Latest / The Bechdel Cast / Sister Act with Nithya Raman

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Sister Act with Nithya Raman · The Bechdel Cast

• 0:01
  Speaker 1: On the Bedel Cast, the questions asked if movies have
• 0:04
  Speaker 1: women in them, are all their discussions just boyfriends and husbands,
• 0:08
  Speaker 1: or do they have individualism? The patriarchy ze invest start
• 0:13
  Speaker 1: changing it with the Betel Cast. Welcome to the Bechtel Cast.
• 0:17
  Speaker 1: My name is Jamie Loftus, my name is Caitlin Darante,
• 0:20
  Speaker 1: and you know the deal. This is our podcast about
• 0:23
  Speaker 1: the portrayal of women in movies. We use the Bechtel
• 0:26
  Speaker 1: test as a jumping off point to initiate a larger conversation,
• 0:31
  Speaker 1: treatment and representation. Yes, Jamie, have a question. Yes, please?
• 0:35
  Speaker 1: What is the Bechtel Test? Oh? I'm so glad? Do
• 0:37
  Speaker 1: you asked her? It was like three years later. I'm like,
• 0:41
  Speaker 1: I don't understand it. What have you said it? And
• 0:44
  Speaker 1: then I was like, that's not fair, sames, unrestupid. Well
• 0:50
  Speaker 1: okay for Jamie fruit just you from my reference. Yes,
• 0:53
  Speaker 1: it is a media metric created by cartoonist Alison Bechtel,
• 0:57
  Speaker 1: sometimes called the Bechtel Wallace test, in which two female
• 1:01
  Speaker 1: identifying characters with names must speak to each other about
• 1:04
  Speaker 1: something other than a man, and by our metric, it
• 1:07
  Speaker 1: has to be at least a two line exchange of dialogue, right,
• 1:10
  Speaker 1: I think it'd be easy. Usually it's not. I mean,
• 1:13
  Speaker 1: look at the Oscar nominees. Well what if so I
• 1:16
  Speaker 1: hope someone like slides into our d M s and
• 1:18
  Speaker 1: it's like Ford v. Ferrari pass the Bechdel test. You eve,
• 1:22
  Speaker 1: but I didn't see it. What if it did? What if?
• 1:25
  Speaker 1: What if the cars identifies, you know, and they rammed
• 1:29
  Speaker 1: each other? Boats do canonically canonically, But I don't know.
• 1:36
  Speaker 1: We'll see. Yeah, if anyone knows if Ford v. Ferrari
• 1:38
  Speaker 1: passed the Beckdel test? What a wild ride? That movie?
• 1:41
  Speaker 1: What ride? Yeah? Because cars? Because cars, you know what
• 1:44
  Speaker 1: cars are. I'm really excited for both their guests and
• 1:49
  Speaker 1: the movie we're covering today. We've been getting this request
• 1:52
  Speaker 1: since we started the show, and we were just kind
• 1:55
  Speaker 1: of just waiting for the for the for the right
• 1:57
  Speaker 1: guests to come along. So I'm very excited. We're doing
• 2:00
  Speaker 1: Sister Act. We're doing Sister Act. We're gonna deviate a
• 2:04
  Speaker 1: little bit from the format because our guests. We're gonna
• 2:06
  Speaker 1: ask some questions, an interview a little bit. We gotta
• 2:09
  Speaker 1: get to know where you go. Because she is an
• 2:12
  Speaker 1: urban planner, a community advocate. She served as executive director
• 2:17
  Speaker 1: of Time's Up Entertainment, and currently she is running for
• 2:20
  Speaker 1: Los Angeles City Council District four are election where it's
• 2:25
  Speaker 1: literally sitting. It's in District four at this very moment,
• 2:29
  Speaker 1: the election for which is on March three. It's Nythia Rahman. Hi, welcome, Hi,
• 2:35
  Speaker 1: I'm so happy to be here. Okay, we're also just
• 2:38
  Speaker 1: for our listeners. Were recording literally at Caitlin's house in
• 2:41
  Speaker 1: District four right now. I mostly came because I think
• 2:46
  Speaker 1: both of the our constituents, So yeah, one podcast. It's
• 2:53
  Speaker 1: a real grassroots movement. So if you're an l A
• 2:57
  Speaker 1: listener and you live in that district, perc your ears
• 2:59
  Speaker 1: up extra. But everyone just okay, yeah I did. They
• 3:04
  Speaker 1: were so excited you're here. We're so happy. We're big
• 3:06
  Speaker 1: fans likewise, so um yeah, I want to just start
• 3:11
  Speaker 1: about by talking about what motivated you to run for
• 3:15
  Speaker 1: city council. What what you know made the decision to
• 3:18
  Speaker 1: leave your day job and uh start campaigning. Well, it
• 3:22
  Speaker 1: was not It's definitely not something I've been thinking about
• 3:24
  Speaker 1: my whole life, so it was a big decision for me. Um.
• 3:26
  Speaker 1: I also have two little kids. I have four year
• 3:28
  Speaker 1: old twins. They're very cute right now after initial hard,
• 3:34
  Speaker 1: hard period when they were infants, but now they're they're people.
• 3:39
  Speaker 1: They're adorable, they're so fun and the campaign takes me
• 3:41
  Speaker 1: away from them a lot um. And I left a
• 3:43
  Speaker 1: very good job at a very exciting job at times
• 3:46
  Speaker 1: up to come do this. But I'm running for two reasons.
• 3:51
  Speaker 1: One is I was pretty angry about how the city
• 3:54
  Speaker 1: was responding to the issue of homelessness, uh and the
• 3:57
  Speaker 1: broader housing crisis that homeless this is just you know,
• 4:01
  Speaker 1: one part of and I I started a homeless coalition
• 4:05
  Speaker 1: in my neighborhood. I worked at city Hall a few
• 4:07
  Speaker 1: years ago and wrote a report about the city's response
• 4:09
  Speaker 1: on homelessness. And my report at that time found that
• 4:13
  Speaker 1: the city was already spending more than a hundred million
• 4:15
  Speaker 1: dollars on homelessness, but that the majority of the money
• 4:18
  Speaker 1: was actually going to putting homeless individuals in jail and
• 4:22
  Speaker 1: then releasing them, a policy which is both incredibly cruel
• 4:27
  Speaker 1: and ineffective. So you can see by the growth of
• 4:30
  Speaker 1: homelessness in Los Angeles five years later. At that time
• 4:33
  Speaker 1: there were twenty three thousand people experiencing homelessness. Now there's
• 4:36
  Speaker 1: almost thirty seven thousand in the city of Los Angeles,
• 4:39
  Speaker 1: so it's grown by fourteen thousand and five years, which
• 4:43
  Speaker 1: is a staggering increase. And to me, you know, I
• 4:47
  Speaker 1: left city hall. I had twins, I left the workforce
• 4:49
  Speaker 1: for a little while. But while I was at home,
• 4:51
  Speaker 1: I helped start this homeless coalition in my neighborhood which
• 4:54
  Speaker 1: actually serves Los Filas as well, uh and it's called CELA.
• 4:58
  Speaker 1: We started as a group of neighbors who were get
• 5:00
  Speaker 1: together doing volunteer outreach and getting to know people who
• 5:03
  Speaker 1: lived on the streets and in our neighborhoods. So Los
• 5:06
  Speaker 1: Fila's Silver Lake Echo Park, a bunch of neighborhoods that
• 5:09
  Speaker 1: were right near the river. There's a lot of encampments
• 5:11
  Speaker 1: near the river, and these were all our areas where
• 5:12
  Speaker 1: there were no people experiencing homelessness living out outdoors before
• 5:17
  Speaker 1: at all. This was new, and so I think a
• 5:20
  Speaker 1: group of people who were like, what do we do?
