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Erin Brockovich with Alfred Molina · The Bechdel Cast

• 0:00
  Speaker 1: On the Bechdel Cast, the questions asked if movies have
• 0:03
  Speaker 1: women in um, are all their discussions just boyfriends and husbands,
• 0:07
  Speaker 1: or do they have individualism the patriarchy zef in best
• 0:12
  Speaker 1: start changing it with the Bechdel Cast. Hello, and welcome
• 0:17
  Speaker 1: to the Bechtel Cast. My name is Jamie Loftus, my
• 0:20
  Speaker 1: name is Caitlin Drunte, and this is a podcast where
• 0:24
  Speaker 1: we discussed the role of women in movies you know
• 0:26
  Speaker 1: and possibly love. That's right, and we use the Bechtel
• 0:30
  Speaker 1: Test as a jumping off point to initiate a larger
• 0:33
  Speaker 1: conversation about the representation and portrayal of women in cinema.
• 0:38
  Speaker 1: And if you're the Moss, if you're not familiar, the
• 0:42
  Speaker 1: Bechdel Test is a media test that was created by
• 0:45
  Speaker 1: cartoonist Alison Bechtel, and it requires that the story has
• 0:50
  Speaker 1: two female identifying characters who have names. They must speak
• 0:54
  Speaker 1: to each other, and their conversation cannot be about a man.
• 0:58
  Speaker 1: You think it would be easy, and yeah, almost every
• 1:01
  Speaker 1: movie can't do it. A lot of movies fail the test,
• 1:05
  Speaker 1: or some of our faiths, there's or like a barely
• 1:09
  Speaker 1: pass where it's like you should kill yourself Hey, that's mean,
• 1:12
  Speaker 1: and then it passes upsetting that was that she's all
• 1:16
  Speaker 1: that pass So whoop see for that movie. Today is
• 1:21
  Speaker 1: a very special day. It's a very special day in
• 1:23
  Speaker 1: backtel cast history. I don't know if our guest is
• 1:25
  Speaker 1: aware what a big deal this is for us. I
• 1:29
  Speaker 1: don't know. We we'll have to find out. I I mean,
• 1:32
  Speaker 1: there's a lot of lore, there's a lot of back story.
• 1:35
  Speaker 1: It's it's all been coming down to this at this
• 1:38
  Speaker 1: very moment. Yes, So, in the interest of not burying
• 1:41
  Speaker 1: the lead any further, let us introduce our guests. Yes,
• 1:44
  Speaker 1: he really needs no introduction on this all the time.
• 1:50
  Speaker 1: He is, of course, Actor Alfred Molina, Hello, Hello, getting
• 1:57
  Speaker 1: slightly worried. Okay, so we were afraid this might happen.
• 2:01
  Speaker 1: I don't know how adequately briefed you were on our podcast.
• 2:07
  Speaker 1: Everyone's getting very Also, right before we came in, you
• 2:10
  Speaker 1: were like, Oh, that's crazy, We're going into a soundproof
• 2:13
  Speaker 1: room nervously, and then we're like, oh, we're about to
• 2:15
  Speaker 1: really spring something on him, and then the soundproof will
• 2:18
  Speaker 1: seem even worse. We're just huge fans. Do we mention
• 2:24
  Speaker 1: you on every episode? Yes? Literally every episode? What why
• 2:31
  Speaker 1: on earth would you want to do that? It's on
• 2:33
  Speaker 1: our feminist podcast. We mentioned you in over a hundred
• 2:37
  Speaker 1: episodes in a podcast about how women should talk about men.
• 2:42
  Speaker 1: Don't flatted, but slightly slightly worried for you. We are
• 2:49
  Speaker 1: also worried for ourselves, and yet we're huge fans. We
• 2:56
  Speaker 1: regularly at the end of every show say, felt for Molina.
• 2:59
  Speaker 1: Wasn't an this movie? What's the part that we think
• 3:02
  Speaker 1: he should have taken from someone else? Uh? So we
• 3:05
  Speaker 1: have a lot of that conversation with myself. We should
• 3:11
  Speaker 1: swap notes. We'll let you know where you belonged in
• 3:14
  Speaker 1: movies you weren't in all right, called my agent let
• 3:17
  Speaker 1: her know as well. We'll do. We're just so psyched
• 3:22
  Speaker 1: to head. Well, thank you, I'm delighted you. Thank you.
• 3:24
  Speaker 1: That's very sweet with you. Yeah, so now you've picked
• 3:27
  Speaker 1: the movie that we're talking about today. Yes, Aaron Brockovich, Um,
• 3:32
  Speaker 1: is there any specific reason you picked this one? And
• 3:34
  Speaker 1: what's your sort of relationship in history with this movie? Well,
• 3:38
  Speaker 1: apart from just being a bit of a fan of
• 3:40
  Speaker 1: Julia Roberts, but also on a personal level, Albert Finney
• 3:45
  Speaker 1: and I are chums, and I sort of always, you know, whenever,
• 3:51
  Speaker 1: you know, whenever Albert is in a movie, I was
• 3:53
  Speaker 1: kind of go and watch it, because, you know, he's
• 3:55
  Speaker 1: one of I think, one of the actors that certainly
• 3:58
  Speaker 1: my generation of actors. He's a little bit he's like
• 4:01
  Speaker 1: about ten years or so ahead of me, maybe a
• 4:03
  Speaker 1: bit more. But when I was growing up and studying,
• 4:07
  Speaker 1: he was one of those actors that you sort of
• 4:10
  Speaker 1: kind of revere. I certainly revered him. I looked up
• 4:12
  Speaker 1: to him a little bit, and he was he was
• 4:14
  Speaker 1: the sort of actor that I kind of wanted to
• 4:15
  Speaker 1: be when I was very young, and he's always been,
• 4:19
  Speaker 1: you know, the kind of character actor that you know,
• 4:22
  Speaker 1: the whole generation of us sort of aspired to. But
• 4:25
  Speaker 1: also it was such a really really interesting story. I mean,
• 4:29
  Speaker 1: the the and and I mean films that have a
• 4:33
  Speaker 1: female lead character are traditionally and the general kind of
• 4:38
  Speaker 1: the general sort of intelligence seems to be that those
• 4:41
  Speaker 1: movies are harder to market, they're harder to sell, they're
• 4:46
  Speaker 1: harder to find, it's harder to find an audience for them.
• 4:50
  Speaker 1: Totally crazy. So you need star power, you need you know,
• 4:54
  Speaker 1: or you need a story that's kind of really compelling
• 4:56
  Speaker 1: and all the and it's true of that movie, there's
• 5:00
  Speaker 1: a kind of I think it's because it's not overtly political.
• 5:03
  Speaker 1: It's not a movie, it's not a movie with a
• 5:05
  Speaker 1: cause in a sense, it's it's it's it doesn't it's
• 5:09
  Speaker 1: not kind of proselytizing about anything in particular. It's really
• 5:12
  Speaker 1: I find it very very much character based, and what
• 5:17
  Speaker 1: Julia Roberts did with the role was so audacious and
• 5:22
  Speaker 1: wonderfully free of of really caring about what anyone thinks.
• 5:26
  Speaker 1: I mean, it starts off. I mean the first time
• 5:29
  Speaker 1: you see her in the movie, she's kind of in
• 5:31
  Speaker 1: a mood. She's like, you know, she's breaking out of something.
• 5:33
  Speaker 1: She she's she's got an opinion, she has a point
• 5:36
  Speaker 1: of view. And that I always think is the best
• 5:39
  Speaker 1: thing about any kind of story on film is that
• 5:42
  Speaker 1: you're not you know, she's not trying to please everybody.
• 5:45
  Speaker 1: The writing isn't trying to say, you know, this is
• 5:49
  Speaker 1: the kind of woman all women should aspire to. You know,
• 5:53
  Speaker 1: this is just a very specific woman who is going
• 5:56
  Speaker 1: through a very specific thing. And that that always I
• 6:00
  Speaker 1: always found that attractive and very entertaining, and you know,
• 6:05
  Speaker 1: but it's a story that has such heart and passion
• 6:09
  Speaker 1: and and her journey. You know, she starts off unemployed,
• 6:14
  Speaker 1: almost homeless, with children, a ne'er do weel partner who's
• 6:19
  Speaker 1: not kind of you know, pulling his weight, and and
• 6:21
  Speaker 1: and so straight away the movie starts with her absolutely
• 6:25
  Speaker 1: with the odds against her in every possible way. And
• 6:28
  Speaker 1: still there's this sort of you know, the guts of
• 6:31
  Speaker 1: it and the the rage, I think is what fuels
• 6:34
  Speaker 1: her as well, not just being honorable or being decent
• 6:38
  Speaker 1: or being noble. There's nothing in a way, there's nothing
• 6:40
  Speaker 1: really noble about Aaron Brockovich. She's she knows exactly what
• 6:44
  Speaker 1: she needs to do. She knows exactly what has to
• 6:47
  Speaker 1: has to happen in order for her to create some
• 6:49
  Speaker 1: kind of decent life for herself. She's very single minded.
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  Speaker 1: She's not carrying, you know, the message of a movement
• 6:57
  Speaker 1: or the aspirations of other people. And that makes a
• 7:01
  Speaker 1: to me kind of one of the great sort of
• 7:03
  Speaker 1: heroines of modern cinema. That was beautiful. She's a yeah,
• 7:10
  Speaker 1: I'll give it to monologue. That's my audition monologue. They're
• 7:17
  Speaker 1: just explaining why you like Karen Braca. It breaks the ice.
• 7:23
  Speaker 1: Then it's the great equalizer. I like, this is one
• 7:25
  Speaker 1: of those movies that it's very hard to find someone
• 7:28
  Speaker 1: who has seen this movie and doesn't at least appreciate it,
• 7:32
  Speaker 1: if not is like a fan of it. Definitely. I've
• 7:36
  Speaker 1: seen this movie, as with many in bits and pieces
• 7:39
  Speaker 1: on TNT over a course of years, and I'd seen
• 7:43
  Speaker 1: it all the way through once in high school. Um,
• 7:45
  Speaker 1: but I hadn't revisited it in a long time and
• 7:48
  Speaker 1: rewatching it for this, I mean, any movie released in
• 7:51
  Speaker 1: the year two thousand. We just released What Women Want episode.
• 7:54
  Speaker 1: You're just like, this could go a lot of ways. Uh,
• 7:57
  Speaker 1: just like a span of years where things were going
• 7:59
  Speaker 1: on over the place. But I mean I thought held up,
• 8:02
  Speaker 1: I mean pretty spectacularly well. And probably part of the
• 8:06
  Speaker 1: reason is because it's rooted in a true story, so
• 8:10
  Speaker 1: it's harder to let a lot of the insidious tropes
• 8:13
  Speaker 1: that we talked about all the time into a true story,
• 8:16
  Speaker 1: although some of them sneak in there anyways. But I
• 8:19
  Speaker 1: really I thought it was great. I enjoyed watching it. Yeah,
• 8:22
  Speaker 1: Julie Roberts kills it, Albert Finney kills it. All the
• 8:26
  Speaker 1: good performances. Aaron I Card has a braid. You're just
• 8:29
  Speaker 1: like I forgot about that. I had flo like, Okay,
• 8:36
  Speaker 1: I saw this movie. I don't think I saw it
• 8:38
  Speaker 1: in theaters, but it was one of those ones where
• 8:40
  Speaker 1: I saw it within a year of it coming out
• 8:42
  Speaker 1: on you know, DVD or whatever, and I think that
• 8:44
  Speaker 1: was the only time I had seen it before rewatching
• 8:48
  Speaker 1: it to prep for the show, and I was reminded
• 8:52
  Speaker 1: that I really enjoy it. I love a good you know,
• 8:55
  Speaker 1: like investigatory. That's not a word I like to get
• 8:59
  Speaker 1: to keep it. Um. Yeah, I just I really I
• 9:04
  Speaker 1: enjoyed the movie. I think it is entertaining and performances
• 9:08
  Speaker 1: are great, and I like the story that unfolds. Cute
• 9:11
  Speaker 1: baby in the movie, A cute baby. Well, you can
• 9:14
  Speaker 1: never lose with a cute It's a cute cute baby
• 9:16
  Speaker 1: and cute dogs. Yes, it's a It's an absolute kind
• 9:20
  Speaker 1: of winner. I was one over very easily. The baby,
• 9:23
  Speaker 1: I don't know is it was an active baby. Julia
• 9:26
  Speaker 1: Roberts is having fun with the baby. Great chemistry with
• 9:30
  Speaker 1: the baby. Where's that baby? Now, there's a couple of things.
• 9:33
  Speaker 1: I think there's a scene, isn't that where she's holding
• 9:36
  Speaker 1: the baby and she kind of shouts at someone, and
• 9:39
  Speaker 1: clearly the baby is absolutely kind of like shocked by it,
• 9:43
  Speaker 1: starts to cry, and then she's carrying on the scene
• 9:46
  Speaker 1: and kind of taking care of the bay, taking care
• 9:48
  Speaker 1: of the crying baby, and you kind of go. And
• 9:51
  Speaker 1: my first thought when I first saw that, my first
• 9:53
  Speaker 1: thought was, is that her baby? Because it felt so
• 9:57
  Speaker 1: her connection to the way she was just handling the
• 10:00
  Speaker 1: child while while she was doing something. And you know,
• 10:03
  Speaker 1: you see mothers, you know, you see mom's doing that
• 10:05
  Speaker 1: all the time. But it was so seamless. Somehow she
• 10:10
  Speaker 1: she ceased to feel like an actor coping in a scene,
• 10:15
  Speaker 1: but you know, and she was still committed to the scene,
• 10:19
  Speaker 1: taking care of the chose. I thought it was absolutely brilliant.
