Speaker 1: touch on. I didn't even remember them all. Yeah, that's bad.
• 1:40:44
  Speaker 1: Um and whatever. I'm going to give it a nipple.
• 1:40:49
  Speaker 1: I'm gonna give it a nipple. Give it a nipple.
• 1:40:52
  Speaker 1: I feel like if I give it less than a nipple,
• 1:40:53
  Speaker 1: my dad will feel sad. Understood, well, Gracie, thank you
• 1:41:01
  Speaker 1: so much for being here, Thank you for having me.
• 1:41:03
  Speaker 1: This is awesome. What a fun summer night we've had. UM.
• 1:41:09
  Speaker 1: Where can people follow you online and plug anything you'd
• 1:41:12
  Speaker 1: like to plug? Um? I am at Gracie Gillham g
• 1:41:16
  Speaker 1: R A C I E G I L L A
• 1:41:18
  Speaker 1: m Um. I have a movie circle circling around on
• 1:41:22
  Speaker 1: Lifetime Channel right now. I don't know when it's airing,
• 1:41:24
  Speaker 1: but it is called Stolen in Plain Sight. Um. You
• 1:41:29
  Speaker 1: can look out for a movie called super Host coming
• 1:41:31
  Speaker 1: up pretty soon for that. Yeah, awesome, Thank you again
• 1:41:37
  Speaker 1: so much for being here. You can follow us on
• 1:41:42
  Speaker 1: Twitter and Instagram at becketel Cast. You can go to
• 1:41:45
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• 1:41:49
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• 1:41:53
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• 1:41:57
  Speaker 1: bonus episodes. This month, we're doing to Amy Oh wait,
• 1:42:00
  Speaker 1: what are we calling it? She can do it all month?
• 1:42:03
  Speaker 1: What can she do month? It's doing to Amy Adams. Yes,
• 1:42:07
  Speaker 1: I'm going to call it Adams June. Okay, Adams June, which,
• 1:42:12
  Speaker 1: of course we are observing in January. So Amy Adams
• 1:42:16
  Speaker 1: Drama Arrival, Jeremy Renner okay. And then Amy Adams Comedy Enchanted,
• 1:42:26
  Speaker 1: I'm excited, she can do it all. And then our
• 1:42:30
  Speaker 1: t Public store t public dot com slash the Beechtel
• 1:42:33
  Speaker 1: cast for all of your March needs. And with that,
• 1:42:38
  Speaker 1: let's get getting the convertible. We're fine into the sun
• 1:42:43
  Speaker 1: from room. By bye.