• 5:22
  Speaker 1: You know, this is happening, and we don't know what
• 5:23
  Speaker 1: to do. We got together and started doing outreach and
• 5:26
  Speaker 1: we would go out and talk to people who were
• 5:28
  Speaker 1: living in encampments get to know them by name, we'd
• 5:31
  Speaker 1: bring food and water, and we would try and learn
• 5:34
  Speaker 1: from them, you know, more about them and their stories
• 5:37
  Speaker 1: and how they ended up there, but also what was
• 5:38
  Speaker 1: preventing them from getting back into stable housing. And as
• 5:42
  Speaker 1: we learned about the situation that they experienced on the ground,
• 5:45
  Speaker 1: what we realized was that the city had made it
• 5:47
  Speaker 1: incredibly difficult once they were experiencing homelessness for them to
• 5:51
  Speaker 1: actually get back into housing. So in that whole region,
• 5:54
  Speaker 1: so we served an area stretching from Los Filas all
• 5:56
  Speaker 1: the way to Cyprus Park, So if you know l A,
• 5:58
  Speaker 1: that's a huge area of the city. There was no
• 6:00
  Speaker 1: walk in shelter beds, There was not a single shower
• 6:03
  Speaker 1: that they could go use. There was not a really
• 6:06
  Speaker 1: a bathroom where they were welcomed. There was not a
• 6:08
  Speaker 1: drop in case manager. Like if you wanted help and
• 6:11
  Speaker 1: you wanted to talk to somebody to get the help
• 6:13
  Speaker 1: that you needed, whether it be case management work, whether
• 6:16
  Speaker 1: it be mental health support, whether it be addiction counseling,
• 6:20
  Speaker 1: whatever it is that you needed help with, it was
• 6:22
  Speaker 1: not available for you anywhere in this entire area. So
• 6:26
  Speaker 1: I started looking at the system that we had created
• 6:29
  Speaker 1: around homelessness and I knew this from my work at
• 6:31
  Speaker 1: city Hall, but it was made so much more real
• 6:33
  Speaker 1: to me once I was looking at it from the
• 6:34
  Speaker 1: perspective of someone who was actually experiencing homelessness. Was that
• 6:38
  Speaker 1: the system we set up in l A was not
• 6:40
  Speaker 1: really designed to help people. It was designed basically by
• 6:44
  Speaker 1: people who don't care about this issue. And I just thought, here,
• 6:48
  Speaker 1: I am, I have a full time job, I have
• 6:50
  Speaker 1: two little kids, and all these other volunteers who are
• 6:52
  Speaker 1: weren't running the SELA program also do. And we kept
• 6:57
  Speaker 1: asking the city for a drop in center with a
• 7:00
  Speaker 1: shower and uh you know, a hot meal and access
• 7:02
  Speaker 1: to case management for the area. They ignored us. They
• 7:06
  Speaker 1: wouldn't even meet with us, Our council members wouldn't even
• 7:08
  Speaker 1: really meet with us. Finally, we did it ourselves. We
• 7:10
  Speaker 1: raised money, we we applied for grants, we held a fundraiser,
• 7:14
  Speaker 1: and we started operating a one day a week drop
• 7:17
  Speaker 1: in center, which has now grown to four sites, yeah
• 7:20
  Speaker 1: in in Silver Lake. And I just started thinking, if
• 7:24
  Speaker 1: the people who were in power felt any amount of
• 7:26
  Speaker 1: the sense of urgency that I do, and that you know,
• 7:29
  Speaker 1: all of these other volunteers did around this issue, I
• 7:31
  Speaker 1: think we would just be facing a very different situation
• 7:33
  Speaker 1: in Los Angeles. So that's when I started thinking about
• 7:36
  Speaker 1: running UM. And I'm you know, I'm trained as an
• 7:38
  Speaker 1: urban planner. I've thought about cities, and I've worked on
• 7:40
  Speaker 1: cities for pretty much my entire career except for my
• 7:42
  Speaker 1: time at times up so and the more I thought
• 7:45
  Speaker 1: about it, the more it made sense. And then the
• 7:48
  Speaker 1: second reason is actually that I wanted to run, was
• 7:50
  Speaker 1: because this election is actually an incredible opportunity, Like we
• 7:55
  Speaker 1: have a chance right now to invite a lot more
• 7:57
  Speaker 1: people into the municipal election, which is historically had very
• 8:00
  Speaker 1: very low participation rates in Los Angeles. Now it's going
• 8:03
  Speaker 1: to coincide with the federal election for the first time,
• 8:06
  Speaker 1: so it's on Super Tuesday. Yeah, and I'm sure everyone's
• 8:09
  Speaker 1: planning to vote on Super Tuesday, So we have an
• 8:12
  Speaker 1: opportunity to invite a lot more people into the municipal
• 8:14
  Speaker 1: political process to say, like, when you're going out there
• 8:16
  Speaker 1: and voting for whoever you want to vote for, you
• 8:19
  Speaker 1: should care about this and you can transform what you
• 8:21
  Speaker 1: see around you, like what you look, what you see
• 8:24
  Speaker 1: on the streets, and of l a, what you see
• 8:26
  Speaker 1: here right now. If this is not acceptable to you,
• 8:29
  Speaker 1: and I know it's not to most people. Our message
• 8:31
  Speaker 1: to them is you have a moment right now to
• 8:33
  Speaker 1: completely transform. It's so exciting. We're very, very very grateful
• 8:38
  Speaker 1: you're running because truly like every like um, I mean
• 8:42
  Speaker 1: you can you can check out Nathia's website and Nadia
• 8:44
  Speaker 1: for the city dot com for all of your policies
• 8:46
  Speaker 1: in detail. But it just it seems like it's just
• 8:49
  Speaker 1: stands to improve literally, I mean, everyone's life in district force.
• 8:54
  Speaker 1: So we're excited about it. Um. I think something that
• 8:58
  Speaker 1: our listeners are always trying to figure out, um, how
• 9:01
  Speaker 1: to do, is is do you have any I guess
• 9:04
  Speaker 1: advice for like the average citizen who's just trying to
• 9:07
  Speaker 1: be more involved and be more engaged in local issues especially.
• 9:12
  Speaker 1: I think that yeah, like you were saying that, I
• 9:14
  Speaker 1: mean super Tuesday, Um, is such a huge opportunity for awareness. Um,
• 9:19
  Speaker 1: what can the average person do to be engaged specifically
• 9:22
  Speaker 1: in l A or anywhere. I mean, let's let's go
• 9:26
  Speaker 1: for l A. Well, I think, yeah, I would just
• 9:29
  Speaker 1: dig into a little bit more this idea that part
• 9:32
  Speaker 1: of the reason why we have an l A that
• 9:35
  Speaker 1: feels right now incredibly hostile to lower income residents, whether
• 9:41
  Speaker 1: it be looking through how we serve our homeless residents,
• 9:43
  Speaker 1: or whether it be looking at how we're dealing with
• 9:46
  Speaker 1: a massive increase in rental prices that has far outpaced incomes,
• 9:52
  Speaker 1: Like our city can do a lot to help tenants,
• 9:56
  Speaker 1: our city can do a lot to help people who
• 9:58
  Speaker 1: are on the verge of becoming homeless. And over and
• 10:02
  Speaker 1: over again, they have looked away from those powers and responsibilities.
• 10:05
  Speaker 1: And I feel like, I think if you're somebody who's
• 10:08
  Speaker 1: living in l A particularly, I think it's really important
• 10:12
  Speaker 1: to understand what powers are local officials have, whether it
• 10:17
  Speaker 1: be at the council or whether it be at the supervisors,
• 10:19
  Speaker 1: and get involved in those races and make sure that
• 10:22
  Speaker 1: we're voting in candidates whose values you believe in and trust,
• 10:26
  Speaker 1: because right now, we have a political system in Los
• 10:29
  Speaker 1: Angeles that's really ossified, you know it is. It's like
• 10:34
  Speaker 1: like I've been interacting with it now and it feels
• 10:36
  Speaker 1: like you're up against some It's like whenever I deal
• 10:40
  Speaker 1: with any aspect of the traditional system, it feels like
• 10:43
  Speaker 1: I have gone back in time to three decades. Terrifying.
• 10:47
  Speaker 1: It's like all men like, there's only two elected representatives
• 10:51
  Speaker 1: out of eighteen total electives at City Hall, so fifteen
• 10:54
  Speaker 1: council members and city attorney, mayor and a city controller,
• 10:58
  Speaker 1: so only two out of those out of that teen
• 11:00
  Speaker 1: our women. It's just like very clubby culture where everybody
• 11:04
  Speaker 1: knows each other, but just a little bit of engagement
• 11:07
  Speaker 1: from residents could completely transform that and it has so
• 11:12
  Speaker 1: in recent weeks and months we've seen both of the
• 11:15
  Speaker 1: city and the county that advocacy by either homelessness advocates
• 11:20
  Speaker 1: who want to see a reduction in punitive responses to
• 11:24
  Speaker 1: homelessness and push for a more compassionate response have shown
• 11:29
  Speaker 1: up at city Hall and protested and changed policy, which yeah,
• 11:34
  Speaker 1: which is incredible. And then at the county level, we've
• 11:36
  Speaker 1: seen this huge criminal justice reform movement that has actually
• 11:40
  Speaker 1: stopped the construction of a three point five billion dollar
• 11:43
  Speaker 1: meant it was called a mental health jail. I mean
• 11:45
  Speaker 1: it was a mental health facility, but it was really
• 11:47
  Speaker 1: another big jail. And now there have another measure on
• 11:50
  Speaker 1: the ballot called Measure Are, which everyone should get informed about.
• 11:53
  Speaker 1: But in both of those situations, we've seen that involvement
• 11:56
  Speaker 1: engagement by residents can change things and it doesn't take uch,
• 12:00
  Speaker 1: you know. So if you can show up to like one,
• 12:02
  Speaker 1: get on a mailing list, show up to one protest,
• 12:05
  Speaker 1: you know, and just having those numbers, invite a couple
• 12:08
  Speaker 1: of friends to it, and then go to brunch afterwards,
• 12:11
  Speaker 1: it yeah, exactly, you know. So so even little things
• 12:15
  Speaker 1: like I I love doing service, like I love the
• 12:19
  Speaker 1: idea of and we invite lots of volunteers in the
• 12:21
  Speaker 1: coalition that I started here in silver Lake and Los
• 12:24
  Speaker 1: VELAs to come in and make food or too, you know,
• 12:28
  Speaker 1: set up that whole shower program that we do weekly,
• 12:31
  Speaker 1: and that's a great opportunity. But if you want to
• 12:34
  Speaker 1: change the systems that result in us having to do
• 12:37
  Speaker 1: that kind of volunteer work week after week, then you
• 12:41
  Speaker 1: have to go to city Hall or you have to
• 12:42
  Speaker 1: go to the Board of Supervisors and like show up
• 12:44
  Speaker 1: in protest and make the change that's going to change
• 12:47
  Speaker 1: the system. So that's what I would say to people
• 12:48
  Speaker 1: who are getting involved, is like, get informed and get
• 12:51
  Speaker 1: involved in advocacy because that can transform the city. Absolutely. Okay, cool,
• 12:56
  Speaker 1: thank you so much. It was I feel like I'm
• 12:57
  Speaker 1: talking We're way too long this We are asking you questions.