• 10:21
  Speaker 1: I always talk about like on screen chemistry, but it's
• 10:25
  Speaker 1: usually like romantic relation. I mean, the chemistry between Julia
• 10:30
  Speaker 1: Roberts and baby. It was two babies. It was twins,
• 10:34
  Speaker 1: which usually is what happens classic baby when there's a
• 10:38
  Speaker 1: baby that has to be in a movie. But I
• 10:40
  Speaker 1: had to do that on a movie once. I had
• 10:42
  Speaker 1: a baby a little month months old and we had twins,
• 10:46
  Speaker 1: but sadly one of them had a sort of. It
• 10:49
  Speaker 1: was a temporary thing. Apparently happens a lot when babies
• 10:51
  Speaker 1: are born. One of them had a kind of lump
• 10:54
  Speaker 1: on miss shapen heads, slightly misshapen head which was going
• 10:58
  Speaker 1: it was going down. It was something to do with
• 10:59
  Speaker 1: the once and now getting squeezed when during the delivery
• 11:02
  Speaker 1: or something. And so it's not it's not a problem.
• 11:06
  Speaker 1: But because it was quite prominent, quite pronounced, when they
• 11:10
  Speaker 1: swapped the babies over, they realize, oh, we've got an
• 11:13
  Speaker 1: issue here because one baby's shaped it. So what they
• 11:17
  Speaker 1: do is they put both babies in these terrible hats.
• 11:22
  Speaker 1: And I kept and I kept saying to the I said,
• 11:24
  Speaker 1: at one point in the drag, said, you know, I
• 11:27
  Speaker 1: don't know about you, mate, but you know, when I
• 11:29
  Speaker 1: brought my baby home, I never I would take the
• 11:31
  Speaker 1: hat off. We can't take the hat off because of
• 11:34
  Speaker 1: when we swapped the babies over, the other one's got
• 11:36
  Speaker 1: great big lump on its head, you know. But yeah,
• 11:38
  Speaker 1: but that twin thing is interesting because you know they
• 11:40
  Speaker 1: can they're not necessarily the same, very different temperaments. You know,
• 11:47
  Speaker 1: I love a lumpy head based continuity era. I think
• 11:52
  Speaker 1: that would be a first How would be to be
• 11:55
  Speaker 1: the person who goes into the continuity, be like one
• 11:58
  Speaker 1: of the babies seemed lumpy and some se but smooth
• 12:01
  Speaker 1: in others. That's just cruel. So yeah, so I saw
• 12:06
  Speaker 1: the movie and I liked it, and that is my
• 12:10
  Speaker 1: history with it. Um. This is one of my mom's
• 12:13
  Speaker 1: favorite because I was too young to see this movie
• 12:15
  Speaker 1: when it came out. But my mom and one of
• 12:18
  Speaker 1: her many VHS hills she'd die on, Aaron Brockovich was
• 12:22
  Speaker 1: one of them. And my my mom's VHS hills to
• 12:25
  Speaker 1: die on, as you know, our hit or miss. I
• 12:28
  Speaker 1: would say she loves Aaron Brockovich just as much as
• 12:30
  Speaker 1: she loves what weapon want. But you know she's we're all,
• 12:34
  Speaker 1: we're all works in progress out But yes, so she
• 12:39
  Speaker 1: she loves this movie as well. Shall I do the
• 12:41
  Speaker 1: recap of the story. Let's recap all right, and feel
• 12:44
  Speaker 1: free to comment to any time. Yes, we grant your profission. Yes, okay.
• 12:50
  Speaker 1: So Aaron Brockovich is a single mother, UM, and she
• 12:54
  Speaker 1: is unemployed. She is financially broke. We see her get
• 12:58
  Speaker 1: into a car accident that is clearly not her fault
• 13:01
  Speaker 1: within the first few minutes of the film, and she
• 13:04
  Speaker 1: does not get a settlement from this accident, and she's
• 13:08
  Speaker 1: calling her lawyer and masbrid that, of course is Albert
• 13:12
  Speaker 1: Finney's character, right, And then part of the reason that
• 13:15
  Speaker 1: she doesn't get the settlement, in the way the movie
• 13:18
  Speaker 1: makes clear, is because the jury is biased against her
• 13:22
  Speaker 1: because she's a single mom, because she doesn't have a
• 13:24
  Speaker 1: job right now, And so they frame it like, while,
• 13:27
  Speaker 1: you've got into an accent twice and right, he's like
• 13:31
  Speaker 1: everything about her to explain why she did it on
• 13:35
  Speaker 1: purpose and why it wasn't an accident even though it was. Right.
• 13:38
  Speaker 1: So a little bit later, she goes into her attorney's
• 13:43
  Speaker 1: office and demands a job, and he hadn't know what
• 13:47
  Speaker 1: to do. He's just like, okay, he's reluctant, but Steve
• 13:51
  Speaker 1: rolls him. It's fun to watch. You can't resist that
• 13:54
  Speaker 1: Crimson tide. This is irresistible. Um. Meanwhile, she's her neighbor George.
• 14:01
  Speaker 1: He's a biker dude played by Aaron Eckhart. Aaron Eckhart
• 14:05
  Speaker 1: with a rat tail. It's wild. You don't see it coming,
• 14:09
  Speaker 1: and then all of a sudden it's there and you're like,
• 14:11
  Speaker 1: all right, I'm in this. Aaron Eckart with a rat tail.
• 14:14
  Speaker 1: I've already seen him as I Frankenstein. I'm down for
• 14:17
  Speaker 1: this too. I love I Frankenstein in You're the Only
• 14:21
  Speaker 1: Person in the World too. That's true A million times.
• 14:25
  Speaker 1: Loved it. So she's at work and she is doing
• 14:29
  Speaker 1: a lot of filing at this law office, and she's
• 14:32
  Speaker 1: going over a real estate file and there's a case
• 14:35
  Speaker 1: that has a bunch of medical records in it, um,
• 14:37
  Speaker 1: which doesn't make sense to be in a real estate case.
• 14:40
  Speaker 1: So she starts to investigate it. She goes to the
• 14:43
  Speaker 1: town of Hinckley, California, to a woman's home Donna Jensen,
• 14:48
  Speaker 1: she's the person who like filed the case, and she's
• 14:52
  Speaker 1: like don yes, yes, and um. She says that the
• 15:00
  Speaker 1: Pacific Gas and Electric Company are trying to buy her home,
• 15:04
  Speaker 1: but she and her husband don't want to sell it,
• 15:06
  Speaker 1: and they are also both sick and p Jennie covered
• 15:10
  Speaker 1: their medical bills, and Aaron's like, wait a minute, that's
• 15:13
  Speaker 1: perhaps these two things are related. Yeah, and then Donna
• 15:17
  Speaker 1: is like, well, it's because of the chromium and we're
• 15:20
  Speaker 1: like what what what what does chromium? It sounds like
• 15:24
  Speaker 1: it sounds bad. Yeah, it sounds like it's like it's
• 15:27
  Speaker 1: like movie science. Movie science is not really science. You
• 15:31
  Speaker 1: just got to find a word that sounds either bad
• 15:34
  Speaker 1: or dangerous or mysterious. You know. It's like when we
• 15:38
  Speaker 1: did Spider Man too, Trium, what is that? You know?
• 15:44
  Speaker 1: I mean it could it could, you know, you could
• 15:45
  Speaker 1: you could take a word off the you know, the
• 15:47
  Speaker 1: the ingredients in washing powder, and you can make it
• 15:50
  Speaker 1: sound like some mysterious science. It doesn't sound good. You
• 15:53
  Speaker 1: don't know. But in the movie. I think the reason
• 15:55
  Speaker 1: why we but we buy chromium in the movie is
• 15:58
  Speaker 1: because of that. There's that little thing that the director
• 16:01
  Speaker 1: decided to do that when when she mentions the word
• 16:04
  Speaker 1: for the first time, there's a little bit of air
• 16:06
  Speaker 1: around it. Yeah, and it's like she goes it was
• 16:10
  Speaker 1: the chromeum and then it's like there's just like then
• 16:13
  Speaker 1: it cuts away to Aaron kind of going She's thinking,
• 16:17
  Speaker 1: what the hell is that giving us to? You know,
• 16:19
  Speaker 1: the audiences think it doesn't sound good, you know, it's
• 16:23
  Speaker 1: kind of clever. It's good good stories hunting. It could be.
• 16:26
  Speaker 1: It could also be in a superhero movie. I mean
• 16:30
  Speaker 1: I could say so I could say something to you like, yeah,
• 16:33
  Speaker 1: my my kids are really sick. It's some it's the flooride.
• 16:39
  Speaker 1: And then someone goes floride yeah, and suddenly everyone's kind
• 16:44
  Speaker 1: of panicking about floride. They're like, they told us it
• 16:47
  Speaker 1: was healthy, but yeah, we're all sick. They said it
• 16:52
  Speaker 1: was in our toothpaste on it's in your toothpaste or
• 17:00
  Speaker 1: all decaying from the inside up. There's no hope, and
• 17:04
  Speaker 1: it seems like the chromium can very easily becomes sort
• 17:07
  Speaker 1: of like this. I don't know. I liked how the
• 17:11
  Speaker 1: chromium was handed. At least it made sense in story
• 17:13
  Speaker 1: because I feel like often when a mysterious substance is
• 17:18
  Speaker 1: introduced into a movie and all of a sudden is
• 17:20
  Speaker 1: just like, well, we've got to get rid of this substance.
• 17:23
  Speaker 1: What do we do? Or is either we have to
• 17:25
  Speaker 1: get it or we have to destroy it, right, But
• 17:28
  Speaker 1: the chromium is just sort of consistent. It's more like
• 17:31
  Speaker 1: we just have to avoid it. They're still bathing in
• 17:33
  Speaker 1: the chromium for most of the movie. There's kids in
• 17:36
  Speaker 1: pools full of chromium. So she, so Aaron Brockovich, starts
• 17:41
  Speaker 1: to research what this is, and she finds out that
• 17:45
  Speaker 1: chromium six is the bad kind. It's toxic, what's It's
• 17:50
  Speaker 1: a chromium hex hexas tape something I don't know. It
• 17:55
  Speaker 1: sounded dangerous. It sounds like, what is the red die
• 17:58
  Speaker 1: that sucks you up? What does that redde number? I
• 18:02
  Speaker 1: don't remember which there's a red dye that is not
• 18:04
  Speaker 1: good And any time I hear about a red die,
• 18:07
  Speaker 1: it's bad. Love potion number nine that's pretty bad too,
• 18:10
  Speaker 1: And that's the worst. Red Die forty, what's what's where's
• 18:18
  Speaker 1: that from? It just does it's bad for you. They
• 18:21
  Speaker 1: put it in a lot of color food artificial. You
• 18:24
  Speaker 1: were talking about like a movie where they where they said,
• 18:27
  Speaker 1: this is my life. Isn't a movie that I'm currently
• 18:31
  Speaker 1: writing where red Die forty is the main antagonist. It
• 18:37
  Speaker 1: kills everyone. It's in like gummy worms and kool aid
• 18:40
  Speaker 1: and stuff. Yeah, our children are anyways. Now I'm gonna
• 18:44
  Speaker 1: just put on a good tin foil hat and go
• 18:47
  Speaker 1: full chromium six everyone. So she learns how toxic it
• 18:52
  Speaker 1: is and how it probably caused all of the medical
• 18:55
  Speaker 1: problems that Donna Jensen and her husband have, and she
• 18:59
  Speaker 1: also finds out that the utility plants that p G
• 19:03
  Speaker 1: and E are operating put this chromium six in their
• 19:08
  Speaker 1: water because it prevents rust and corrosion of their engines
• 19:12
  Speaker 1: and then that seeps into the groundwater. Um, so she
• 19:17
  Speaker 1: starts to poke around. She goes to the local water
• 19:19
  Speaker 1: board for records that might tell her something, and she
• 19:21
  Speaker 1: discovers that there was like this order for a clean
• 19:24
  Speaker 1: up that happened, and that all of this area around Hinckley,
• 19:29
  Speaker 1: California was contaminated with chromium six. Right, and then we
• 19:35
  Speaker 1: find out this was one of the story points that
• 19:38
  Speaker 1: I'm like, I wonder how based in the actual story
• 19:41
  Speaker 1: of aer Brockovich this was because this threw me a
• 19:43
  Speaker 1: little bit where apparently this whole time that she's been
• 19:47
  Speaker 1: she's been investigating the story for about a week, but
• 19:49
  Speaker 1: she didn't tell her boss or something like Albert Finney
• 19:53
  Speaker 1: didn't understand why she wasn't at work. Well, he seems
• 19:56
  Speaker 1: to never check his messages. That's true. She would off
• 20:00
  Speaker 1: researching and she was away. Because she comes back, he said,
• 20:03
  Speaker 1: he says to in the scene, you've you've been away.