• 13:01
  Speaker 1: But that's how that works. You shouldn't have a sign
• 13:04
  Speaker 1: or something where you're like, you know, just like scrite
• 13:06
  Speaker 1: your nose and you're like, we're also, I mean, just
• 13:12
  Speaker 1: because of what our show is about, We're we're curious
• 13:16
  Speaker 1: about your time with time's up. And um, what what
• 13:20
  Speaker 1: was that experience like in what coming from city hall
• 13:23
  Speaker 1: to being a stay at home mom to going two
• 13:26
  Speaker 1: times of what sort of brought you there? Um? What
• 13:29
  Speaker 1: brought me there was not particularly exciting. I just somebody
• 13:32
  Speaker 1: sent me the job listing, and but I think they
• 13:37
  Speaker 1: wanted me because I'm guessing I don't have a lot
• 13:40
  Speaker 1: of insight, but I think they were excited about the
• 13:42
  Speaker 1: fact that I had taken advocacy and transformed it into
• 13:48
  Speaker 1: either concrete programs or concrete policy changes in the past,
• 13:52
  Speaker 1: and I think they were hoping that I could do
• 13:54
  Speaker 1: something similar there, which, UM, I'm very proud to say
• 13:57
  Speaker 1: that we did so. In the in the year a
• 14:00
  Speaker 1: little more than a year that I was the e D,
• 14:02
  Speaker 1: we put together this incredible mentorship program for the executive
• 14:06
  Speaker 1: and producer pipeline. Um. Yeah, and we actually took the
• 14:10
  Speaker 1: money for that came out of Less Moon Vesta's settlement
• 14:16
  Speaker 1: love that knife. So we had an opportunity to apply
• 14:20
  Speaker 1: for that money. So I was like, we have this
• 14:22
  Speaker 1: amazing program already in place. I applied for that funding
• 14:24
  Speaker 1: and we were able to set it up and it
• 14:25
  Speaker 1: was incredible. We have an incredible group of people who
• 14:28
  Speaker 1: are associated with it, but essentially supports people who don't
• 14:33
  Speaker 1: necessarily have the industry connections as who are assistants or
• 14:37
  Speaker 1: junior executives in that pipeline and gives them this incredible
• 14:42
  Speaker 1: network and an intensive mentorship relationship to help them move ahead.
• 14:47
  Speaker 1: And it was a really cool program. And it's also
• 14:49
  Speaker 1: it has a very unique thing which I think is
• 14:51
  Speaker 1: relevant in the context of this pay up Hollywood, you know,
• 14:55
  Speaker 1: this movement to talk about how a little. So we
• 14:57
  Speaker 1: had a ten tho dollar stipend in program that would
• 15:01
  Speaker 1: be given to anyone who was selected for it, because
• 15:04
  Speaker 1: we knew that if you came in and we're getting
• 15:06
  Speaker 1: paid minimum wage or whatever these you know, agencies or
• 15:10
  Speaker 1: production companies pay you, you wouldn't necessarily have the money
• 15:13
  Speaker 1: to go out and have drinks, which is where you
• 15:16
  Speaker 1: like make the relationships that get you, you know. So
• 15:19
  Speaker 1: I think it was a program that was designed really
• 15:21
  Speaker 1: well but also really acknowledge the realities of Hollywood and
• 15:26
  Speaker 1: what it takes to get ahead in the industry. Um.
• 15:29
  Speaker 1: And we had a couple of other week just released
• 15:31
  Speaker 1: these resources for performers on sets telling you exactly what
• 15:35
  Speaker 1: your rights are when you go out and do an audition. Yeah,
• 15:39
  Speaker 1: and we that we compiled all these resources from different
• 15:42
  Speaker 1: places and I kicked started that project and it was
• 15:44
  Speaker 1: released after I left. But it was very very important
• 15:47
  Speaker 1: to me that people who were new to the industry
• 15:49
  Speaker 1: knew not just what their rights were, but where they
• 15:51
  Speaker 1: could turn if they needed help. So we did that. UM.
• 15:54
  Speaker 1: But I would say my broader experience of being at
• 15:57
  Speaker 1: times up was really fascinating because as an relative outsider
• 16:00
  Speaker 1: to the entertainment industry and someone who had come from
• 16:03
  Speaker 1: an advocacy nonprofit background, I was and I don't know
• 16:07
  Speaker 1: whether your experience you're both like in then you consider
• 16:10
  Speaker 1: yourselves in the industry, right, yes, yeah, well I maybe,
• 16:16
  Speaker 1: I mean I would be curious about your experience, But
• 16:19
  Speaker 1: I felt like the industry is really conservative. I mean
• 16:22
  Speaker 1: I think, yeah, it feels like a vested interest in
• 16:25
  Speaker 1: like making it not look that way. But then once
• 16:27
  Speaker 1: you actually start to talk to people, You're like, oh,
• 16:29
  Speaker 1: this is actually very fucked up interesting, Okay, cool. Yeah,
• 16:33
  Speaker 1: And I think like the Times Up moment and movement
• 16:36
  Speaker 1: and the me too activism and a lot of organizing
• 16:41
  Speaker 1: that's now happened not related to Times Up necessarily, although
• 16:44
  Speaker 1: some of it did happen under the Times Up umbrella
• 16:46
  Speaker 1: around like women of color coming together or different groups
• 16:49
  Speaker 1: that have kind of been ignored or left out in
• 16:52
  Speaker 1: some ways. I feel like that is pushing for some changes.
• 16:55
  Speaker 1: But I was kind of surprised at how conservative the
• 16:58
  Speaker 1: industry was and how a lot of it I think
• 17:01
  Speaker 1: is related to the way in which you get a job,
• 17:04
  Speaker 1: so you tolerate abuse because if you speak out, not
• 17:08
  Speaker 1: just sexual misconduct, but any like just like somebody yelling
• 17:11
  Speaker 1: at you or throwing stuff from whatever, aggressively long working
• 17:15
  Speaker 1: hours or whatever it is, because your next job depends
• 17:19
  Speaker 1: on this person's referral, right, And that's that's basically like
• 17:22
  Speaker 1: you're a freelancer, but you're in a union if you're lucky, Yeah,
• 17:26
  Speaker 1: if you're lucky, but it and in a fairly small
• 17:28
  Speaker 1: industry where everybody knows each other. And that's just a
• 17:30
  Speaker 1: recipe for I think really bad can be a recipe
• 17:33
  Speaker 1: for really bad working conditions. So I was really excited
• 17:35
  Speaker 1: to be in a position where we were bringing workers
• 17:38
  Speaker 1: together and talking about workers rights, you know. And I
• 17:42
  Speaker 1: think it sometimes entertainment industry people didn't think about themselves
• 17:45
  Speaker 1: as workers and didn't think about themselves as having workers
• 17:48
  Speaker 1: rights because that's like a different you know. And so
• 17:51
  Speaker 1: it's like exciting to be like, hey, you're a writer,
• 17:52
  Speaker 1: but that's work. Yeah, that's where you deserve to be
• 17:55
  Speaker 1: treated in a particular way. So it was it was cool.
• 17:58
  Speaker 1: It was a really exciting moment in Yeah, history, I
• 18:01
  Speaker 1: guess exciting to be a part of it and play
• 18:04
  Speaker 1: some small role in in it. That's so amazing. Yeah,
• 18:08
  Speaker 1: is there is there anything else you would like for
• 18:09
  Speaker 1: us to touch on before we start talking sister act?
• 18:12
  Speaker 1: And I guess I would just say to the residents
• 18:14
  Speaker 1: of Los Angeles, Yes, you look around. You see a
• 18:17
  Speaker 1: city that I think is really struggling. We have a
• 18:20
  Speaker 1: massive homelessness crisis. We have rising rents, we have bad air,
• 18:24
  Speaker 1: we have unsafe streets, and I could go on and
• 18:27
  Speaker 1: on and on, but all of these things are solvable,
• 18:31
  Speaker 1: and all of these things are completely surmountable if we
• 18:34
  Speaker 1: have the right people in office. And I'm here to
• 18:36
  Speaker 1: tell you that you deserve better, and I feel like
• 18:40
  Speaker 1: that probably applies to most cities in the US, Like,
• 18:43
  Speaker 1: it's not this is not an l A specific thing. There.
• 18:45
  Speaker 1: If you don't live in l A, get informed, damn
• 18:49
  Speaker 1: deserve better too. Yes, I can't wait to vote for you.
• 18:52
  Speaker 1: So thank you for happy that you're here. Um. Oh,
• 18:55
  Speaker 1: and I had one I had one fun question, okay,
• 18:58
  Speaker 1: which is, okay, so you have two young kids at um,
• 19:01
  Speaker 1: what is something that you like because we're always trying
• 19:05
  Speaker 1: to like our whole show is just basically like the
• 19:07
  Speaker 1: media that messed with our brains as children and talking
• 19:11
  Speaker 1: about it now, is there something that you can watch
• 19:13
  Speaker 1: for your kids that you're like, I feel good about this.
• 19:16
  Speaker 1: So my kids actually only have watched with any desire.
• 19:21
  Speaker 1: Two things. One is Daniel Tiger, which is the cartoon
• 19:26
  Speaker 1: does derived from Mr Rogers Neighborhood. It is so simplistic
• 19:32
  Speaker 1: and it's so sweet and lovely and it's so boring.
• 19:37
  Speaker 1: But I can't I can't have you see it. Yeah,
• 19:40
  Speaker 1: like babysat kids watching Daniel Tiger and like, well, nothing,
• 19:44
  Speaker 1: you know, it's nothing bad is happening, but what is happening? Right? Um?
• 19:50
  Speaker 1: And the only other thing that they watch and I
• 19:52
  Speaker 1: have a boy and a girl, boy and girl twins,
• 19:54
  Speaker 1: and the only other thing that they watch is Frozen. Alright,
• 19:58
  Speaker 1: I mean that's we've covered that. You know it does
• 20:01
  Speaker 1: pretty well, sister ed you love to see it. Uh so,
• 20:05
  Speaker 1: I mean we're always just looking to because we're like,
• 20:08
  Speaker 1: we don't know what to recommend to parents who listened
• 20:11
  Speaker 1: to the show. Um so if you if you haven't
• 20:14
  Speaker 1: heard of Daniel Tiger or Frozen, now are the two
• 20:18
  Speaker 1: humans in America who haven't heard of froz? Yes, you
• 20:25
  Speaker 1: gotta check it out. People can't can't stop talking about it.
• 20:29
  Speaker 1: I haven't did you see this? I didn't see the
• 20:31
  Speaker 1: second one. I did see the second one from Molina
• 20:33
  Speaker 1: voices of character, There's there's an interesting conversation to be
• 20:39
  Speaker 1: had about that movie as well. Maybe we'll get to
• 20:41
  Speaker 1: it someday. All right, great, in the meantime, listen to
• 20:43
  Speaker 1: our Frozen one episode. Everybody. Actually, I'll down I didn't
• 20:47
  Speaker 1: know you had done for I'll download that and listen
• 20:49
  Speaker 1: to it. But but now let's let's let's pivot into
• 20:54
  Speaker 1: the rest of the show. We're talking about Sister app
• 20:56
  Speaker 1: that's right before we do. Let's take a quick break first,
• 20:58
  Speaker 1: and then we'll be right back. We're back. Okay, So
• 21:07
  Speaker 1: we're talking Sister Act. It's a movie. It can what
• 21:11
  Speaker 1: what's a movie? Now? Hold on, now, hold on, bear
• 21:13
  Speaker 1: with me. We're today, we're talking about we're talking about
• 21:18
  Speaker 1: a feature length film. Uh. It came out in It
• 21:23
  Speaker 1: stars Whoopie Goldberg. It's called Sister Act. Uh. Nittia, what
• 21:28
  Speaker 1: is your experience with this movie? When did you first
• 21:30
  Speaker 1: see it your relationship? Shoot, I don't even I've seen
• 21:34
  Speaker 1: it so many times. I was rewatched it before coming
• 21:39
  Speaker 1: here today, and I realized I knew lines, I knew
• 21:44
  Speaker 1: you know, like I have watched you know, I've just
• 21:45
  Speaker 1: it's been so much a part of like rerun go
• 21:49
  Speaker 1: Home on the couch, Oh, Sister Acts on. I'm gonna
• 21:52
  Speaker 1: watch it again from I'm like, if if anyone has
• 21:55
  Speaker 1: ever just like had TBS, you've seen this movie, Like
• 21:59
  Speaker 1: there there were certain moments where I had, like I
• 22:02
  Speaker 1: have a similar experience with it where I really liked
• 22:04
  Speaker 1: it when I was a kid, and then just like
• 22:07
  Speaker 1: as I got older, I just would like see it
• 22:09
  Speaker 1: every once in a while until like some point in
• 22:11
  Speaker 1: the movies I'm like, oh, that's a commercial break, you know,
• 22:14
  Speaker 1: like like that kind of movie that's on TV all
• 22:17
  Speaker 1: the time. Yeah, I don't know. I never watched it
• 22:19
  Speaker 1: with like any critical lens before. I just was like,
• 22:22
  Speaker 1: I like it, and I was so pleasantly surprised watching
• 22:26
  Speaker 1: it with a critical lens. There's so much to love
• 22:28
  Speaker 1: about this movie. So it's just romp and had a
• 22:34
  Speaker 1: ten on the Caitlin Rompo Meter What's your History. I
• 22:38
  Speaker 1: had seen it, I believe once when it came out
• 22:42
  Speaker 1: at a drive in movie theater. I would have been
• 22:44
  Speaker 1: about six. That sounds like such a fun but because
• 22:47
  Speaker 1: I was, well, here's the thing, I was young and rambunctious,
• 22:51
  Speaker 1: and because we were in the confines of a car
• 22:53
  Speaker 1: and not like in a theater where we had to
• 22:55
  Speaker 1: respect other people's you know, time and attention, I don't
• 22:59
  Speaker 1: think I paid any attention to the movie. Um whoopsies.
• 23:03
  Speaker 1: So I felt like I hadn't really seen this movie
• 23:06
  Speaker 1: for the first time until about a year ago, and
• 23:08
  Speaker 1: I was like, I haven't seen I've seen doubt that
• 23:11
  Speaker 1: others not the Yeah, the Sister movie. It's a Sister
• 23:15
  Speaker 1: Act is there was I have a whole thing because
• 23:18
  Speaker 1: I was like, maybe, unfortunately Doubt is for some reason
• 23:21
  Speaker 1: one of my favorite movies. It's so depressing, but there's
• 23:24
  Speaker 1: the right reaction that yeah, that is I really I
• 23:27
  Speaker 1: don't like. I came out when I was fifteen, and
• 23:29
  Speaker 1: I saw it in theaters twice. Why. I couldn't tell you, um,
• 23:33
  Speaker 1: but there were a lot of them like, oh, this
• 23:35
  Speaker 1: is just like Doubt without all the problems. Yeah, it
• 23:39
  Speaker 1: really is. You've got your maryl character, You've got your
• 23:41
  Speaker 1: Amy Adams character, thankfully you don't have your Philippine war
• 23:44
  Speaker 1: Hoffman character. And that's the makings of a fun movie. True.
• 23:49
  Speaker 1: So yeah, I had only seen this movie really for
• 23:51
  Speaker 1: the first time until like about a year ago, um,
• 23:54
  Speaker 1: because I was like, I can't have I never seen
• 23:57
  Speaker 1: do I what is Sister Act? So I watched it
• 24:01
  Speaker 1: and I was like, what a fun movie? Like I
• 24:03
  Speaker 1: didn't realize that was the story. I thought that like
• 24:06
  Speaker 1: Whoopi Goldberg was already a nun. I didn't realize that
• 24:09
  Speaker 1: she was like in hiding as a nun. So I
• 24:11
  Speaker 1: was like, oh, what fun I do? I do always
• 24:14
  Speaker 1: forget that there is a murder Writers and then like
• 24:18
  Speaker 1: two seconds later the music gets very silly. Yes, yes,
• 24:21
  Speaker 1: it's like they're like, oh, she's got to get out
• 24:23
  Speaker 1: of there. It's like do do do? Do Do? Do? Right?
• 24:26
  Speaker 1: The nineties were wild? Okay, so should do the recap
• 24:30
  Speaker 1: and we'll go from there. Okay, So we first see
• 24:35
  Speaker 1: Dolores van Cartier. That's, of course Whoopi Goldberg as a
• 24:38
  Speaker 1: kid in Catholic school. She's not taking it seriously. We
• 24:42
  Speaker 1: cut to her as an adult. Then she's a lounge
• 24:45
  Speaker 1: singer in Reno, Nevada. Ever heard of it? Sort of?
• 24:49
  Speaker 1: I hadn't really seen. I'm like, this movie made me
• 24:52
  Speaker 1: want to go to Reno. I've never been. Um, I've
• 24:54
  Speaker 1: seen a lot of seasons of Reno one and that
• 24:57
  Speaker 1: makes me not want to go to Reno. I would agree, Yeah, yeah,
• 25:00
  Speaker 1: isn't that where you go to get like an old
• 25:02
  Speaker 1: timey divorce or something that used to be like the
• 25:04
  Speaker 1: hot spot for like I think you can have to
• 25:08
  Speaker 1: go anywhere in Nevada, right, I think so? I think
• 25:13
  Speaker 1: that like that was I feel like I've I don't know,
• 25:15
  Speaker 1: I think that's the movie. The women they go to Reno,
• 25:18
  Speaker 1: I think, yes, they do that movie is so weird. Yeah,
• 25:22
  Speaker 1: we have to do it someday. Anyway, if you want
• 25:24
  Speaker 1: to get married very quickly or divorced very quickly, go
• 25:26
  Speaker 1: to Nevada anyway. So that's where she's based and she
• 25:31
  Speaker 1: is together with Vince Laracca. That's Harvey Kitel's character, playing
• 25:36
  Speaker 1: the type fame. But everywhere, um, he has his wife,
• 25:41
  Speaker 1: he's he's married to someone else, uh, and doesn't want
• 25:43
  Speaker 1: to leave her for Dolores. So she's like, screw it,
• 25:46
  Speaker 1: I'm leaving you and I'm getting out of here. But
• 25:48
  Speaker 1: right when she goes to tell him that she's leaving,
• 25:50
  Speaker 1: she witnesses him and his goons murdering another goon of his. So,
• 25:56
  Speaker 1: not wanting any witnesses to his crime, Vince sends his
• 26:01
  Speaker 1: goons after Dolores to kill her, and then the fun
• 26:03
  Speaker 1: music starts playing. She's like, yeah, she gets out, she
• 26:09
  Speaker 1: gets away. She goes to the police and they're like, wait,
• 26:12
  Speaker 1: you're with Vince Laracca. He's this big organized crime guy
• 26:18
  Speaker 1: and we're trying to put him away. So if you're
• 26:19
  Speaker 1: willing to testify, we can do that. In the meantime,
• 26:23
  Speaker 1: we have to put you in witness protection until this
• 26:26
  Speaker 1: court date you got the movie, there's got to be
• 26:29
  Speaker 1: a movie. So Lieutenant Souther puts her in a convent
• 26:34
  Speaker 1: in San Francisco and she has to pretend to be
• 26:37
  Speaker 1: a nun and the high jinks in Sue Baby, Um
• 26:41
  Speaker 1: Reverend Mother, they's so good. Reverend Mother played by Maggie Smith.
• 26:49
  Speaker 1: She's the only one who knows who Dolores really is,
• 26:52
  Speaker 1: and everyone else in the convent thinks that she is
• 26:56
  Speaker 1: a nun named Sister Mary Clarence. She's basically Mary all
• 27:00
  Speaker 1: in doubt for all my Doubta Smiths, she's your Oh yes,
• 27:07
  Speaker 1: that's I see. I couldn't have remembered that. And it's
• 27:09
  Speaker 1: allegedly my favorite movie. Um. So she meets the other nuns,
• 27:14
  Speaker 1: including Mary Patrick who is Cathy and Jimie. She's very cheerful,
• 27:20
  Speaker 1: and then there's a young nun who is dressed differently
• 27:23
  Speaker 1: and I don't know enough about Catholicism to know why.
• 27:26
  Speaker 1: I don't know either. She is a Sister Mary Robert Jr. Nun. Yeah,
• 27:33
  Speaker 1: it's like when you're like a brownie and then like
• 27:34
  Speaker 1: a junie, and like a daisy, and then a brownie
• 27:37
  Speaker 1: and then a Catholic or like shot just like the
• 27:41
  Speaker 1: Girl Scouts. Basically the Catholic church. It operates, uh, just
• 27:45
  Speaker 1: like Horrible the Girl Scouts. And then we see them
• 27:51
  Speaker 1: in like the church service. The nuns are singing and acchoir.