• 20:05
  Speaker 1: You know we fight. You got fired because you've been
• 20:07
  Speaker 1: away a week and she am I remembering right that
• 20:12
  Speaker 1: she told someone in the office that she was going,
• 20:15
  Speaker 1: but the message wasn't relayed to him, so he just
• 20:18
  Speaker 1: assumed that she wasn't turning. But that's another thing about
• 20:21
  Speaker 1: the movie that I thought was really interesting is that
• 20:23
  Speaker 1: in the beginnings, in the early scenes when she's working,
• 20:26
  Speaker 1: because she dresses in a kind of slightly more provocative way,
• 20:29
  Speaker 1: in a more kind of you know, she's not all
• 20:31
  Speaker 1: buttoned up like all the other women in the office,
• 20:33
  Speaker 1: there's not a lot of support for her, particularly from
• 20:37
  Speaker 1: the women in the office. She she's liking. She she's
• 20:40
  Speaker 1: at loggerheads with them almost immediately, and which I thought
• 20:44
  Speaker 1: was which I always thought was like a really interesting
• 20:47
  Speaker 1: dimension in the story that you know, she doesn't get
• 20:49
  Speaker 1: a lot of support in terms of, you know, what
• 20:52
  Speaker 1: she's fighting for or what she's dealing with in her
• 20:55
  Speaker 1: own life. Yeah, that's that's like one of the elements
• 20:58
  Speaker 1: of this character that that was sing and at times
• 21:01
  Speaker 1: a little bit confusing, where women seemed to in the
• 21:04
  Speaker 1: world of this movie relate to each other based on
• 21:08
  Speaker 1: class versus anything else. And a lot of movies take
• 21:12
  Speaker 1: a lot of different stances on like how are the
• 21:14
  Speaker 1: people interacting, but there seems to be a lot of
• 21:17
  Speaker 1: especially once they start to get into the weeds of
• 21:19
  Speaker 1: this case, like when I wrote down in my nose
• 21:22
  Speaker 1: is like Aaron Brockovich is the poor people whisperer, because
• 21:25
  Speaker 1: no one else knows how to talk to normal people
• 21:27
  Speaker 1: in this movie except for her, and so like when
• 21:30
  Speaker 1: she encounters not wealthy people, like middle class people who
• 21:35
  Speaker 1: work office jobs versus service jobs, they just don't know
• 21:40
  Speaker 1: what to do with her at all. And then she
• 21:43
  Speaker 1: goes full Aaron Brockovich and it's like fuck you, you know,
• 21:46
  Speaker 1: fuck you. My kits are out, and you're like, all right, cool,
• 21:51
  Speaker 1: that's fine too. But she she's able to communicate. I was,
• 21:54
  Speaker 1: I was worried when it's so early all the women
• 21:58
  Speaker 1: in the office don't like her. I was like, oh, hope,
• 22:00
  Speaker 1: it's not that kind of movie where just the women
• 22:02
  Speaker 1: are constantly at odds and there's not a lot of
• 22:05
  Speaker 1: explanation as to why, and there's no nuance. But then
• 22:08
  Speaker 1: when you see her interact with all the women who
• 22:11
  Speaker 1: are chromium affected, she is very empathetic towards them and
• 22:16
  Speaker 1: gets along with them and generally gets along with the
• 22:19
  Speaker 1: women in her neighborhood and she's a good mom. But
• 22:21
  Speaker 1: it's it seems like the friction between I mean, not
• 22:25
  Speaker 1: just women like characters in general are mostly class based. Yeah,
• 22:29
  Speaker 1: and we can talk more about that, um a little
• 22:32
  Speaker 1: bit later, but yeah, that's definitely something that like went
• 22:34
  Speaker 1: off in my had a little backtel alert if you will. Um. So,
• 22:40
  Speaker 1: she she gets fired, and meanwhile she she kisses her
• 22:43
  Speaker 1: neighbor George, and they're starting to you know, winds her
• 22:48
  Speaker 1: over and the babysitting pretty sick. He turns into he
• 22:54
  Speaker 1: turns into almost like the perfect partner for a while there.
• 22:58
  Speaker 1: I mean, you know, he does all the babysitting, he
• 23:00
  Speaker 1: does all the cooking, he's kind of look at he's dacare.
• 23:04
  Speaker 1: He's like daycare's daycare guy. And but then, but then
• 23:09
  Speaker 1: the thing that really disappointed me is the way I
• 23:11
  Speaker 1: don't know why the writers felt this was necessary. Why.
• 23:14
  Speaker 1: I mean, I can understand that a relationship not working out,
• 23:17
  Speaker 1: but why that's the first thing he throws back in
• 23:20
  Speaker 1: her face, especially because he offered when they have that's
• 23:25
  Speaker 1: the first thing, well, you know, oh yeah, well I've
• 23:27
  Speaker 1: been I've been doing this. I can't remember the exact words,
• 23:29
  Speaker 1: but he's basically kind of saying, well, I've been doing
• 23:31
  Speaker 1: all this and you haven't appreciated it. And every time
• 23:35
  Speaker 1: that bit comes up. I'm always disappointed in in that
• 23:38
  Speaker 1: because it could have been so much more interesting just
• 23:41
  Speaker 1: to see the fact that this relationship just doesn't work
• 23:44
  Speaker 1: for all kinds of reasons, right, But but he has
• 23:47
  Speaker 1: to throw that in her face, which I always I
• 23:49
  Speaker 1: always feel it's kind of unfair. Yeah, like he's punished
• 23:52
  Speaker 1: because he did. I mean, like you're thinking, and he
• 23:54
  Speaker 1: does offer. He offered it, like insists, He's like, I
• 23:57
  Speaker 1: like your kids, and then he has this weird I
• 23:59
  Speaker 1: don't know was his job again, because he's like, I
• 24:01
  Speaker 1: work when I need to construction. Okay, So he's like,
• 24:04
  Speaker 1: I don't need to work right now, and I like
• 24:06
  Speaker 1: your kids and they like me, so I can do this.
• 24:09
  Speaker 1: So it's never like she doesn't. She goes to other
• 24:12
  Speaker 1: babysitters kind of at the end of her rope, but
• 24:14
  Speaker 1: never him. He's always fine to do it. But then, yeah,
• 24:17
  Speaker 1: he just throws it in her face, holds her career
• 24:19
  Speaker 1: against her. And that's another thing we can definitely George
• 24:25
  Speaker 1: George so fabulous now even with the rat tile. God
• 24:31
  Speaker 1: damn it, turn it. Did I burst a bubble there?
• 24:34
  Speaker 1: I'm sorry? Okay, So she she's she's kissed and George,
• 24:39
  Speaker 1: and then the lawyer at Masuri comes back and he's like, Hey,
• 24:44
  Speaker 1: any chance you might have been onto something with this
• 24:46
  Speaker 1: PG nithing And she's like, well, funny that you should ask,
• 24:49
  Speaker 1: because yes, I was onto something. Negotiate. She negotiates and
• 24:53
  Speaker 1: she's like, give me a raise while hanging out with
• 24:57
  Speaker 1: the baby. Baby. Yeah, the baby gives her a stray
• 25:00
  Speaker 1: with which to so nonchalant in that series, and she
• 25:04
  Speaker 1: does that more than once, doesn't she She uses that
• 25:06
  Speaker 1: negotiating employ more than once. And I think it's I
• 25:10
  Speaker 1: think it's a great piece of storytelling because what it
• 25:12
  Speaker 1: does it it keeps us as the audience, connected to
• 25:15
  Speaker 1: the fact that she's she's a working woman, she's a
• 25:19
  Speaker 1: single mother, you know, she's she's not all kind of
• 25:22
  Speaker 1: it's not all about, you know, the nobility of the cause.
• 25:25
  Speaker 1: There's a very practical there's a very real reason why
• 25:28
  Speaker 1: she's doing this, you know. And I that's what I
• 25:31
  Speaker 1: love about it. I love I love that she's she
• 25:34
  Speaker 1: never stops being, you know, a woman who's like really
• 25:37
  Speaker 1: working hard for herself and for her family. I love
• 25:40
  Speaker 1: that that was something that I thought was interesting and
• 25:42
  Speaker 1: it made the character a little more nuance, because it
• 25:45
  Speaker 1: would be very easy to write this character of like
• 25:46
  Speaker 1: she's a crusader for what is right, and she's and
• 25:49
  Speaker 1: she does do what's right, which also happens to be
• 25:53
  Speaker 1: advantageous to her in the know to the two point
• 25:56
  Speaker 1: five million dollars. But I thought it was interesting. She
• 26:00
  Speaker 1: is really onto something with this chromium six thing, but
• 26:04
  Speaker 1: then when she gets fired, she drops it and she's like,
• 26:07
  Speaker 1: if it were sort of a more like truth crusade
• 26:11
  Speaker 1: or kind of role, I feel like she would have
• 26:13
  Speaker 1: been like, well, I don't care, I'm gonna but she's like, no,
• 26:15
  Speaker 1: I have three kids to raise. If you're not gonna
• 26:17
  Speaker 1: pay me, I'm not going to do it. And then
• 26:19
  Speaker 1: once he compensates her fairly, she resumes. So I don't know,
• 26:22
  Speaker 1: I thought that was cool. Yeah. I was like, yeah,
• 26:25
  Speaker 1: you shouldn't do things when you're not paid. I forgot that. Yeah,
• 26:29
  Speaker 1: we as artists are often told to the contrary. So
• 26:32
  Speaker 1: so she negotiates for her to get her job back,
• 26:36
  Speaker 1: and meanwhile Pgnie is like, all right, fine, we'll pay
• 26:40
  Speaker 1: two dollars for the Jensen home and yeah, no thanks.
• 26:47
  Speaker 1: So then Aaron is approached by another couple who used
• 26:50
  Speaker 1: to live by the Gensens and their chickens were born
• 26:54
  Speaker 1: all deform, some snarly chicken imagery, some brutal, some brutal
• 27:00
  Speaker 1: chicken and uh. And the woman has had several miscarriages
• 27:04
  Speaker 1: and they're wondering if the chromium might have affected them
• 27:08
  Speaker 1: as well. Chromium you rascal, damnit chromium, God damnit chromium.
• 27:13
  Speaker 1: So then Aaron and Mazori start to build a case.
• 27:16
  Speaker 1: First they have like a handful of clients. Then they've
• 27:19
  Speaker 1: got like a dozen, and then it's hundreds. Basically like
• 27:23
  Speaker 1: what started out as a small real estate dispute ends
• 27:26
  Speaker 1: up in this huge lawsuit against PG and over six
• 27:29
  Speaker 1: people by the end. Yeah. And so meanwhile, her job
• 27:32
  Speaker 1: is making her so busy that she's not dedicating enough
• 27:34
  Speaker 1: time to her children and her neighbor slash boyfriend George.
• 27:40
  Speaker 1: I think eventually when they once they flash forward nine months,
• 27:43
  Speaker 1: I'm like, I guess they're official. It seems like they're
• 27:47
  Speaker 1: But that's one of the things I want to talk
• 27:49
  Speaker 1: about is their romantic relationship. But we'll get there in
• 27:51
  Speaker 1: a moment um. So she's kind of, you know, she's
• 27:55
  Speaker 1: missing out on some core moments and like she misses
• 27:57
  Speaker 1: her baby daughter's first word. Her maybe's first word savagely
• 28:02
  Speaker 1: is ball, but says ball, and I thought was ball?
• 28:07
  Speaker 1: I can't remember. I think I was watching it with a
• 28:10
  Speaker 1: a subtitle? Was the subtitle? Says ball? Dan? I thought
• 28:14
  Speaker 1: I was like, you watched it with subtitles. I watched
• 28:17
  Speaker 1: everything I watched you do. Yeah, I can, I ask
• 28:20
  Speaker 1: my ask why. I just find that I understand what's
• 28:23
  Speaker 1: being said. What do you find? Do you find though,
• 28:27
  Speaker 1: that you're spending all your time reading rather than watching
• 28:30
  Speaker 1: the image? I've gotten pretty good switching back and forth
• 28:34
  Speaker 1: between the two, between my eating and I'm curious because
• 28:38
  Speaker 1: my partner does the same thing. And I thought at
• 28:42
  Speaker 1: first it was because we were watching a couple of
• 28:45
  Speaker 1: movies where there was like a very strong there was
• 28:47
  Speaker 1: very strong Scottish accents, and I thought me, maybe she's
• 28:50
  Speaker 1: just having trouble with the accent, but actually she does
• 28:53
  Speaker 1: it with everything I do and everything. Yeah, it's and
• 28:56
  Speaker 1: I'm always when we're watching something together, I'm in if
• 29:00
  Speaker 1: you like this distracting, But I don't find it distracting.
• 29:05
  Speaker 1: If I'm watching a foreign film in a language I
• 29:07
  Speaker 1: don't understand. If I'm watching a Japanese movie or you know,
• 29:11
  Speaker 1: a Polish film that the subtitles don't bother me then,
• 29:14
  Speaker 1: but when it's in English or language I speak, I
• 29:18
  Speaker 1: find it distracting. It's weird. I think the first movie
• 29:20
  Speaker 1: I did it for was The Full Monty and then
• 29:24
  Speaker 1: because those actually and then I was like, wait a minute,
• 29:30
  Speaker 1: I understand what people are saying so much better when
• 29:33
  Speaker 1: the subtitles run. So I just started doing it for
• 29:35
  Speaker 1: every movie I watched. I think I pay closer attention
• 29:38
  Speaker 1: if the subtitles are on, Like, if I'm watching something
• 29:40
  Speaker 1: that I know I need to really pay attention to
• 29:43
  Speaker 1: what's being said, I'll do it. But if I'm just
• 29:46
  Speaker 1: watching something for fun, sure, but I'm so easily. Does
• 29:49
  Speaker 1: they have something to do with the fact that you're
• 29:50
  Speaker 1: a writer? I think so, yeah, because I seeing the words,
• 29:55
  Speaker 1: wanting to write the Christmas most polished dialogue. But I'm like,
• 29:59
  Speaker 1: what are they what are they saying? These people doing? Yeah,
• 30:03
  Speaker 1: I just want to see chromium spelled out as many
• 30:05
  Speaker 1: times as possible. Um, we need to take a quick break,
• 30:09
  Speaker 1: but then we'll come right back and talk more so,
• 30:17
  Speaker 1: UM to finish up the story. Aaron, you know her
• 30:21
  Speaker 1: career is taking off. Her personal relationships are not going
• 30:25
  Speaker 1: so well. George is fed up with her and he's like,
• 30:28
  Speaker 1: either leave your job or I'm leaving, and she refuses
• 30:32
  Speaker 1: to leave her job, so he's got addles. And then
• 30:35
  Speaker 1: ed Maysuri brings in a partner um without checking with her,
• 30:40
  Speaker 1: and Manny has to get her a car. Right, this
• 30:43
  Speaker 1: case has just become so big that they need more
• 30:45
  Speaker 1: help and more finances to cover the expenses and things
• 30:48
  Speaker 1: like that. And then Aaron gets off on the wrong
• 30:53
  Speaker 1: foot with the new lawyer. His name is Kurt Potter Um,
• 30:57
  Speaker 1: his colleague Teresa. There's a whole thing the air um.