• 27:54
  Speaker 1: They're really bad. No one's attending the services. Reverend Mother
• 27:58
  Speaker 1: doesn't want any of the nun is going outside because
• 28:01
  Speaker 1: it's a dangerous neighborhood I guess, or she she thinks
• 28:04
  Speaker 1: it is um And then Dolores is trying to adjust
• 28:08
  Speaker 1: to all of this, but she's not good at being
• 28:11
  Speaker 1: a nun. Believe she was born to stand out. Meanwhile,
• 28:16
  Speaker 1: Vince realizes that Lieutenant South there must have Dolores, so
• 28:21
  Speaker 1: he puts out like a hit on her for a
• 28:23
  Speaker 1: lot of money. So now a bunch of like sleazy
• 28:26
  Speaker 1: bad guys are out looking for her. And then there's
• 28:29
  Speaker 1: a rat in the police department. Someone is leaking info
• 28:31
  Speaker 1: to the bad guys. Like plot, they're just like I
• 28:35
  Speaker 1: guess I just mostly want to see the nuns. Yeah,
• 28:38
  Speaker 1: I guess there's got to be a climax to the movie. Yeah.
• 28:41
  Speaker 1: And then back at the convent, Reverend Mother is like, hey, Dolores,
• 28:47
  Speaker 1: since you have a background of music, you're going to
• 28:50
  Speaker 1: join the choir and she does it sound like a
• 28:52
  Speaker 1: punishment and like that sounds like the best part of
• 28:54
  Speaker 1: being a nun. And she helps the nuns become better singers.
• 28:59
  Speaker 1: She kind helps update the music choices, she's mixing genres,
• 29:05
  Speaker 1: she's giving I love that like long scene where she's
• 29:07
  Speaker 1: like coaching them and they're listening and she's, Oh, it's
• 29:11
  Speaker 1: so good. And then because their music is so exciting
• 29:15
  Speaker 1: now it's bringing people into the church and people are
• 29:19
  Speaker 1: actually fill the butts, are filling the seats. There's very
• 29:23
  Speaker 1: like moments where you know, like in a movie where
• 29:25
  Speaker 1: they're like young people enter and they're dressed in a
• 29:28
  Speaker 1: very like young person way. There's a lot of young
• 29:32
  Speaker 1: people enter moments, and the and the reverence like, oh,
• 29:36
  Speaker 1: young people are entering, Welcome young I was like, oh, man,
• 29:42
  Speaker 1: it's like I don't know what the costume design situation was,
• 29:44
  Speaker 1: but I'm like, oh, definitely a young person palette going
• 29:47
  Speaker 1: on here. What was also weird was that I feel
• 29:50
  Speaker 1: like style has come back around so that when the
• 29:52
  Speaker 1: young people entered, I was like, I want that right.
• 29:56
  Speaker 1: And this also, this movie takes place in San Francisco.
• 29:58
  Speaker 1: I spent a lot of time being like, where are they.
• 30:01
  Speaker 1: I don't like, we were just my boyfriend and I
• 30:03
  Speaker 1: were just like they could be. Um, I don't know,
• 30:06
  Speaker 1: I didn't guess San Francisco. And then at some point, yeah,
• 30:10
  Speaker 1: I think there was a shot at the Golden Gate Bridge. Yeah,
• 30:12
  Speaker 1: and so that was the only yeah, right. And it's
• 30:17
  Speaker 1: also at this time that they're going out into San Francisco,
• 30:20
  Speaker 1: into the neighborhood and their help trying to turn it around.
• 30:23
  Speaker 1: There's a porn store and they're like, don't go in here.
• 30:26
  Speaker 1: And then then the pope hears about how good the
• 30:30
  Speaker 1: choir is, and he's like, I'm gonna come see a
• 30:32
  Speaker 1: concert because popes are are good. They're good, and they
• 30:37
  Speaker 1: they're fine, they're fine, great judges of music. Yeah, for sure,
• 30:42
  Speaker 1: I was like, this is a this is a happening, Pope, right.
• 30:45
  Speaker 1: But it's also at this time when Lieutenant Southor is like, hey,
• 30:49
  Speaker 1: we got you your court date, Dolores. You don't have
• 30:52
  Speaker 1: to really be in the convent anymore. But then it's
• 30:55
  Speaker 1: also at this point where Vince finds out where Dolores
• 31:00
  Speaker 1: is because because of the mall right, and then you're like, right,
• 31:04
  Speaker 1: the it pays off, so shocked. I forgot. Yeah, So
• 31:12
  Speaker 1: Vince sends his goons to kidnap Dolores and bring her
• 31:16
  Speaker 1: back to Reno, and then the nuns find out that
• 31:19
  Speaker 1: Dolores isn't actually a nun, so then they chartered a
• 31:22
  Speaker 1: helicopter to fly to Reno to help save her. And
• 31:27
  Speaker 1: then there's this whole big chase scene Dolores punches the
• 31:30
  Speaker 1: d goons and the nuts j hijinks more silly music,
• 31:38
  Speaker 1: and then finally the cops stop the bad guys and
• 31:41
  Speaker 1: arrest them, and then the nuns go back to San
• 31:44
  Speaker 1: Francisco to their concert for the poem and he loves
• 31:49
  Speaker 1: it standing ovations so good. And then at the end
• 31:53
  Speaker 1: I forgot the end, there's like that freeze frame and
• 31:56
  Speaker 1: then it switches to a People magazine and it's like,
• 31:59
  Speaker 1: guess what like Witness Protection None or whatever it is.
• 32:04
  Speaker 1: It's like, what a silly, fun way to end a movie.
• 32:08
  Speaker 1: So yeah, that's the story. That's the story. Where should
• 32:10
  Speaker 1: we start? I just wanted to start with a fun
• 32:13
  Speaker 1: fact that I learned, yes, which is the actor who
• 32:16
  Speaker 1: plays Pope John Paul the Second in this movie. I
• 32:20
  Speaker 1: was like, oh, who is this? I've never heard of
• 32:21
  Speaker 1: this person. Apparently his entire career was playing Pope John
• 32:25
  Speaker 1: Paul the Second in various things. He's credited on like
• 32:29
  Speaker 1: twenty things, and it's all Pope John Paul the Second.
• 32:33
  Speaker 1: He was Pope John Paul the Second on Alf he was,
• 32:37
  Speaker 1: he was on Ali McBeal as the Pope. He was
• 32:39
  Speaker 1: on Murphy Brown as the Pope. He was on Golden
• 32:41
  Speaker 1: Girls as the Pope. He was on everything, and is
• 32:43
  Speaker 1: he in the Two Popes? He was, No, he's dead.
• 32:47
  Speaker 1: So they had to get Anthony Hopkins. I have no idea. Yeah,
• 32:51
  Speaker 1: they called maybe he was like a pope impersonator. That
• 32:53
  Speaker 1: was his job. And then someone just saw him and
• 32:56
  Speaker 1: was like, oh, you should just play the pope where
• 32:58
  Speaker 1: we just have you standing saying anything. And by all accounts,
• 33:01
  Speaker 1: the Pope thought he did a great job. They're like,
• 33:04
  Speaker 1: he was like, that's a good representation of me, the Pope. UM.
• 33:09
  Speaker 1: So that's well, that's I guess that's all I have
• 33:12
  Speaker 1: to say. Thank you so much. UM for me, I
• 33:15
  Speaker 1: thought this movie held up quite well, and I think
• 33:20
  Speaker 1: it has a lot to do with it only being
• 33:22
  Speaker 1: being rated PG, so there's not a lot of like
• 33:26
  Speaker 1: because a lot of the movies that end up being
• 33:27
  Speaker 1: especially comedies that end up being wildly problematic and toxic
• 33:32
  Speaker 1: because they have freer reigin to make, you know, just
• 33:36
  Speaker 1: racist jokes and homophobic jokes because there are rated and
• 33:40
  Speaker 1: stuff like that. I don't know if that's the only
• 33:43
  Speaker 1: reason why it holds up very well, but I'm like, oh,
• 33:46
  Speaker 1: you know, this is a movie for like kids and families,
• 33:48
  Speaker 1: and I've watched it more than once with my mom. Yeah,
• 33:52
  Speaker 1: it's such a pure whatever it's on TV. They're really
• 34:00
  Speaker 1: is something for everyone for everybody. Uh. It directed by oh,
• 34:04
  Speaker 1: I want to get his name right, Emil Ardelino, who
• 34:07
  Speaker 1: also directed Dirty Dancing, his other big So he's this
• 34:10
  Speaker 1: guy's just churning out classics. It was also I was
• 34:15
  Speaker 1: watching it, I was almost I waited to do the
• 34:17
  Speaker 1: research until I just want to have fun watching it,
• 34:19
  Speaker 1: And I was like, this movie is so good that
• 34:21
  Speaker 1: I think it may have even been written by a woman.
• 34:24
  Speaker 1: But it wasn't. It was written by a man who
• 34:27
  Speaker 1: did a good job imagine it. But then I also
• 34:30
  Speaker 1: read that it went through a few different rewrites. Some
• 34:33
  Speaker 1: of the screenwriters who were brought on Carry Fisher was
• 34:35
  Speaker 1: Carry Fisher and Nancy Myers, So which is carry Fisher
• 34:41
  Speaker 1: has punched up some of the some of the best
• 34:44
  Speaker 1: movies that you never think she was involved in. It's true,
• 34:46
  Speaker 1: she's the coolest, but yeah, I mean this movie largely
• 34:50
  Speaker 1: is just about it's very female driven. The men are
• 34:55
  Speaker 1: either the pope, the priest who's in a couple of scenes,
• 34:59
  Speaker 1: and then the of guys. But aside from that, it's
• 35:02
  Speaker 1: like just a very female driven story. You know, Whoopie
• 35:06
  Speaker 1: Goldberg is the lead is peek here. Yes, she's a
• 35:11
  Speaker 1: peak of her Whoopie Goldberg like powers. And I loved that.