• 31:01
  Speaker 1: There's class issues radiating from every interaction they have UM.
• 31:06
  Speaker 1: And then they also need proof that shows that PGNI
• 31:09
  Speaker 1: headquarters in San Francisco knew about the polluted water in Hinckley.
• 31:13
  Speaker 1: So they're like looking for that piece of evidence. Here's
• 31:16
  Speaker 1: the that part. Okay, are we getting up to the
• 31:19
  Speaker 1: part where the guy has that the bar has the
• 31:21
  Speaker 1: documents pretty close so a little bit before that part
• 31:24
  Speaker 1: is very well. Aaron's going around. She has to get
• 31:26
  Speaker 1: all the clients to agree to a binding arbitration, which
• 31:31
  Speaker 1: basically means that the case will only be tried in
• 31:33
  Speaker 1: front of a judge, there's a jury, but if they win,
• 31:36
  Speaker 1: they'll get the money a lot quicker. So everyone thinks
• 31:38
  Speaker 1: that that's the best idea, except for most of the
• 31:40
  Speaker 1: clients because they're just like, what did I don't even know,
• 31:42
  Speaker 1: Like I thought we were going to trial with a
• 31:44
  Speaker 1: jury and everything. So she has to go and convince
• 31:46
  Speaker 1: everyone that this is the best course of action because
• 31:48
  Speaker 1: otherwise I'll get sicker faster, right exactly, A trial could
• 31:52
  Speaker 1: last like decades basically. But then this this guy who
• 31:56
  Speaker 1: it's creepy as hell. This is okay, this is nuts
• 31:59
  Speaker 1: to me because I had to watch this seed twice
• 32:02
  Speaker 1: just to make sure I was getting it, because we've
• 32:04
  Speaker 1: seen this guy, I think twice by the time he
• 32:08
  Speaker 1: shows up in the bar, and both times he's like
• 32:12
  Speaker 1: staring at her in a way I definitely interpreted as
• 32:15
  Speaker 1: like leering it. Yeah, yeah, Like it was like, this
• 32:19
  Speaker 1: is a creepy guy with the hat. I don't know
• 32:22
  Speaker 1: who plays this part. He plays it very well, because
• 32:24
  Speaker 1: I was like, this guy is freaky. And then he
• 32:26
  Speaker 1: shows up in the bar and it literally for for me,
• 32:30
  Speaker 1: he was like he's going all the way up to
• 32:31
  Speaker 1: him like he's about to put something in her drink,
• 32:33
  Speaker 1: He's going to do something creepy. And then he all
• 32:37
  Speaker 1: of a sudden becomes this like god in the machine
• 32:41
  Speaker 1: of like, no, I'm not a pervert. I have the
• 32:44
  Speaker 1: documents that are going to make you a millionaire. You're
• 32:46
  Speaker 1: like what? It was just such a weird choice. My
• 32:50
  Speaker 1: first instinct was that he was he was like a
• 32:53
  Speaker 1: plumpt from from the company that he was going to.
• 32:58
  Speaker 1: He was like, you know, but but it's the way
• 33:01
  Speaker 1: he behaves that that this what's so weird. But I
• 33:05
  Speaker 1: wondered if I kept thinking, maybe that's the actor's choice,
• 33:09
  Speaker 1: you know, and maybe on the day, you know, sort
• 33:13
  Speaker 1: of he kind of he was convincing, but it seems
• 33:16
  Speaker 1: it does seem like it's an odd beat in a
• 33:19
  Speaker 1: film that doesn't have any other element like that. But
• 33:22
  Speaker 1: the whole film is rooted in a kind of realism
• 33:25
  Speaker 1: and a sort of you know, a logic that that
• 33:29
  Speaker 1: kind of you know, you can follow, and then suddenly
• 33:31
  Speaker 1: there's this weird thing. Yeah, I mean, you thinks is
• 33:33
  Speaker 1: he creepy? Is he? Is he a perv? Is he?
• 33:36
  Speaker 1: And then also when he when he finally reveals the
• 33:38
  Speaker 1: fact that he's got this information, even that's done in
• 33:42
  Speaker 1: a kind of way. I thought, any minute now he's
• 33:43
  Speaker 1: going to say, so what do I get out of it?
• 33:45
  Speaker 1: I thought it's going to be one of those scenes,
• 33:48
  Speaker 1: you know, sort of but luckily it wasn't. But it was.
• 33:52
  Speaker 1: It's it's an odd beat. You're strange because because every
• 33:55
  Speaker 1: other situation where a man gives or really anyone gives
• 33:59
  Speaker 1: arian brack of which you know, guff about anything, she
• 34:02
  Speaker 1: hands it right back to them and it's resolved pretty
• 34:06
  Speaker 1: quickly most of the time. But this guy, she she's like, yeah, sure,
• 34:10
  Speaker 1: can I get you a beer? And then I don't know,
• 34:13
  Speaker 1: he went from like creepy as hell to my cousin
• 34:17
  Speaker 1: is dead and I have the documents you need in
• 34:20
  Speaker 1: less than a minute. You're just like sure. That was
• 34:22
  Speaker 1: like the one beat of this movie that I could
• 34:24
  Speaker 1: not make heads or tails is And I skipped over
• 34:28
  Speaker 1: this part in the recap. But she receives an ominous
• 34:31
  Speaker 1: phone call at some point whenever someone is basically making
• 34:34
  Speaker 1: threats towards her, like don't snoop around the water records,
• 34:38
  Speaker 1: or because you've got three young children, we wouldn't want
• 34:41
  Speaker 1: anything to happen to them, now, would we Um, And
• 34:43
  Speaker 1: it does not deter her in any way. Um, But
• 34:54
  Speaker 1: I thought maybe the movie was making us the audience
• 34:58
  Speaker 1: think that, oh, this is that guy who called her
• 35:01
  Speaker 1: and threatened her, but turned out it's not. It's not,
• 35:03
  Speaker 1: they're not the same guy. It's it's weird that character.
• 35:07
  Speaker 1: It just threw me entirely. I mean, and he once
• 35:10
  Speaker 1: she gets the documents, you know, the movie resolves sort
• 35:13
  Speaker 1: of in the way that is consistent with the rest
• 35:16
  Speaker 1: of the movie. It just weird, weird beat. Yeah, because
• 35:20
  Speaker 1: that that's pretty much towards the end. They've they've gotten
• 35:23
  Speaker 1: all the signatures they need so that they can go
• 35:25
  Speaker 1: to the arbitration. They get the proof, they win, the
• 35:30
  Speaker 1: clients are awarded a total of three three million dollars
• 35:35
  Speaker 1: to be split among them. That before or after, I
• 35:40
  Speaker 1: would guess that's before so little old ed Masriy made
• 35:45
  Speaker 1: out like abandoned and Aaron gets a bonus of like
• 35:49
  Speaker 1: two or two and a half million dollars or something
• 35:51
  Speaker 1: like that, And that is essentially the end of the movie.
• 35:56
  Speaker 1: So I wish I'd seen it. Sounds goods in turns,
• 36:05
  Speaker 1: So where do we want to start with? Our discussion.
• 36:09
  Speaker 1: I don't know, there's a lot of stuff to to
• 36:11
  Speaker 1: pick apart here, would you. Well, the first thing I
• 36:14
  Speaker 1: kind of wanted to bring up is, so this is
• 36:17
  Speaker 1: I don't know if you could call it a biopic really,
• 36:20
  Speaker 1: but it's a it's a movie based on a true
• 36:22
  Speaker 1: story about a real woman everyone who is still championing
• 36:28
  Speaker 1: environmental issues to this day, so environmental icon Aaron Brockovich.
• 36:34
  Speaker 1: But and I think we've talked about this a little
• 36:36
  Speaker 1: bit on one of our Matreon Bonus episodes, that there
• 36:40
  Speaker 1: are countless biopics or movies based on true stories that
• 36:45
  Speaker 1: are about men, and so much fewer ones that are
• 36:50
  Speaker 1: about women. You can kind of count on two hands
• 36:55
  Speaker 1: the famous ones that are kind of in everyone's wheelhouse
• 36:58
  Speaker 1: that are about women, and then there's You're inne of
• 37:00
  Speaker 1: the Best, But there's Yeah, I mean, statistically it's way way, way,
• 37:07
  Speaker 1: way low. Yeah, And so I think it's impressively especially
• 37:11
  Speaker 1: for the time it came out. I mean, I have
• 37:14
  Speaker 1: to imagine and when I was reading up on the
• 37:16
  Speaker 1: history of this movie, even with Julia Roberts star power,
• 37:22
  Speaker 1: this movie was still sort of viewed as a risk
• 37:25
  Speaker 1: um and I guess during While it was being tested,
• 37:29
  Speaker 1: there was some audience feedback that was like, we love
• 37:32
  Speaker 1: Aaron Brockovich, she's the best, And there were other people
• 37:35
  Speaker 1: They're like, why is she swearing so much? I wish
• 37:37
  Speaker 1: she wasn't saying these bad words that girls don't say
• 37:40
  Speaker 1: those words, man and so. But but I mean it
• 37:44
  Speaker 1: seems like I'll at least a lot of it stayed.
• 37:48
  Speaker 1: And so I mean that alone seems like a pretty
• 37:52
  Speaker 1: big accomplishment, especially for two thousand, because who knows what's
• 37:55
  Speaker 1: going on in two thout the great don't know. I
• 37:59
  Speaker 1: was fourteen and what Women Want was coming out and
• 38:02
  Speaker 1: disappointing us all the head of the century. But um, yeah,
• 38:08
  Speaker 1: I am going to be inclined to just appreciate any
• 38:11
  Speaker 1: sort of like true story based on a woman because
• 38:14
  Speaker 1: there are so few of them even today still. I mean,
• 38:19
  Speaker 1: we've got our you know, Ruth Bader Ginsburg pick coming out,
• 38:23
  Speaker 1: but there's just so few. Can you ever forgives me?
• 38:26
  Speaker 1: And there is love that one, And but there's always
• 38:30
  Speaker 1: going to be the argument, well, you know, women haven't
• 38:32
  Speaker 1: contributed as much to society, so that's why we don't
• 38:35
  Speaker 1: make movies about them. And it's like, do people still
• 38:39
  Speaker 1: say that, Yeah, men's rights activists and you know, men's
• 38:42
  Speaker 1: rights activists. Is that such a thing men's rights? Yeah,
• 38:47
  Speaker 1: there are people who hate women and crap is totally agree.
• 38:52
  Speaker 1: Yeah that thing. Seriously, I'm not being I'm not being disingenious.
• 38:56
  Speaker 1: Is that men's rights there's like an organization movement. Yeah,
• 39:02
  Speaker 1: it's still I mean, it's like most prevalent on the
• 39:05
  Speaker 1: cowardly as corners of the Internet, but it leaks into
• 39:07
  Speaker 1: the real world as well. M R is I mean
• 39:09
  Speaker 1: we we sometimes get spammed like online by m R
• 39:13
  Speaker 1: is just absolutely dumping on. I mean the thing with
• 39:17
  Speaker 1: m R is they have a lot of free time.
• 39:18
  Speaker 1: So if I say something like most men are stupid,
• 39:21
  Speaker 1: they would not be happy with you. Okay, most man
• 39:24
  Speaker 1: of stupid. You're not wrong. No, but here's something I'm
• 39:30
  Speaker 1: I'm interested in, see your your perspective on it. Very
• 39:34
  Speaker 1: often with films where you have a female protagonist who
• 39:37
  Speaker 1: is pushing the story, you know, it's it's often as
• 39:41
  Speaker 1: in Aaron Brockoviet woman with with a cause, with a
• 39:44
  Speaker 1: with a reason to pursue this something an injustice of
• 39:47
  Speaker 1: some kind, or it could be like in the Sally
• 39:50
  Speaker 1: Field film, you know, when when she becomes a trade
• 39:53
  Speaker 1: unionist norma, and those are very the stakes in the
• 40:00
  Speaker 1: story are always very very clear. But I've noticed very
• 40:03
  Speaker 1: often that the woman in question has to be peculiar
• 40:08
  Speaker 1: in some way or different, or has to stand out
• 40:11
  Speaker 1: in some way from other women in order to make
• 40:14
  Speaker 1: it valid. So with with normal Ray, she's aggressive, she's
• 40:18
  Speaker 1: she's kind of feisty, she doesn't she upsets people and
• 40:22
  Speaker 1: doesn't care. And the same thing with Aaron Brockovich, to
• 40:24
  Speaker 1: a certain extent, she dresses in a more revealing way.
• 40:28
  Speaker 1: She's she's she's kind of much more kind of you know.
• 40:31
  Speaker 1: And I think that scene the sort of that that
• 40:33
  Speaker 1: the zenith of that in Aaron Brockovich is that scene
• 40:36
  Speaker 1: when they meet the partners from the from the fancy
• 40:40
  Speaker 1: white shoe Layers. And I think it's Vianne Cox who
• 40:43
  Speaker 1: plays the the the young female attorney who's all done
• 40:47
  Speaker 1: up in this the business suit. She's all kind of
• 40:50
  Speaker 1: very sort of stiff and and and they had that
• 40:55
  Speaker 1: in that scene when you know, when she just like
• 40:58
  Speaker 1: lets her have it. I mean, but they there always
• 41:00
  Speaker 1: has to be something that's very rare that they're just
• 41:03
  Speaker 1: they're just women, you know, right, yeah, you know they
• 41:06
  Speaker 1: have that there has to be something extraordinary about them.
• 41:10
  Speaker 1: It can get a little cartoony at times. I was
• 41:14
  Speaker 1: taking some notes to this, and I don't even know
• 41:16
  Speaker 1: exactly how to articulate it, because I don't think it's
• 41:20
  Speaker 1: necessarily a bad thing that there is an outspoken female
• 41:25
  Speaker 1: protagonist that is like really getting into the workplace aggressively.
• 41:30
  Speaker 1: She's unapologetic, and she's really going for it and balls
• 41:34
  Speaker 1: to the wall. Pent of the time. I think it's
• 41:37
  Speaker 1: weird that there isn't more diversity and storytelling of like
• 41:40
  Speaker 1: how a realistic workplace would work. I don't know how
• 41:44
  Speaker 1: much of Aaron Rockovich is directly how the real Aaron
• 41:48
  Speaker 1: Brockovich acted and behaved. I have to imagine it's a
• 41:50
  Speaker 1: little heightened because so often to even remain employed, women
• 41:56
  Speaker 1: have to work, you know, normally work subtly and play
• 42:00
  Speaker 1: the game to an extent and get work done behind
• 42:02
  Speaker 1: the scenes. But you don't really see that in movies
• 42:06
  Speaker 1: very often. I mean, the first thing that jumps to
• 42:08
  Speaker 1: my mind of something that even begins to reflect that
• 42:10
  Speaker 1: would be hidden figures of like women who are doing
• 42:14
  Speaker 1: doing the real work but are not appreciated, which seems
• 42:18
  Speaker 1: like more of a reflection of real life. But I guess,
• 42:21
  Speaker 1: I mean, even with Aaron she doesn't get I mean,
• 42:24
  Speaker 1: you have to imagine that like Masar made way more
• 42:27
  Speaker 1: money than than she did. It seems like they were
• 42:30
  Speaker 1: pretty much doing the same job. She was probably actually
• 42:33
  Speaker 1: doing more work than she was in a bog a frog.
• 42:39
  Speaker 1: My new podcasts coming out on what happens. But also
• 42:48
  Speaker 1: she's also throughout the movie, whenever she's trying to get something,
• 42:52
  Speaker 1: either information or you know, trying to get something to
• 42:56
  Speaker 1: to enhance her case, she's dealing with different kinds of men,
• 43:02
  Speaker 1: and she has to find a way to ingratiate herself
• 43:06
  Speaker 1: with all those men in a way that they will
• 43:08
  Speaker 1: respond to. So when she goes when she goes to
• 43:11
  Speaker 1: meet the clerk, who's a bit kind of you know,
• 43:14
  Speaker 1: a bit slow and a bit kind of you know,
• 43:16
  Speaker 1: deer in the headlights, and she kind of like you know,
• 43:17
  Speaker 1: just leans over and gives him, you know, gives him
• 43:20
  Speaker 1: a perfect view of her cleavage all that going on.
• 43:24
  Speaker 1: And it's whereas when the role is a male role,
• 43:29
  Speaker 1: that's never a concern, right, You're just you're just a
• 43:32
  Speaker 1: guy coming in saying I need this, I need that.
• 43:34
  Speaker 1: You know, there's never a question that you'll get what
• 43:36
  Speaker 1: you need. Society respects men more than they do women.
• 43:42
  Speaker 1: That's I mean. The way Aaron's sexuality is handled is
• 43:46
  Speaker 1: interesting to me. I mean, we were talking about this
• 43:48
  Speaker 1: a little bit earlier today, where this movie like sort
• 43:51
  Speaker 1: of straddles second and third wave feminism. For me, we're
• 43:54
  Speaker 1: a second wave is focused on women in the workplace,
• 43:57
  Speaker 1: and then third wave is more about racing sexuality and
• 44:01
  Speaker 1: being opened about it. So this is like somewhere in
• 44:03
  Speaker 1: the middle of that, and which makes sense for the
• 44:06
  Speaker 1: time it takes place in, but there are moments with
• 44:10
  Speaker 1: I don't know, there were ways to interpret Aaron using
• 44:14
  Speaker 1: her sexuality to get something accomplished that I understand could
• 44:18
  Speaker 1: be viewed as almost like a regressive fem fatale kind
• 44:21
  Speaker 1: of thing, like lean forward and get the information. I
• 44:25
  Speaker 1: don't know. It's tricky in the context that I would
• 44:27
  Speaker 1: understand if someone had that criticism as a negative. For me,
• 44:32
  Speaker 1: the reason it works is because you see, she's capable
• 44:36
  Speaker 1: in so many other ways where she's with any given person,
• 44:41
  Speaker 1: she seems very smart at reading a person and then
• 44:44
  Speaker 1: doing whatever she has to to get what she needs
• 44:47
  Speaker 1: from them in a few and like one one or
• 44:50
  Speaker 1: two cases, that's the lean forward. And it does get
• 44:54
  Speaker 1: like a little cheesy where I think at one point
• 44:56
  Speaker 1: she tells Albert Fineling it's called booms and you're like, okay, fine,
• 45:01
  Speaker 1: But but there's other times where she's, you know, frog
• 45:04
  Speaker 1: in the bog. There's other times where she's like busting
• 45:07
  Speaker 1: her ass going door to door, and you see her
• 45:09
  Speaker 1: be capable in all these different ways that it does
• 45:12
  Speaker 1: seem like, I don't know, like what you're saying earlier,
• 45:14
  Speaker 1: like she's going to get the job done and get paid.
• 45:17
  Speaker 1: One of my favorites is when she's talking to I
• 45:21
  Speaker 1: forget exactly what who exactly it is, but it's someone
• 45:24
  Speaker 1: who represents the Gas Electric company and she's saying something like, oh, well,
• 45:29
  Speaker 1: how much is your spine worth to you? And whatever
• 45:32
  Speaker 1: number you're thinking multiplied by a hundred and then come
• 45:34
  Speaker 1: back to it like she's she's using like I mean,
• 45:37
  Speaker 1: it's kind of aggressive and wild, but it's also like
• 45:41
  Speaker 1: she's she's really kicking ass with like getting her point across.
• 45:48
  Speaker 1: That's such a brilliant moment that when I remember when
• 45:50
  Speaker 1: I saw the movie that got a huge chair. That's
• 45:54
  Speaker 1: definitely like a big applause break moment and theater um
• 45:59
  Speaker 1: what you were touching on earlier, Alfred, when you were
• 46:01
  Speaker 1: saying about how, you know, movies with a female protagonist,
• 46:04
  Speaker 1: you know, she's got to be something outstanding or just
• 46:07
  Speaker 1: like something kind of extraordinary or unusual about her. And
• 46:11
  Speaker 1: I feel like that's kind of exemplary of the attitude,
• 46:14
  Speaker 1: at least of this time that this movie came out,
• 46:17
  Speaker 1: and still to probably a pretty big extent today, people
• 46:21
  Speaker 1: in society at large, because of the patriarchy, think that
• 46:25
  Speaker 1: women aren't capable, and you know, every women are just
• 46:29
  Speaker 1: kind of there and we're not doing much. But you know,
• 46:32
  Speaker 1: we've got an exception to the rule with someone like
• 46:34
  Speaker 1: Aaron Brockovich. So it's almost I feel like that might
• 46:36
  Speaker 1: be part of the reason that those characters are portrayed
• 46:39
  Speaker 1: that way, where it's like, you know, yeah, women are
• 46:41
  Speaker 1: generally pretty average or you know whatever, but every s
• 46:46
  Speaker 1: while one comes along, and I feel like that might
• 46:49
  Speaker 1: be an example of that attitude as at that point. Yeah,
• 46:53
  Speaker 1: And I think it's it's a it's an interesting contrast
• 46:57
  Speaker 1: to see what's happened in the last twenty five years
• 47:00
  Speaker 1: since that movie was released. How in the realm of
• 47:04
  Speaker 1: cultural politics, sexual politics, feminism, whichever wave we're on now,
• 47:09
  Speaker 1: I think we're maybe like the fourth, fourth, or fifth wave.
• 47:12
  Speaker 1: You know. It's it's a you know, things have changed
• 47:15
  Speaker 1: so quickly and so exponentially that I think if a
• 47:19
  Speaker 1: movie like Erin Brockovitch was now being pitched, I think
• 47:22
  Speaker 1: that it would be a very different film. And I
• 47:25
  Speaker 1: think there'd be I think some of the dynamics that
• 47:29
  Speaker 1: make the film so extraordinary to us now might not
• 47:32
  Speaker 1: even exist, like, for instance, the relationship between her and
• 47:35
  Speaker 1: her boss, you know, in the in the twenty five
• 47:37
  Speaker 1: years since the film was made, actually laws have actually changed,
• 47:41
  Speaker 1: but you know, to protect women in the workplace and
• 47:44
  Speaker 1: so on. So I think there's a in a way,
• 47:45
  Speaker 1: it's a it's a period piece in a way, but
• 47:49
  Speaker 1: but it's a period piece that kind of shines a
• 47:51
  Speaker 1: light on you know, what was to come, you know,
• 47:53
  Speaker 1: and that I think that's what made that also for me,
• 47:56
  Speaker 1: makes it a kind of really quite a quite a
• 47:58
  Speaker 1: valuable film in that regard. Yeah, yeah, and and fully
• 48:01
  Speaker 1: a product of its time as well. I think this
• 48:04
  Speaker 1: movie would also be much less yellowy orange if it were,
• 48:09
  Speaker 1: but hard to say a dusty look. I think something
• 48:15
  Speaker 1: that would definitely be different if he were made now
• 48:17
  Speaker 1: was and we were sort of touching on this earlier,
• 48:20
  Speaker 1: was how she interacts with the women in her workplace,
• 48:24
  Speaker 1: because that was like one of the only moments where
• 48:27
  Speaker 1: I was like, she's being pretty mean, Like she she
• 48:30
  Speaker 1: like fashions one of her coworkers. She's I mean, and
• 48:34
  Speaker 1: I but doesn't she do that as a kind of
• 48:37
  Speaker 1: retaliation for something else? Yeah, yeah, the way the women
• 48:41
  Speaker 1: that doesn't justify it, but you know, but it isn't
• 48:44
  Speaker 1: I mean, and Aaron's character is so she retaliates immediately
• 48:49
  Speaker 1: to protect herself, and that's like whatever part of who
• 48:51
  Speaker 1: she is, but it's it's I think hopefully if it
• 48:55
  Speaker 1: was made now, we would at least understand where those women,
• 48:58
  Speaker 1: or even if they don't like each other, we would
• 48:59
  Speaker 1: understand those women are coming from more because it's sort
• 49:02
  Speaker 1: of flattened in the movie where we get to know
• 49:05
  Speaker 1: Masury so well and and grow to love him, and
• 49:08
  Speaker 1: that's great, and I mean, you there's a professional respect
• 49:12
  Speaker 1: between the two of them, but you don't other than
• 49:16
  Speaker 1: kind of a pretty reductive like she dresses provocatively and
• 49:20
  Speaker 1: we think that's gross, like that is sort of the
• 49:23
  Speaker 1: only reason we're given, and that she's not good at
• 49:26
  Speaker 1: her job at first, which kind of makes sense. It's
• 49:29
  Speaker 1: like there's that scene where she goes up to her
• 49:31
  Speaker 1: co worker I think her name is Anna, and Aaron's like,
• 49:33
  Speaker 1: how do I do my job again? And AND's like Cia,
• 49:36
  Speaker 1: and so see, I don't I read that differently where
• 49:39
  Speaker 1: Aaron is asking a legitimate question where she's like, hey,
• 49:43
  Speaker 1: you know, she probably I feel like she probably knows
• 49:45
  Speaker 1: how to do her job well at this point, but
• 49:46
  Speaker 1: she wouldn't understand why there would be medical files in
• 49:49
  Speaker 1: with this real estate case. So she's like, hey, can
• 49:51
  Speaker 1: I get clarification on this? And I feel like this
• 49:55
  Speaker 1: movie does something that a lot of movies do, where
• 49:58
  Speaker 1: if there are women working together or interacting in some way,
• 50:02
  Speaker 1: they've got to be pitted against each other because of
• 50:05
  Speaker 1: society or whatever reasons we've decided that. But like, so yeah,
• 50:09
  Speaker 1: she's like, well, I'm not if she would just like
• 50:11
  Speaker 1: if Anna had just listened to Aaron and be like,
• 50:14
  Speaker 1: oh wait, that is weird that file would be in
• 50:16
  Speaker 1: with the real estate case. But instead she's just like
• 50:19
  Speaker 1: very dismissive of her she's incompetent. So yeah, I feel
• 50:22
  Speaker 1: like between that and between the various cases where there's
• 50:26
  Speaker 1: another person in the office. Her name is Brenda, That's
• 50:30
  Speaker 1: who Aaron fat shames on a few different occasions, it just, yeah,
• 50:34
  Speaker 1: I couldn't help but notice that she has what it
• 50:38
  Speaker 1: feels like, largely antagonistic relationships with all the women in
• 50:42
  Speaker 1: her office. And then later with the character's name is Teresa,
• 50:45
  Speaker 1: she's like the you know, upscale attorney lady who gets
• 50:49
  Speaker 1: brought onto the case later on that that's it was
• 50:52
  Speaker 1: like a combo of class and gender issues because there
• 50:56
  Speaker 1: are two lawyers in the room and she goes after
• 51:00
  Speaker 1: the woman in the room she's supposed to be working with,
• 51:02
  Speaker 1: which kind of is one of the more problematic elements
• 51:06
  Speaker 1: of Aaron's character. She doesn't work well with women. She
• 51:09
  Speaker 1: just doesn't seem to. That scene was really interesting to
• 51:13
  Speaker 1: be because in one way, like we know Aaron at
• 51:16
  Speaker 1: this point, we understand where she's coming from. She's very
• 51:19
  Speaker 1: like defensive about people assume she's incompetent all the time,
• 51:23
  Speaker 1: and she's like, no, I know this case inside out.