• 35:15
  Speaker 1: I remember I look, you know, I was watching it,
• 35:18
  Speaker 1: and I remember seeing her in the movie and she's
• 35:22
  Speaker 1: this you know, sexual being, you know, who's the love
• 35:25
  Speaker 1: interest for Harvey Keitel. And I remember being really excited
• 35:30
  Speaker 1: that there was a I don't know that just I
• 35:32
  Speaker 1: was like, oh, excited that, you know, I'm dark skinned,
• 35:34
  Speaker 1: and just to see her as this like very attractive
• 35:39
  Speaker 1: you know, and I don't know, it was great. It
• 35:42
  Speaker 1: was like really exciting to see that when I was
• 35:44
  Speaker 1: young and totally and it was an audience. It was
• 35:46
  Speaker 1: not directed just towards black audiences. I mean, it was
• 35:49
  Speaker 1: for everybody. And you know, and that and that was
• 35:51
  Speaker 1: exciting for me. I remember that. That's great. Yeah, and
• 35:58
  Speaker 1: I also read that this was originally written for Bette Midler,
• 36:02
  Speaker 1: who you know that it's been a fine It would
• 36:04
  Speaker 1: have been a good movie, I'm sure. Still, but like,
• 36:06
  Speaker 1: Whoopie kills it. She kills it. She absolutely kills it.
• 36:11
  Speaker 1: It's so good. And and what you said, Mathea goes
• 36:13
  Speaker 1: to show like why casting diverse casts is important for representation. Yeah, yeah,
• 36:20
  Speaker 1: this is like, you know, when did Friends start airing? Fo? Yeah?
• 36:27
  Speaker 1: So later, but still, you know, like I think it
• 36:29
  Speaker 1: took Friends how many seasons to have a oh yeah
• 36:34
  Speaker 1: with like a black love interest? So long? Yeah, yeah,
• 36:38
  Speaker 1: it's I mean it's like, yeah, Whoopy, the impact of
• 36:41
  Speaker 1: Whoopie could I mean, we could go on for days.
• 36:44
  Speaker 1: She's amazing. She's done like such good advocacy over the
• 36:47
  Speaker 1: years too. And but just like, yeah, just by like
• 36:50
  Speaker 1: being herself and owning this role and like being sexual,
• 36:54
  Speaker 1: being capable of being like just like strong willed, and
• 36:59
  Speaker 1: especially in this movie that's built around sisterhood, is like
• 37:02
  Speaker 1: so cool and impactful. And I was really excited that
• 37:06
  Speaker 1: they didn't have a romantic moment between the police officer,
• 37:11
  Speaker 1: and yeah, it seems like there were a few moments
• 37:14
  Speaker 1: where I'm like, are they going to do it? I
• 37:16
  Speaker 1: was relieved that we're just mutually respectful. Yeah right, it
• 37:22
  Speaker 1: would have been like pretty inappropriate had they gotten together.
• 37:26
  Speaker 1: It would have blown the case. First of all, yes, exactly,
• 37:30
  Speaker 1: that's a great point problem for prosecuting Harvey Channel to
• 37:35
  Speaker 1: offer a bit of criticism about not necessarily the movie,
• 37:38
  Speaker 1: but his character. He sort of does blow it when
• 37:41
  Speaker 1: he's like there's a scene where like Harvey Kitel and
• 37:44
  Speaker 1: his goons are like walking around and then Lieutenant South
• 37:48
  Speaker 1: there's like, hey, you're going down. I got you. You
• 37:53
  Speaker 1: know something's going something happened and I'm going to get you.
• 37:56
  Speaker 1: And why would he be so confident if he didn't
• 37:59
  Speaker 1: have of Dolores and his protections. And that's what gets
• 38:03
  Speaker 1: Harvey Keitel to be like, oh he must have Dolores,
• 38:06
  Speaker 1: we have to go kill her. So it's just like
• 38:08
  Speaker 1: his like male ego was just it's part of why
• 38:12
  Speaker 1: what he was in even more danger. South should get
• 38:18
  Speaker 1: his ego under control. But did you? I mean, I
• 38:21
  Speaker 1: thought his character was really cool and in so yeah,
• 38:27
  Speaker 1: we're it's like I feel like they were almost And
• 38:30
  Speaker 1: I'm like, maybe this is just like speaking to how
• 38:32
  Speaker 1: a lot of movies like how we've been like like
• 38:35
  Speaker 1: unconsciously trained to interpret movies. But I thought that he
• 38:38
  Speaker 1: was going to be positioned as a love interest strictly
• 38:41
  Speaker 1: because he was nice to her, like that doesn't bode
• 38:44
  Speaker 1: well for m but youth written because he was just
• 38:47
  Speaker 1: like nice to her, like he was sympathetic to her situation,
• 38:52
  Speaker 1: Like there were some moments where he's like, well, deal
• 38:55
  Speaker 1: with it, but in general, like he came to her
• 38:57
  Speaker 1: show when he was like, hey, probably don't do this.
• 38:59
  Speaker 1: Here's was like okay, but are you gonna come? He's
• 39:01
  Speaker 1: like yeah, looks pretty cool. Like you just seemed like
• 39:04
  Speaker 1: a supportive, kind person, and so yeah, when I kept
• 39:08
  Speaker 1: thinking him like, oh, I think he's good to be
• 39:09
  Speaker 1: the loved interest, I'm like, I think I just think
• 39:11
  Speaker 1: that because when men are kind to women, especially in
• 39:15
  Speaker 1: movies of this time, you're kind of trained to think
• 39:18
  Speaker 1: that they're going to want something out of it, I guess.
• 39:20
  Speaker 1: And it's just that such a common like studio note
• 39:23
  Speaker 1: to be like, wait, there's not a hetero romance in
• 39:25
  Speaker 1: this movie, Well, then what are we even doing? Put
• 39:28
  Speaker 1: it in there, I hope. And and that also, I mean,
• 39:31
  Speaker 1: we can't say this for sure, but I just know
• 39:33
  Speaker 1: that like historically, Whoopie Goberg has always had a lot
• 39:36
  Speaker 1: of say on like what goes into her star vehicles
• 39:39
  Speaker 1: and what doesn't. So she also has a lot of
• 39:43
  Speaker 1: you know power where you have to imagine that suggestion
• 39:47
  Speaker 1: was made and then I mean it didn't fit into
• 39:49
  Speaker 1: the story, you didn't need it. And and also she's
• 39:53
  Speaker 1: got to stay a nun, right right, so Southey doesn't
• 39:59
  Speaker 1: stand a chance against God. Maybe that's the love storright there. Right,
• 40:05
  Speaker 1: she does get married to Jesus, So there's still a
• 40:09
  Speaker 1: heatero romance in this movie. Great points. We gotta take
• 40:16
  Speaker 1: another quick break, but then we'll come right back and
• 40:23
  Speaker 1: we're back. Um. Something I wanted to touch on is
• 40:27
  Speaker 1: so we do often see in a lot of movies
• 40:31
  Speaker 1: women being kidnapped. Danzel fridged things like that. Um, there
• 40:37
  Speaker 1: is a kidnapping in this movie, but normally the movies
• 40:40
  Speaker 1: we tend to see, and especially you know, action and
• 40:44
  Speaker 1: superhero movies. Um, when a woman is kidnapped, it's to
• 40:48
  Speaker 1: raise the stakes for the male hero and then he
• 40:51
  Speaker 1: has to go and rescue her and to like be
• 40:53
  Speaker 1: more heroic. In this movie, two women are kidnapped, Um,
• 40:57
  Speaker 1: and whoop, he saves them both. Yeah, for she saves
• 41:01
  Speaker 1: she helps Mary Robert escape and get away, and then
• 41:04
  Speaker 1: Dolores gets away on her own. Um. I'm impressed that
• 41:07
  Speaker 1: you can keep all the names of the nuns because
• 41:12
  Speaker 1: I just I mean, I just watched it, watched it already,
• 41:16
  Speaker 1: like who the bangs? Exactly? Where is the spinoff Bangs Nune?
• 41:29
  Speaker 1: We already have? What is it? What is the Cool Pope?
• 41:32
  Speaker 1: What's that show? There was the Young Pope and now
• 41:34
  Speaker 1: it's called Now there's a spinoff called I think it's
• 41:37
  Speaker 1: like the New Pope. Give the people Bangs Nuns? We
• 41:42
  Speaker 1: need banks nuns. Yes, none, none. Representation has been down
• 41:45
  Speaker 1: since the nineties, It's true, except for doubt. Let's not
• 41:49
  Speaker 1: that's doubt erasure. That was embarrassing. But yeah, that that
• 41:53
  Speaker 1: whole sequence is again you're sort of like knowing the
• 41:57
  Speaker 1: time that came out, You're like, oh, no, is that
• 41:59
  Speaker 1: you know? Is it like you half expected South to
• 42:03
  Speaker 1: you know, burst in or just based on what you've
• 42:05
  Speaker 1: seen before. But and I feel like because it is
• 42:09
  Speaker 1: still a testament to like Whoopi Goldberg, where you just
• 42:12
  Speaker 1: always get the feeling whenever you see her on screen
• 42:14
  Speaker 1: that she is going to be able to save herself
• 42:17
  Speaker 1: like she and and that scene where she is able
• 42:21
  Speaker 1: to get Mary Robert to tumble out of the car
• 42:25
  Speaker 1: and not die, not die, that could have ended very badly.
• 42:30
  Speaker 1: Well that she did it when they slowed and she's Okay,
• 42:35
  Speaker 1: go save yourself, I'll take care of her. This is
• 42:38
  Speaker 1: not your problem, right, I'm like, oh, she's maybe she's
• 42:41
  Speaker 1: done this before. Reno seems wild, but she's able to
• 42:44
  Speaker 1: save her friend and then yeah, and then save herself
• 42:47
  Speaker 1: like it. That's that's how you know. There is the
• 42:51
  Speaker 1: moment at the very end when Harvey Citel is about
• 42:54
  Speaker 1: to shoot her and then um South comes in and
• 42:57
  Speaker 1: shoots him instead. So technically that's a bit of a rescue.