• 51:27
  Speaker 1: But you also see where Teresa is coming from where
• 51:31
  Speaker 1: you know, and and and and Masary kind of breaks
• 51:34
  Speaker 1: this down. I wish that it was more of a
• 51:35
  Speaker 1: conversation between the female characters and that they were able
• 51:39
  Speaker 1: to talk to each other. But Masary is the character
• 51:41
  Speaker 1: who explains, like, well, she went to like she you know,
• 51:45
  Speaker 1: grinded through law school and and has been taking ship
• 51:48
  Speaker 1: and lesser jobs and she deserves for years. So this
• 51:51
  Speaker 1: is why she's frustrated. And you you can sort of
• 51:54
  Speaker 1: see it from from both perspectives, but it's not really
• 51:57
  Speaker 1: resolved ever between the characters. And I thought that would
• 51:59
  Speaker 1: have been an interesting if they Yeah, because for if
• 52:02
  Speaker 1: it was men involved, there'd be a scene where the
• 52:05
  Speaker 1: two the two men who have butted heads end up
• 52:08
  Speaker 1: in a bar and over a couple of drinks or
• 52:12
  Speaker 1: a couple of beers, they kind of work things out
• 52:14
  Speaker 1: and you know what, I really respect and they end
• 52:18
  Speaker 1: up becoming allies in some way. But yeah, it doesn't happen,
• 52:22
  Speaker 1: and you know, it's a but that's why I mean, now,
• 52:25
  Speaker 1: if we were making the movie now that seem might happen.
• 52:28
  Speaker 1: I hope. So, I hope so because that was an
• 52:30
  Speaker 1: interesting dynamic that kind of was left because the only
• 52:34
  Speaker 1: other time you see Teresa is they sort of start
• 52:38
  Speaker 1: to imply that she's incompetent, which also doesn't quite match
• 52:41
  Speaker 1: up there, like, well, she can't walk around a farm,
• 52:45
  Speaker 1: so she think the idea is she doesn't connect well
• 52:48
  Speaker 1: with people. She's not a people person, poor people whisper.
• 52:53
  Speaker 1: That's like yeah, And but also doesn't Teresa get a
• 52:56
  Speaker 1: little bit sort of patronized by her boss Peter Coyote's character.
• 53:02
  Speaker 1: There's a little dynamic in there which happens in front
• 53:04
  Speaker 1: of Aaron, and and and I think it creates a
• 53:08
  Speaker 1: little moment of she's like embarrassed, you know, which kind
• 53:12
  Speaker 1: of creates a sort of tension. There's there's lots of beautiful,
• 53:15
  Speaker 1: little interactive moments like that. For sure. Yeah, we've got
• 53:20
  Speaker 1: to take another quick break, but then we will come
• 53:22
  Speaker 1: her back, kind of going back to just sort of
• 53:30
  Speaker 1: her general behavior and background and different things like that. Um,
• 53:36
  Speaker 1: we touched on this a little bit already, but um,
• 53:38
  Speaker 1: Aaron does dress in ways that could be considered provocative
• 53:43
  Speaker 1: or perhaps you know, inappropriate for a law office. There's leather,
• 53:50
  Speaker 1: sleeveless leather. When you see her, we see her cleavelange
• 53:55
  Speaker 1: a lot. And I don't want to sound like I'm
• 53:58
  Speaker 1: shaming her for dressing this way by any means, because
• 54:00
  Speaker 1: I'm certainly not. Um, they're good fits, but yeah, she's
• 54:03
  Speaker 1: rocking the look, but it's often used as an excuse
• 54:07
  Speaker 1: by various other characters to not take her seriously to
• 54:10
  Speaker 1: the extent where well, first of all, the ad major
• 54:14
  Speaker 1: character says something like, UM, you know, now that you
• 54:17
  Speaker 1: work here, you might want to reconsider what you're wearing.
• 54:20
  Speaker 1: It makes the other women uncomfortable, and I feel like
• 54:23
  Speaker 1: that might have been true. But I also think that
• 54:26
  Speaker 1: he's he's projecting and he makes him uncomfortable, and he
• 54:32
  Speaker 1: keeps stop making me horny at work. I'm confused. Then
• 54:36
  Speaker 1: she she's got that wonderful rejoinder about his ties. Yeah,
• 54:41
  Speaker 1: I love. And then later on the reason he admits
• 54:44
  Speaker 1: that the reason that he fires her is because she
• 54:48
  Speaker 1: left and didn't check in enough according to the people
• 54:51
  Speaker 1: who work at the law office. Uh. And then he's like, well,
• 54:55
  Speaker 1: you know, I thought you were just off having fun.
• 54:57
  Speaker 1: You look like someone who just has fun. But then,
• 55:01
  Speaker 1: as Aaron Brockovich often does, she comes right back with
• 55:04
  Speaker 1: some the retort of like Oh, well, if we're making
• 55:07
  Speaker 1: assumptions based on how you look, then you must never
• 55:10
  Speaker 1: get laid so swish. I like that she's always challenging
• 55:15
  Speaker 1: these comments about her appearance and the way she dresses. Yeah,
• 55:18
  Speaker 1: I really love that. And then if we're if we're
• 55:20
  Speaker 1: getting into the way that that translates to her relationship
• 55:27
  Speaker 1: with Aaron and cartwo a braid is. I believe that
• 55:30
  Speaker 1: the character's name and referred to in the movie. This
• 55:33
  Speaker 1: was one of those movies. It was tricky if like,
• 55:35
  Speaker 1: did this movie need a romantic subplot? I think technically
• 55:40
  Speaker 1: it didn't, but it did in some ways help flesh
• 55:43
  Speaker 1: out Aaron's character more. I don't I don't know what
• 55:47
  Speaker 1: did you what did? What did everyone make of that relationship? Well,
• 55:51
  Speaker 1: if I might, I think if it wasn't the relationship
• 55:54
  Speaker 1: with George, then it would have been it would have
• 55:57
  Speaker 1: to have been a relationship with someone or something else
• 56:00
  Speaker 1: in order to balance her life at work, her life
• 56:04
  Speaker 1: you know, on the case, as it were, because otherwise
• 56:06
  Speaker 1: then she really would have been just very one dimensional.
• 56:09
  Speaker 1: And I think the choice that she has this kind
• 56:12
  Speaker 1: of biker kind of you know, semi employed guy living
• 56:15
  Speaker 1: next door that she gets involved with was I'm assuming
• 56:20
  Speaker 1: must have felt like a as a suitable contrast to
• 56:23
  Speaker 1: what she was dealing with professionally, you know. And it
• 56:26
  Speaker 1: and it also it gives her a kind of there's
• 56:29
  Speaker 1: a I don't know, I know it sounds weird, but
• 56:31
  Speaker 1: there's a kind of there's a slight whiff of adventure
• 56:34
  Speaker 1: about that relationship because it's all about being able to
• 56:37
  Speaker 1: just take off. You know. The houses are restored trailers,
• 56:43
  Speaker 1: he's got a bike and a truck. You know, there's
• 56:46
  Speaker 1: a there's a sense, there's a sense that he embodies
• 56:50
  Speaker 1: the possibility of just taking off, and that's very deeply
• 56:55
  Speaker 1: ingrained in the kind of American psyche. So that kind
• 56:59
  Speaker 1: of gives her a sort of unit, a specialness in
• 57:03
  Speaker 1: comparison to the people who she works with, all the
• 57:06
  Speaker 1: women at work with himself, who all seems so kind
• 57:10
  Speaker 1: of anchored to their lives. And you know, because I mean,
• 57:13
  Speaker 1: I think more than once it says justifies the fact
• 57:16
  Speaker 1: that he's married, because I'm married, I got a fan,
• 57:18
  Speaker 1: I got you know, he like as if somehow almost
• 57:22
  Speaker 1: with an air of like resentment, almost you know, I
• 57:25
  Speaker 1: can't have fun like you do. I'm married, and I
• 57:30
  Speaker 1: think that's so. I think it was a convenient way
• 57:32
  Speaker 1: of balancing her as a character in the world. Yeah,
• 57:35
  Speaker 1: I agree with that. My main takeaway from it was that,
• 57:39
  Speaker 1: and I think I might have touched on this briefly
• 57:41
  Speaker 1: in the recap. But as we see her excelling in
• 57:44
  Speaker 1: her professional life, her like romantic and personal life are
• 57:49
  Speaker 1: deteriorating at the same exact time. So it's almost common
• 57:53
  Speaker 1: theme for female protection, right. And it's great that she
• 57:58
  Speaker 1: stands up for herself because she's bit He's basically like,
• 58:01
  Speaker 1: leave this job or I'm gonna leave you, and she
• 58:03
  Speaker 1: stands around and she says, nope, I'm not leaving this job.
• 58:06
  Speaker 1: So it's great that she's standing up for herself. And
• 58:10
  Speaker 1: it is I would say, fairly realistic that a man
• 58:14
  Speaker 1: isn't okay when a when a woman is working hard
• 58:18
  Speaker 1: and maybe resenting the fact that she has a job
• 58:21
  Speaker 1: and is putting a lot of effort into it. But
• 58:23
  Speaker 1: it just it does suck that we have to see
• 58:26
  Speaker 1: her personal life fall apart just as her professional life
• 58:30
  Speaker 1: is taking off. Yeah. That that breakup scene with them,
• 58:34
  Speaker 1: I thought was really My two favorite scenes between them
• 58:38
  Speaker 1: were when they met and when they broke up kind
• 58:41
  Speaker 1: of take or leave the rest, because there was an
• 58:43
  Speaker 1: element of his character somewhere in the middle room, like
• 58:45
  Speaker 1: he's a little bit too perfect, Like he's like, I'll
• 58:48
  Speaker 1: do whatever, I love you, go to work whatever. Like
• 58:51
  Speaker 1: there's not a lot of friction until they're very much is.
• 58:55
  Speaker 1: But in their breakup scene, I thought that that, as
• 58:58
  Speaker 1: frustrating as it is, it felt probably realistic of that
• 59:03
  Speaker 1: time to happen, and it did seem like the movie
• 59:05
  Speaker 1: commented on it enough where Aaron is pushing back and
• 59:10
  Speaker 1: you know, he has the benefit unlike her of like
• 59:14
  Speaker 1: if he's not happy taking care of children all the time,
• 59:17
  Speaker 1: he can leave, which is what's already happened to her
• 59:20
  Speaker 1: twice and sort of what she's conditioned to expect from
• 59:23
  Speaker 1: men who express interest in being with her, as they
• 59:27
  Speaker 1: can eventually leave because they feel like they're able to
• 59:29
  Speaker 1: and it's societally okay to do so. And the fact
• 59:32
  Speaker 1: that he does that was interesting and like, you, I
• 59:37
  Speaker 1: don't know, I didn't see it coming, but when it happened,
• 59:39
  Speaker 1: it made sense where he's just not you know, he's
• 59:43
  Speaker 1: kind of presented as like this gentle but like macho
• 59:47
  Speaker 1: biker guy who starts to feel like he's being too
• 59:50
  Speaker 1: domestic and he doesn't feel appreciated for the work he
• 59:53
  Speaker 1: does at home, which is not usually a complaint coming
• 59:57
  Speaker 1: from the male partner, And it's interesting to hear that,
• 1:00:00
  Speaker 1: but you never hear a female partner say I don't
• 1:00:03
  Speaker 1: feel appreciated at home. I'm doing all this work and
• 1:00:05
  Speaker 1: I feel like you're, you know, taking a dump on
• 1:00:07
  Speaker 1: me all the time. That is like, uh, could be anyone.
• 1:00:11
  Speaker 1: But his benefit is like, so I'm leaving because I can.
• 1:00:15
  Speaker 1: And when when she says like like, he's like, what
• 1:00:18
  Speaker 1: can I do to prove to you that I'm not
• 1:00:21
  Speaker 1: like those other men? And she's like, don't leave you stay.
• 1:00:25
  Speaker 1: That was great and he leaves anyway because men are cowards.
• 1:00:29
  Speaker 1: That was great and I really enjoyed. I wanted to
• 1:00:31
  Speaker 1: talk about the scene where they meet, too, because that's
• 1:00:34
  Speaker 1: that's first of all, he was so pushy, like he
• 1:00:40
  Speaker 1: I mean talking about not taking no for an answer. Yeah,
• 1:00:42
  Speaker 1: I mean, she she kept kinding on busy, I've got kids,
• 1:00:45
  Speaker 1: something this, I've got that, and he just keeps walking
• 1:00:47
  Speaker 1: up towards uh. You know. I think that is one
• 1:00:51
  Speaker 1: perfect example of how in the intervening years since that
• 1:00:54
  Speaker 1: movie was made that that would not fly. Now, yeah,
• 1:00:57
  Speaker 1: I mean it barely flies with Aaron, right, He's very
• 1:01:01
  Speaker 1: very pushy and does sort of achieve the like wearing
• 1:01:04
  Speaker 1: her down vibe. That is how those movie interactions tend
• 1:01:08
  Speaker 1: to end. It is like, yeah, he was a little pushy,
• 1:01:11
  Speaker 1: but it's just enthusiastic. It's not, you know, disrespectful, because
• 1:01:15
  Speaker 1: he even says, well, why don't you give me your number?
• 1:01:18
  Speaker 1: You though I've already got your address. You can't get away.