• 43:00
  Speaker 1: But because we've already seen what be getaway on her
• 43:03
  Speaker 1: own twice now, already at the very beginning and then
• 43:06
  Speaker 1: again at the end, it didn't feel like, oh, she's
• 43:09
  Speaker 1: like constantly being damned. What are saved by a man?
• 43:11
  Speaker 1: And also like that's his job as a police officer
• 43:14
  Speaker 1: to like yeahs like the first time we've seen like
• 43:17
  Speaker 1: it was like we gotta see South or succeed. At
• 43:19
  Speaker 1: some point he's just been accidentally selling her out movie
• 43:24
  Speaker 1: by being a good friend. Um. Another thing I think
• 43:28
  Speaker 1: is worth talking about is a big component of this
• 43:32
  Speaker 1: movie is like female relationships and female friendships that develop. Um,
• 43:36
  Speaker 1: there are some relationships between women where there is some
• 43:41
  Speaker 1: tension which we're always like careful to analyze and say, Okay,
• 43:45
  Speaker 1: well is it warranted or is there any context for
• 43:48
  Speaker 1: because yeah, it's like sometimes we'll see I think like
• 43:51
  Speaker 1: a kind of modern trend that will sometimes see is
• 43:53
  Speaker 1: like like movies full of female relationships where there's never
• 43:56
  Speaker 1: been a problem and you're like, well, this doesn't feel
• 43:59
  Speaker 1: really either. What I really liked about this movie is
• 44:01
  Speaker 1: that with these female relationships, you are generally getting enough
• 44:06
  Speaker 1: context on the character to understand where because it's like
• 44:10
  Speaker 1: that the relationship between Maggie Smith and Whoopi Goldberg could
• 44:13
  Speaker 1: have been so like reductive and basic and this none
• 44:17
  Speaker 1: is mean, This Nune is fun. But with even with
• 44:21
  Speaker 1: Maggie Smith's character, you get a like that scene towards
• 44:24
  Speaker 1: the end where she explains where she's coming from and
• 44:27
  Speaker 1: like she has these insecurities about being obsolete and not belonging,
• 44:32
  Speaker 1: and you're just like, oh, you know, you get the
• 44:34
  Speaker 1: end to her character, and I feel like you kind
• 44:37
  Speaker 1: of get the same for Dolorous for the most part.
• 44:39
  Speaker 1: Two for sure, so nice and all the other nuns
• 44:42
  Speaker 1: are so nice to her, just immediately love her. They
• 44:45
  Speaker 1: love her, they welcome her, They follow her out to
• 44:49
  Speaker 1: the bar crosser there as like God, these nuns are
• 44:53
  Speaker 1: so desperate to do something, because the second they were like, wait,
• 44:55
  Speaker 1: where's she going? We should go probably go to this
• 44:59
  Speaker 1: biker bar. I did have one question. Is Maggie Smith
• 45:03
  Speaker 1: the British actress? Yes, yes, okay, but it's it's funny
• 45:07
  Speaker 1: because in a lot of movies, I feel like with
• 45:09
  Speaker 1: nuns not I haven't seen as probably as many as you,
• 45:11
  Speaker 1: but too well, I haven't seen doubts, you know. That's fine. Yeah,
• 45:19
  Speaker 1: I feel like nuns often have British accents for some reason.
• 45:23
  Speaker 1: But maybe it was just because Maggie. Because it was
• 45:25
  Speaker 1: both Maggie Smith and the priest who was he was Irish?
• 45:28
  Speaker 1: Yeah he was, yeah, he was not. Yeah. The two
• 45:31
  Speaker 1: heads of the church were not American, but they were
• 45:33
  Speaker 1: in San Francisco, and no effort was really made to
• 45:37
  Speaker 1: feel like here. I do think that there is sometimes
• 45:41
  Speaker 1: this like dufus brain thing in American culture where they're like, Okay,
• 45:45
  Speaker 1: how do we make this character sound authoritative? Let's just
• 45:47
  Speaker 1: hire someone British like probably like they're they should have
• 45:50
  Speaker 1: hired out for Molina. We should that's true there, I
• 45:53
  Speaker 1: mean that we're okay. In addition to Banks and non
• 45:56
  Speaker 1: we needed a choke. This sounds like a show that
• 45:58
  Speaker 1: would exist American one. You put American before anything, it
• 46:03
  Speaker 1: probably exists already or good how many shows the good Doctor,
• 46:09
  Speaker 1: the Good Wife, you need, the good nuns, the bad nun?
• 46:13
  Speaker 1: Um that also bad teacher? Yeah, I guess bad also bad?
• 46:18
  Speaker 1: There's other bads? Right or is it just or like
• 46:20
  Speaker 1: the Something Girl, Bad Boys? But then there's also a
• 46:23
  Speaker 1: movie called good Boys. Yeah? Yeah, what is going on people?
• 46:31
  Speaker 1: There's there's also the Blank Girl. There's so many The
• 46:35
  Speaker 1: Blank Girl, the New Girl, the Danish Girl, others, amongst
• 46:41
  Speaker 1: other titles. See that great point that just happened? Um,
• 46:47
  Speaker 1: but yeah, Nydia, like you're saying, the relationship among the
• 46:50
  Speaker 1: nuns is so like there is sometimes conflict, but for
• 46:55
  Speaker 1: the most part they're all rooting for each other, and
• 46:57
  Speaker 1: you get that relationship with Bangs None and and Dolores
• 47:03
  Speaker 1: where she brings that cute little daisy clock. You're like, Oh,
• 47:06
  Speaker 1: she's so weird, so weird, she's so weird. She looks
• 47:10
  Speaker 1: like she's in her twenties, but maybe she's actually fourteen.
• 47:13
  Speaker 1: She gave you fourteen or forty. And you're like, I
• 47:15
  Speaker 1: wouldn't be surprised when she brought the clock. Was when
• 47:18
  Speaker 1: I was like, yeah, I thought that Dolorous was very
• 47:22
  Speaker 1: patient with her. An adult woman brings you a daisy?
• 47:27
  Speaker 1: How do you react? I read this whole article and I, oh,
• 47:31
  Speaker 1: I should I should pull it up because I don't
• 47:33
  Speaker 1: remember what it was called or the source, so you know. Um,
• 47:37
  Speaker 1: but it's shipping Dolores and Mary Robert and how they
• 47:41
  Speaker 1: have a lesbian relationship and if it's like a coded
• 47:44
  Speaker 1: lesbian relationship throughout the movie. Um, some convincing points were made. Listen,
• 47:48
  Speaker 1: I'm down, I'm down, and she and she saves Mary
• 47:52
  Speaker 1: Robert and the Mary Robert runs back to the common
• 47:54
  Speaker 1: and she's like, Dolores is my best friend. We have
• 47:57
  Speaker 1: to go to Reno and everyone is like yes, there's
• 48:00
  Speaker 1: no discussion I love that scene where they Catholic guilt
• 48:05
  Speaker 1: the helicopter pilot. It's also funny to me. I felt
• 48:11
  Speaker 1: like the level of religiosity and the fact that people
• 48:16
  Speaker 1: wouldn't shoot a nun, the fact that like a helicopter
• 48:19
  Speaker 1: pilot would be unable to resist the advances of nuns
• 48:24
  Speaker 1: guilting him, like it was so taken for granted. Do
• 48:28
  Speaker 1: you think if that was a plot twist now that
• 48:31
  Speaker 1: everyone would be like, yes, that works. I don't know.
• 48:35
  Speaker 1: I'm like, I feel like if I was faced with
• 48:37
  Speaker 1: an aggressive none, I would probably do what she said,
• 48:40
  Speaker 1: but I wouldn't. I mean, yeah, I agree like this movie.
• 48:44
  Speaker 1: I mean, first of all, is a great propaganda film
• 48:46
  Speaker 1: for the Catholic Church. Makes it look like a blast.
• 48:48
  Speaker 1: I mean it is a blast. There are no problems.
• 48:53
  Speaker 1: I mean I've never seen one there. I mean just
• 48:55
  Speaker 1: like bury your Spotlight DVD or whatever. Um. But but yeah,
• 49:00
  Speaker 1: it comes out with yeah, like the assumption that the
• 49:04
  Speaker 1: entire city of San Francisco is Catholic and suffering from
• 49:09
  Speaker 1: deep Catholic guilt and they will they will die for
• 49:11
  Speaker 1: Anne at the drop of that which is I don't know.
• 49:14
  Speaker 1: I mean, there there are some and none of them particularly, Like,
• 49:19
  Speaker 1: I don't think they're really like quote unquote problematic. I
• 49:22
  Speaker 1: just think that they do feel very of their time,
• 49:24
  Speaker 1: like assuming that everyone is religious and easily manipulated by
• 49:30
  Speaker 1: religious figures. The kind of world with no race that
• 49:35
  Speaker 1: this movie has written in that I feel like it's
• 49:37
  Speaker 1: kind of a hallmark of the nineties where it's just
• 49:40
  Speaker 1: basically any character in this movie could be played by
• 49:43
  Speaker 1: anyone of any race, and that topic is just kind
• 49:47
  Speaker 1: of just not addressed in this particular movie. Um, although
• 49:52
  Speaker 1: I would say that one of the things about Maggie
• 49:54
  Speaker 1: Smith's character, she's like, the nuns aren't allowed to go outside,
• 49:57
  Speaker 1: it's too dangerous. And when you finally get shot to
• 50:00
  Speaker 1: the neighborhood this quote dangerous neighborhood, it's predominantly black. So
• 50:05
  Speaker 1: it's like, okay, well you're that's Maggie Smith is racist.