• 1:01:23
  Speaker 1: It's a joke, but it's real there. I don't know,
• 1:01:27
  Speaker 1: but at the moment I liked in that scene that
• 1:01:29
  Speaker 1: I thought was like really telling about Aaron's character is
• 1:01:33
  Speaker 1: she's still very direct and aggressive, but she basically lists
• 1:01:37
  Speaker 1: all the reasons of why she thinks no one would
• 1:01:40
  Speaker 1: want to be a partner with her when like she
• 1:01:43
  Speaker 1: just lists off you know, she's got kids, she's been
• 1:01:46
  Speaker 1: divorced twice, she's broke, she's unemployed. She lists off all
• 1:01:50
  Speaker 1: the reasons that are you know, eating her up inside
• 1:01:53
  Speaker 1: and then flings it into someone else's face of like,
• 1:01:56
  Speaker 1: well I'm unlovable, so get off my stoop. Uh. And
• 1:02:01
  Speaker 1: I thought that was like a great moment for that character,
• 1:02:04
  Speaker 1: and then he goes from being creepy to being perfect
• 1:02:07
  Speaker 1: to being a burnout and then he kind of comes
• 1:02:09
  Speaker 1: back at the young stack, which I actually appreciated how
• 1:02:12
  Speaker 1: the movie handles this, because the narrative hardly makes any
• 1:02:16
  Speaker 1: sort of deal of him showing up again, Like I
• 1:02:18
  Speaker 1: feel like in a lot of movies, especially when with
• 1:02:20
  Speaker 1: a female lead, where romantic storylines are such a huge
• 1:02:25
  Speaker 1: part of so many movies with a female protagonist, that
• 1:02:28
  Speaker 1: there's often some sort of huge reconciliation scene where they're like, oh, yes,
• 1:02:33
  Speaker 1: we've had our problems, but now this is it and
• 1:02:36
  Speaker 1: we're making it work and we're back together. There's no
• 1:02:38
  Speaker 1: such scene like that, and it just comes back. I
• 1:02:40
  Speaker 1: don't even think they get back together. I think she
• 1:02:42
  Speaker 1: just like called in a favor from him and he's like, yeah,
• 1:02:45
  Speaker 1: i'll watch your kids for a few days. Like I
• 1:02:47
  Speaker 1: don't even know if they it's ambiguous how it happens,
• 1:02:50
  Speaker 1: but I would he's probably gonna try and chill now
• 1:02:52
  Speaker 1: that she's a millionaire. I don't know, but um yeah,
• 1:02:57
  Speaker 1: I liked how the movie doesn't make some sort of
• 1:03:03
  Speaker 1: it's like, I know, I seemed unwilling to commit before
• 1:03:05
  Speaker 1: you were a millionaire but not transparent at all. UM.
• 1:03:10
  Speaker 1: A couple other just like quick scenes that you know,
• 1:03:13
  Speaker 1: made my Bechtel alert go off, is um. This one
• 1:03:21
  Speaker 1: of them is the scene where Aaron Brockovich is talking
• 1:03:25
  Speaker 1: to the young girl who has cancer UM and she's
• 1:03:29
  Speaker 1: gone through radiation and she's lost all of her hair,
• 1:03:32
  Speaker 1: and Aaron spends like a minute saying like, oh you're
• 1:03:36
  Speaker 1: you're so beautiful and you must drive all the boys
• 1:03:39
  Speaker 1: wild and like. And I understand what her intention is.
• 1:03:42
  Speaker 1: She's trying to comfort this girl who you know is sick. Um.
• 1:03:46
  Speaker 1: But of course the thing that she uses to comfort
• 1:03:49
  Speaker 1: her is you're still physically attractive. It's a comment on
• 1:03:54
  Speaker 1: her appearance. It's a comment on how she would be
• 1:03:56
  Speaker 1: valued by her male peers. And is an example of
• 1:04:02
  Speaker 1: you know what has been historically done a lot where
• 1:04:05
  Speaker 1: we place so much emphasis on girls appearance and how
• 1:04:08
  Speaker 1: they how much they appeal to men. And I mean
• 1:04:13
  Speaker 1: there's not that. There is an element of Aaron's character
• 1:04:16
  Speaker 1: that sort of subscribes to that as well, because we
• 1:04:20
  Speaker 1: learned that she was like a former beauty queen, and
• 1:04:23
  Speaker 1: which I did think was an interesting characterization choice where
• 1:04:28
  Speaker 1: you know, it's like, oh, she earlier in her life,
• 1:04:31
  Speaker 1: she it seemed like she was on a conventional track
• 1:04:34
  Speaker 1: to somewhere and it didn't work out, and now that
• 1:04:36
  Speaker 1: she's found a different track, she's going to really apply
• 1:04:39
  Speaker 1: herself to make it happen. But yeah, that that exchange
• 1:04:43
  Speaker 1: that that you're talking about did seem well intentioned but dated. Yes, yes,
• 1:04:48
  Speaker 1: I don't think that. I think it's far less common now,
• 1:04:52
  Speaker 1: or at least a lot of especially a woman to
• 1:04:56
  Speaker 1: a young girl, thinks twice before they say, well you're
• 1:04:59
  Speaker 1: pretty a lead. Yeah, definitely. And then the other quick
• 1:05:03
  Speaker 1: thing that set off my alert was whenever Ed Masury
• 1:05:08
  Speaker 1: towards the end of the movie, he's brought in like
• 1:05:11
  Speaker 1: the fancy lawyers, and Aaron feels like she's being kind
• 1:05:14
  Speaker 1: of pushed out of participating in the whole case, and
• 1:05:19
  Speaker 1: you know, she reacts appropriately and she says like, you're like,
• 1:05:22
  Speaker 1: you're pushing me out. You didn't tell me anything about this,
• 1:05:25
  Speaker 1: And then Ed responds by saying, you're emotional, you're erratic,
• 1:05:30
  Speaker 1: you're seeing everything that comes your mind. You're making this
• 1:05:32
  Speaker 1: personal and it isn't. And it's just like such a
• 1:05:34
  Speaker 1: common reaction to a woman expressing anger that is completely justified,
• 1:05:40
  Speaker 1: and of course it's It's often the first thing I
• 1:05:42
  Speaker 1: get said is, oh, you're a woman who's reacting, You're
• 1:05:45
  Speaker 1: being emotional, you're erratic, you're crazy, and that doesn't I mean,
• 1:05:49
  Speaker 1: she challenges it, but you know, it's just it's you know,
• 1:05:52
  Speaker 1: you can't help but notice these things. I don't know
• 1:05:55
  Speaker 1: how much there is to say about it besides that,
• 1:05:57
  Speaker 1: but I was just like, Oh, I'm a man, a woman,
• 1:06:00
  Speaker 1: crazy and erratic and emotional. That's example number eight bazillion.
• 1:06:06
  Speaker 1: So anyway, I just wanted to touch on that very
• 1:06:08
  Speaker 1: quickly as well. Yeah, I agree. Yeah, was that? Is
• 1:06:12
  Speaker 1: there anything any other topics that you wanted to touch on? No?
• 1:06:16
  Speaker 1: I think I've enjoyed this. It's it's I want to
• 1:06:19
  Speaker 1: go see it again. Now we're gonna watch it again.
• 1:06:21
  Speaker 1: I mean, there's so I love the way that films,
• 1:06:25
  Speaker 1: particularly films that somehow seemed to capture a particular moment
• 1:06:29
  Speaker 1: in time of particular you know that they're infused with
• 1:06:32
  Speaker 1: whatever the discussion appens to be at that given moment.
• 1:06:36
  Speaker 1: I think Aaron Brockovich is a kind of it's a
• 1:06:40
  Speaker 1: throwback to a movie that might have been made ten
• 1:06:42
  Speaker 1: years earlier, but it's doubtful whether it would be treated
• 1:06:45
  Speaker 1: in quite the same way now, you know. I did
• 1:06:49
  Speaker 1: a movie recently called Saint Judy, which is a similar
• 1:06:52
  Speaker 1: story about a single mother who is a lawyer and
• 1:06:56
  Speaker 1: who you know, fights for a very specific cause and
• 1:07:00
  Speaker 1: kind of makes a lot of sacrifices along the way.
• 1:07:03
  Speaker 1: But there's no there's no romantic element. There's there's no
• 1:07:07
  Speaker 1: George in the story. There's an ex husband, that's it,
• 1:07:11
  Speaker 1: but there's no there's no kind of romantic thing going on,
• 1:07:15
  Speaker 1: and and and that's an interesting it's interesting how things
• 1:07:18
  Speaker 1: evolved that way, you know. But you know, which is
• 1:07:21
  Speaker 1: why I think is why I said earlier. I mean,
• 1:07:22
  Speaker 1: I think Aaron Brockovich is really is a period movie,
• 1:07:25
  Speaker 1: you know, because it's it's kind of capturing something that
• 1:07:28
  Speaker 1: you know, a moment's twenty five years and that's quite
• 1:07:30
  Speaker 1: a long time in movies in movie terms. I mean,
• 1:07:33
  Speaker 1: it takes place in the year which is the year
• 1:07:37
  Speaker 1: that Jurassic Park comes out. You see the poster in
• 1:07:40
  Speaker 1: the bedroom. I'm always on the lookout for Jurassic Park reference,
• 1:07:43
  Speaker 1: and we get it in this movie. So that makes
• 1:07:46
  Speaker 1: it a terrific masterpiece in my mind, does if you
• 1:07:50
  Speaker 1: pass the BACKDL test. I believe it does. Yeah, it
• 1:07:54
  Speaker 1: does quite a bit. Yeah. Aaron talks to various combinations
• 1:07:59
  Speaker 1: of women who names we know and um, sometimes about
• 1:08:03
  Speaker 1: men but not always, a lot of times about chromium,
• 1:08:06
  Speaker 1: which is generally but also the scene where she's the
• 1:08:10
  Speaker 1: very first scene with Margemark Helgenberger's character when they talk
• 1:08:15
  Speaker 1: about the effects of this stuff, she mentions her husband,
• 1:08:18
  Speaker 1: but only as an example of something that happened to someone,
• 1:08:23
  Speaker 1: because the scene is not really about him. They're not
• 1:08:26
  Speaker 1: really discussing him. The context is chum. So it does. Yeah.
• 1:08:32
  Speaker 1: And she talks to Brenda in the law office, she
• 1:08:35
  Speaker 1: talks to Anna, she talks to her dad, she talks
• 1:08:38
  Speaker 1: to the other lawyer, Teresa. Yeah, there's there's a number
• 1:08:42
  Speaker 1: of scenes that passed by our standards, and Cheryl Crowe
• 1:08:46
  Speaker 1: is at the end every day as a whining road.
• 1:08:49
  Speaker 1: I'd forgotten that. When that came up, I was like
• 1:08:53
  Speaker 1: jumping up. Yeah, yeah, I forgotten that song Bob's It's
• 1:08:58
  Speaker 1: so good it um so Yes, that's a definite. Yes,
• 1:09:02
  Speaker 1: I'm passing the back total test. Let's write the movie.
• 1:09:05
  Speaker 1: We have a zero to five nipple scale, so we
• 1:09:09
  Speaker 1: rate it based on its portrayal and representation of women.
• 1:09:14
  Speaker 1: Five nipples being the best. I love that so sacred scale. Yes,
• 1:09:20
  Speaker 1: I would say I would say three. M okay, three nipples.
• 1:09:25
  Speaker 1: You can also give the nipples to characters in the movie,
• 1:09:28
  Speaker 1: or really anyone you want. Oh, I definitely give four
• 1:09:33
  Speaker 1: nipples to Erin Okay, great? Yeah, what what say you?
• 1:09:38
  Speaker 1: I'm gonna go I think I'm gonna go four. Yeah,
• 1:09:42
  Speaker 1: I think I'm gonna go for it. There's little things
• 1:09:46
  Speaker 1: that we have already discussed that are sort of I
• 1:09:50
  Speaker 1: think largely product of its time issues, but largely, I mean,
• 1:09:55
  Speaker 1: this movie is held up really really well. You rarely
• 1:09:58
  Speaker 1: have a leading female character at all, much less a biopic,
• 1:10:03
  Speaker 1: much less someone who is constantly calling out everyone on
• 1:10:07
  Speaker 1: the ways that they're marginalizing her in very colorful language.
• 1:10:12
  Speaker 1: I think the baby's cute. Albert Finney is great. Aaron
• 1:10:18
  Speaker 1: at Cart, it must be said, does have a braid
• 1:10:21
  Speaker 1: and a lettherst. So there's a lot going on. I'm
• 1:10:25
  Speaker 1: I'm here for it. I think it's great. I'll give
• 1:10:28
  Speaker 1: two nips to Aaron. I'll give one nip to Donna Jensen,
• 1:10:34
  Speaker 1: and I'll toss one to Teresa. There was some unexplored
• 1:10:38
  Speaker 1: Teresa stuff. Yeah, I'm gonna go three and a half nipples. Um,
• 1:10:43
  Speaker 1: because oh yes you can, you can revise your answer. No, No,
• 1:10:50
  Speaker 1: I'm not. I'm just thinking. I'm just thinking. Unfortunately you
• 1:10:53
  Speaker 1: have to picture it. We bisect nipples quite often. Um, yeah,
• 1:10:59
  Speaker 1: three and a half. No bulls because while it is
• 1:11:01
  Speaker 1: a woman who's driving the narrative, and she is, you know,
• 1:11:05
  Speaker 1: a strongheaded, brassy woman who does not apologize for her
• 1:11:09
  Speaker 1: behavior or her her status in life and any she's
• 1:11:14
  Speaker 1: got done. She's a single mom who you know, says
• 1:11:17
  Speaker 1: funk around her kids often and doesn't give a funk
• 1:11:21
  Speaker 1: about it. And um, she's even though she doesn't have
• 1:11:26
  Speaker 1: a formal education, which is something that gets brought up
• 1:11:29
  Speaker 1: as an excuse, another excuse not to take her seriously,
• 1:11:32
  Speaker 1: you know, she doesn't. She's incredibly smart and hard working
• 1:11:35
  Speaker 1: and she doesn't apologize for anything. And and it's it's
• 1:11:40
  Speaker 1: also tricky to talk about a movie about a real
• 1:11:42
  Speaker 1: person because it's it is hard to tell if certain
• 1:11:45
  Speaker 1: events or aspects of their character are true depictions or
• 1:11:49
  Speaker 1: if they're sort of embellishments. To heighten the tension or
• 1:11:52
  Speaker 1: the conflict, or you know, make for like a tighter
• 1:11:55
  Speaker 1: cinematic narrative. But but Aaron Brockovit as depicted by Julie
• 1:12:02
  Speaker 1: Roberts in this movie, is a character that I really
• 1:12:06
  Speaker 1: enjoy watching. And um, the real Aaron Brockovich love that
• 1:12:10
  Speaker 1: she's still doing a bunch of environment don't work. Um yeah,
• 1:12:14
  Speaker 1: there's a there's a lot to like about this movie.
• 1:12:15
  Speaker 1: There's a few things that I think it could be handled, definitely,
• 1:12:18
  Speaker 1: and like you said, it's a kind of a product
• 1:12:20
  Speaker 1: of its time. But um yeah, I'm going to go
• 1:12:23
  Speaker 1: three and a half nipples and they're all going to
• 1:12:25
  Speaker 1: the dead frog. Good for the Froghian anything. I'm real dumb.
• 1:12:35
  Speaker 1: I would like to take the nipple away from Teresa
• 1:12:38
  Speaker 1: and give it to Cheryl Crowe. Sorry, for sure, I understandry.
• 1:12:41
  Speaker 1: I just forgot that she was involved in the project. Well,
• 1:12:44
  Speaker 1: Alfred Molina, thank you. This has been my pleasure, absolute pleasure.
• 1:12:49
  Speaker 1: Did freak you out at the beginning, No, it's very
• 1:12:53
  Speaker 1: flat to that, but I must admit I had no
• 1:12:55
  Speaker 1: idea what you were talking about. But I'm very flat
• 1:12:59
  Speaker 1: to thank merge with your face on it. It's a
• 1:13:03
  Speaker 1: cartoon version of you, and it says feminist icon Alfred Mallina. Well,
• 1:13:07
  Speaker 1: I'm very pleased to be a feminist iconog someone out
• 1:13:10
  Speaker 1: in the wild with a feminist icon Alfred Mollina. It
• 1:13:13
  Speaker 1: is our fault. We can we can order you a shirt. Yeah,
• 1:13:18
  Speaker 1: Jamie designed it. Do the full, we'll do the we'll
• 1:13:21
  Speaker 1: do the work. There's pillows. That's weird. You see, I
• 1:13:25
  Speaker 1: can't wear what i'd love to wear. I'd love to.
• 1:13:27
  Speaker 1: I wish I was someone else now because I wouldn't.
• 1:13:29
  Speaker 1: I wouldn't be able to wear that. Can you imagine
• 1:13:32
  Speaker 1: walking around like that? It's like it's like walking around
• 1:13:34
  Speaker 1: with you. I start walking around with your agents phone
• 1:13:36
  Speaker 1: number on the back of your jacket. It's sort of
• 1:13:39
  Speaker 1: and trust me, I've tried that. It just doesn't doesn't
• 1:13:42
  Speaker 1: go down. Well, but I'm very that's very flattering. Thank
• 1:13:45
  Speaker 1: you very much, Thank you. This has been such an
• 1:13:48
  Speaker 1: honor and treat for us. Well then invite me again.
• 1:13:53
  Speaker 1: Oh well the second time, spoil it. Let's go back tomorrow.
• 1:13:58
  Speaker 1: It doesn't matter where year. So do you guys, do
• 1:14:02
  Speaker 1: you guys do this every week with a different movie. Yes, Yeah,
• 1:14:06
  Speaker 1: that's cool. Yeah, and how long have you been doing
• 1:14:08
  Speaker 1: How long have you been doing the podcast? Over two years? Yeah,
• 1:14:11
  Speaker 1: quite sometime. We've covered a lot. We did do an
• 1:14:14
  Speaker 1: episode on spider Man two, We did Cool by Knights,
• 1:14:18
  Speaker 1: we did's Raiders of the Last Time. Yeah. Yeah, we've
• 1:14:22
  Speaker 1: covered a few of your Yeah, I've stopped been talking
• 1:14:24
  Speaker 1: a lot about that lately. That movie I think I'm
• 1:14:27
  Speaker 1: getting I'm getting so old now, it's like it's sort
• 1:14:29
  Speaker 1: of it's like nearly forty years old. So it's that
• 1:14:33
  Speaker 1: kind of you know, people saying things like, so, what
• 1:14:36
  Speaker 1: was it like making movies in those days? It wasn't
• 1:14:41
  Speaker 1: exactly the silent here. But once again, we've been so
• 1:14:46
  Speaker 1: honored and thrilled to have you here. Is there anything
• 1:14:49
  Speaker 1: that you would like to plug? Angela Vine, which is
• 1:14:53
  Speaker 1: the podcast that we've been Oliver and I have been
• 1:14:56
  Speaker 1: working on. Oliver is the writer and I I'm just
• 1:15:00
  Speaker 1: I just playing my part in it. Um and it's
• 1:15:04
  Speaker 1: it's it's a great one for film buffs as well,
• 1:15:05
  Speaker 1: because it's it's a it's a sort of noir story.
• 1:15:08
  Speaker 1: It's kind of loosely, loosely based on the whole kind
• 1:15:11
  Speaker 1: of you know, um, is it the Blue or the
• 1:15:13
  Speaker 1: Black Black Dahlia story. And it's one of those great things.
• 1:15:17
  Speaker 1: It's basically like a movie inside your head, you know,
• 1:15:20
  Speaker 1: and every every listener will have their own their own
• 1:15:24
  Speaker 1: movie going on. And it's so that's that's what we've been,
• 1:15:28
  Speaker 1: you know, slipping our talk uses around town talking about
• 1:15:33
  Speaker 1: and that once again is the Angel of Vine Angel.
• 1:15:37
  Speaker 1: Check out that podcast. Thank you again so much for
• 1:15:40
  Speaker 1: being absolutely my pleasure. Thank you so much for inviting me.
• 1:15:44
  Speaker 1: We can do our plugs. But yeah, thank you so much,
• 1:15:48
  Speaker 1: and we'll be here next week. Yeah, see you next week.
• 1:15:52
  Speaker 1: Bye bye. All right, it's just me and Jamie. Now
• 1:16:01
  Speaker 1: Alfred has left. We just wanted to sort of regroup
• 1:16:03
  Speaker 1: and decompress from what just happened. Yeah, fred Freddie, he's
• 1:16:09
  Speaker 1: our friend. I think we held it together very well.
• 1:16:12
  Speaker 1: The dogs are then the second the second Alfred left,
• 1:16:15
  Speaker 1: my dog picked up on my vibes and piste and
• 1:16:18
  Speaker 1: ship on the floor. Um. But I think we all,
• 1:16:22
  Speaker 1: you know, while Freddie was in our kingdom, we held
• 1:16:25
  Speaker 1: we held it together very well. I think we did,
• 1:16:28
  Speaker 1: especially you, Jamie, I mean, thank you you did an
• 1:16:31
  Speaker 1: incredible job. Thank you. I was saying, your composure that
• 1:16:35
  Speaker 1: was a matrix episode level of fronting in terms of
• 1:16:41
  Speaker 1: oh I felt like dying. I'm so glad that you
• 1:16:45
  Speaker 1: brought up the merch because I was terrified too. Oh. Yes,
• 1:16:48
  Speaker 1: I also do think that our friend Freddie yes as
• 1:16:52
  Speaker 1: we like to call him as our friend, has just
• 1:16:55
  Speaker 1: a calming presence and it truly possible to be stressed
• 1:16:59
  Speaker 1: around him. I just wanted to shout out Brett Boham
• 1:17:02
  Speaker 1: from Forever Dog Podcast Network, um for helping us to
• 1:17:07
  Speaker 1: set this up. I mean, I hope it was worth
• 1:17:10
  Speaker 1: it for everyone. It certainly was for me. I want
• 1:17:14
  Speaker 1: to I can't cry or I would sure I Um,
• 1:17:19
  Speaker 1: I am very proud of all of us. I that
• 1:17:22
  Speaker 1: was so much fun and really a monumental episode. I
• 1:17:27
  Speaker 1: think we have to end this show just kidding we
• 1:17:30
  Speaker 1: have Yeah, there's still Haley Jewels, so um, I'm sure
• 1:17:35
  Speaker 1: there's a celebrity that I like that we would. Oh yeah,
• 1:17:39
  Speaker 1: we've all got to This is why people start podcasts
• 1:17:42
  Speaker 1: to me people they like, and then to gradually stop
• 1:17:44
  Speaker 1: doing the podcast too real But anyway, so no, there's
• 1:17:48
  Speaker 1: many more episodes of ours to come, um, but this
• 1:17:51
  Speaker 1: unfortunately was our best one there. This is the peak,
• 1:17:57
  Speaker 1: so after this we understand. But anyway, that was great.
• 1:18:03
  Speaker 1: Alfred is such a class act. I'm like freaking out
• 1:18:08
  Speaker 1: and and listen to the Angel of vine Yes indeed,
• 1:18:12
  Speaker 1: um and speaking of plugging things, you can follow us
• 1:18:15
  Speaker 1: on social media on the platforms at Bechtel Cast. Please
• 1:18:21
  Speaker 1: rate and review us. On iTunes, please subscribe to our
• 1:18:26
  Speaker 1: Patreon aka Matreon. It's five dollars for two bonus episodes
• 1:18:30
  Speaker 1: a month, which is a great deal. This month we
• 1:18:36
  Speaker 1: are doing Pagentiuary pageant movies, so we're doing Dumplin with
• 1:18:42
  Speaker 1: a special guest to be announced, and we're also doing
• 1:18:44
  Speaker 1: Drop Dead Gorgeous. A special guest is alphad Molina. Again,
• 1:18:48
  Speaker 1: one of these we actually would like to announce we
• 1:18:51
  Speaker 1: have a third chair. You heard it. He did offer
• 1:18:55
  Speaker 1: to come back and I will, you know, just send
• 1:18:58
  Speaker 1: that audio clip to him every once in a while. Well, um,
• 1:19:01
  Speaker 1: do you think it's like news breaking that Alfred Billina
• 1:19:04
  Speaker 1: learned when an m R A is. I'm just I'm
• 1:19:05
  Speaker 1: glad we taught him something, so why Yeah, I feel
• 1:19:09
  Speaker 1: like this was a very educational I think he got
• 1:19:12
  Speaker 1: more out of this than we did, which is crazy
• 1:19:15
  Speaker 1: because I'm not the same person I was when I enter.
• 1:19:19
  Speaker 1: I'm also very much kidding, but my dog is picking
• 1:19:22
  Speaker 1: up on my vibes and that he is piste and
• 1:19:24
  Speaker 1: shipped and humped since he arrived. He's just I take
• 1:19:29
  Speaker 1: full responsibility for the dog today because I'm sending out
• 1:19:33
  Speaker 1: vibes that are just sending him into into horny terror. Anyway,
• 1:19:40
  Speaker 1: we've got merch I mean, now more than ever, you
• 1:19:44
  Speaker 1: have to buy our feminist icon Alfred Molina merchandise. He
• 1:19:47
  Speaker 1: won't wear it, but you you have to just so
• 1:19:50
  Speaker 1: in case you know, you ever, if you're in l
• 1:19:52
  Speaker 1: A or you come to visit, you got to wear
• 1:19:54
  Speaker 1: it in the off chance that you'll encounter him, and
• 1:19:58
  Speaker 1: then he can be like, hey, I know that I
• 1:20:00
  Speaker 1: was on that podcast, So make sure you get that
• 1:20:05
  Speaker 1: merch at t public dot com slash the Bechtel Cast. God,
• 1:20:09
  Speaker 1: what a day. What a day? We can't where do
• 1:20:11
  Speaker 1: we go? Find exhausted? I don't know. I think I
• 1:20:14
  Speaker 1: need to sleep for like twenty two hours. Uh No,
• 1:20:17
  Speaker 1: I genuinely think I'm gonna listen to the Angel of
• 1:20:19
  Speaker 1: Mine this uh this afternoon. You gotta yeah, so yes. Unfortunately,
• 1:20:24
  Speaker 1: every episode after this will be disappointing because Alfred Million
• 1:20:28
  Speaker 1: now will probably not be our guest the Tribe. But
• 1:20:31
  Speaker 1: he did say he'd come back, so maybe he could.
• 1:20:34
  Speaker 1: What is a movie he could do that I wanted
• 1:20:37
  Speaker 1: to do? Something funked up? If we talk about a
• 1:20:41
  Speaker 1: movie that no women are in, we would just be
• 1:20:44
  Speaker 1: forced to have to talk about something else, like if
• 1:20:47
  Speaker 1: we did like The Shockshank Redemption, or like what just
• 1:20:50
  Speaker 1: tell us your life story? Yeah, just how do you
• 1:20:52
  Speaker 1: get started? And you know, to tell us everything. It's
• 1:20:55
  Speaker 1: a good trick. It's a good heck you. I mean,
• 1:21:01
  Speaker 1: hopefully if you're a long time listener, you know what
• 1:21:03
  Speaker 1: this meant to us. And if this is your first
• 1:21:05
  Speaker 1: time listening, hopefully it wasn't too confusing, right, and we
• 1:21:09
  Speaker 1: cherish you. Thanks for listening, thanks for your support. Well,
• 1:21:13
  Speaker 1: we'll be here next week. Bye,