• 50:10
  Speaker 1: It's what we're saying. God damn it, Maggie Smith is racist. Yeah,
• 50:15
  Speaker 1: so yeah, that could have been avoided. Yes. Um, the
• 50:18
  Speaker 1: other thing that I I my little you know, ding
• 50:22
  Speaker 1: went off. The word hooker gets repeated a couple of
• 50:26
  Speaker 1: times very nineties nineties language. Yeah, there there was an
• 50:32
  Speaker 1: any like don't don't consume point and you know, porns
• 50:36
  Speaker 1: have its pregeous movie that like goes with the like
• 50:40
  Speaker 1: very catholic because I feel like this was a movie
• 50:43
  Speaker 1: that church groups could go to. Yeah and so, but
• 50:48
  Speaker 1: also like I grew up completely secular, and I movies
• 50:51
  Speaker 1: with religious components often don't appeal to me or you know,
• 50:55
  Speaker 1: I'm not drawn to them necessarily. Um, but I felt
• 50:59
  Speaker 1: like this movie was all weirdly secular enough that I
• 51:01
  Speaker 1: was like, I can get on board with this. This
• 51:04
  Speaker 1: is fun. I'm having a great time. Plus the great music.
• 51:08
  Speaker 1: Music is so good. I will have to I have
• 51:10
  Speaker 1: to say that when they were singing the first reproduced
• 51:13
  Speaker 1: song reproduced under Whoopy Goldbergs production, fun, what a fun Yeah.
• 51:19
  Speaker 1: And then they're doing the hymn and then they break
• 51:21
  Speaker 1: into the more the clapping and the rhythmic portions, and
• 51:25
  Speaker 1: then people just start walking in off the streets. The
• 51:29
  Speaker 1: young came in. But I will say at that moment,
• 51:33
  Speaker 1: I don't know whether I'm particularly emotional right now or what,
• 51:35
  Speaker 1: but I was like, music does your night? It was
• 51:40
  Speaker 1: it was man, I was so ready to cry for
• 51:43
  Speaker 1: that moment because it's, yeah, you see the youth outside
• 51:45
  Speaker 1: and they're like, what's that beautiful music? Oh, what's that?
• 51:48
  Speaker 1: That's the church. I'm like, I'm getting propagated. I love it.
• 51:52
  Speaker 1: I love it so much. There was I mean, I
• 51:55
  Speaker 1: was like, maybe I'll go back to church, and then
• 51:57
  Speaker 1: I was like, no, wait, hold on um, but it works. Man.
• 52:01
  Speaker 1: At the church where we do the shower program in Silver,
• 52:04
  Speaker 1: like Silvery Community Church, they have beautiful music. It's like
• 52:07
  Speaker 1: folk music, and it's just gorgeous. I've taken my kids
• 52:12
  Speaker 1: there a couple of times. I mean, we're not I
• 52:14
  Speaker 1: wasn't raised Christian, we're not deeply you know, I don't
• 52:18
  Speaker 1: practice any particular religion deeply right now. But yeah, it's
• 52:21
  Speaker 1: just so beautiful and lovely to be in the presence
• 52:25
  Speaker 1: of music with all these other people. I mean, I
• 52:26
  Speaker 1: guess that's going to a concert, but yeah, but like
• 52:30
  Speaker 1: it's I don't know, but it's also spiritually, you know,
• 52:32
  Speaker 1: it's connected to a higher Yeah, and their music is
• 52:35
  Speaker 1: what brings the pope and he's like, I've heard about
• 52:37
  Speaker 1: your great choir command. I really like that scene where
• 52:41
  Speaker 1: where Dolores, you know, where Maggie Smith is about to say,
• 52:45
  Speaker 1: you know, we can't sing again. Just like the nuns
• 52:48
  Speaker 1: are so game for whatever. When there's like that vote
• 52:52
  Speaker 1: where Maggie Smith's like should we do boring music or
• 52:54
  Speaker 1: fun music? All the nuns are like fun music, and
• 52:57
  Speaker 1: Maggie's like okay. Then she like almost resigns because again
• 53:02
  Speaker 1: she's like feeling kind of inadequate and a rule. But
• 53:04
  Speaker 1: then it's like, no, I do I have to stay.
• 53:07
  Speaker 1: Everyone has like a nice little arc. You also have
• 53:10
  Speaker 1: that relationship that I really like between Dolores and Sister
• 53:14
  Speaker 1: Mary Lazarus, who had been the head of the choire.
• 53:17
  Speaker 1: She's the choir and and right at the very beginning
• 53:21
  Speaker 1: of their interactions, she's like, I see what's happening. You
• 53:24
  Speaker 1: got brought in as a ringer. You're trying to replace me.
• 53:27
  Speaker 1: But then when she sees that Whoopee is like knows
• 53:30
  Speaker 1: what she's doing. She knows music, she knows where to
• 53:32
  Speaker 1: position the people, she knows what notes or what notes,
• 53:35
  Speaker 1: and she's like, oh, I'm gonna step down. You're clearly
• 53:38
  Speaker 1: better at this um. And there's I feel like that
• 53:40
  Speaker 1: could have been in a lesser movie. They would have
• 53:43
  Speaker 1: tried to like pit those women against each other and
• 53:46
  Speaker 1: just like had her be like no, no, this is
• 53:49
  Speaker 1: my thing. But she she like, she's like, no, you
• 53:53
  Speaker 1: have the skills, this is your background. And then they
• 53:56
  Speaker 1: become friends and they together when they eat ice cream.
• 54:01
  Speaker 1: That it was a very nice scene. There was some
• 54:04
  Speaker 1: confusion around time for me in the movie. Interesting because
• 54:08
  Speaker 1: you know, they when we first see the church, it's
• 54:10
  Speaker 1: under construction. They have all the scaffolding there and right,
• 54:15
  Speaker 1: you know. And then the implication is that by increasing
• 54:19
  Speaker 1: people who are coming into the church, people are passing
• 54:22
  Speaker 1: the hat and putting in more money, we're able to
• 54:25
  Speaker 1: finish the repairs at the church. But that would take
• 54:28
  Speaker 1: a long It would take a long time. How I
• 54:30
  Speaker 1: guess it comes down to those montages of like how
• 54:33
  Speaker 1: much ground are we cover? Because there was like a
• 54:34
  Speaker 1: few long montages of like nuns doing various but the
• 54:39
  Speaker 1: whole time they were supposed to wait for the court
• 54:42
  Speaker 1: date was two months and then yeah, and then and
• 54:45
  Speaker 1: then the lieutenant calls her and says, I got it
• 54:47
  Speaker 1: speeded up so it a month. In a month, they
• 54:51
  Speaker 1: were able to increase attendance at the church enough to
• 54:55
  Speaker 1: raise ten dollars or more. I are a contractor, finished
• 55:01
  Speaker 1: the repairs enough how that the Pope could come in
• 55:04
  Speaker 1: and be totally impressed and went over the youth of
• 55:07
  Speaker 1: all of San Francisco. They've saved them. I mean Delor.
• 55:13
  Speaker 1: She's a she's a quick operator. She really solved Catholicism.
• 55:17
  Speaker 1: And in the beginning it was also interesting because she
• 55:19
  Speaker 1: was like a failed lounge singer but incredibly successful. Sometimes
• 55:25
  Speaker 1: you just have to find a caller, you know, it's
• 55:29
  Speaker 1: that's beautiful. Oh no, I think I have more varied
• 55:34
  Speaker 1: religious issues than I realized. Um yeah, I'm trying to
• 55:39
  Speaker 1: think of other I mean, oh, something I did want
• 55:41
  Speaker 1: to bring up. So I bring this up a lot
• 55:42
  Speaker 1: on the show. But usually, UM, I wouldn't even say
• 55:46
  Speaker 1: that this movie is marketed specifically at women. I think
• 55:48
  Speaker 1: that it's kind of a general movie. Will be Goldberg
• 55:52
  Speaker 1: is such a huge star at this time. This movie
• 55:54
  Speaker 1: was hugely successful. Um I had a thirty one million
• 55:58
  Speaker 1: dollar budget and it made two wounder thirty one million
• 56:01
  Speaker 1: dollars at the box office. So like the movie was,
• 56:04
  Speaker 1: it seems like everyone was seeing it. But we do find,
• 56:08
  Speaker 1: especially when um the film critic pool was less diverse
• 56:13
  Speaker 1: that movies that are directed at general audiences and then
• 56:16
  Speaker 1: usually specifically women or people who are not whatever the
• 56:20
  Speaker 1: white male critic don't get as good a review. Somehow,
• 56:23
  Speaker 1: this movie only has round to me, which hurts my feelings, like,
• 56:27
  Speaker 1: how does it not have? And we have I have?
• 56:31
  Speaker 1: I found a quote from our noted enemy, Roger Ebert,
• 56:35
  Speaker 1: who always has the dumbest takes in spite of being
• 56:38
  Speaker 1: the most famous film critic of all time. Here's what
• 56:41
  Speaker 1: do you have to say about his direct I found
• 56:42
  Speaker 1: to be very fusing. He said, this movie is a
• 56:44
  Speaker 1: little bit low key and contemplative and a little too thoughtful,
• 56:49
  Speaker 1: which I didn't like. I was like, what he didn't
• 56:52
  Speaker 1: like that the movie was thinking about things. It's like, now,
• 56:56
  Speaker 1: hold on, there's a point to all this, so that
• 57:00
  Speaker 1: you know, so don't with the point bank don't always
• 57:02
  Speaker 1: trust Rotten Tomatoes some of the old guy has weighing
• 57:06
  Speaker 1: in or but I would even take issue with the
• 57:09
  Speaker 1: characterization of the movie. It's too thoughtful, right if it
• 57:12
  Speaker 1: it's a wrong, it's just immediate music. It's a it's
• 57:17
  Speaker 1: a musical right with with multiple musical montages, right all rule.
• 57:25
  Speaker 1: I don't know, I don't I don't know what was
• 57:27
  Speaker 1: going on with him, but he was not he didn't
• 57:29
  Speaker 1: seem to be he didn't like fun. He seemed to
• 57:32
  Speaker 1: not fun. You get the vibe from all of his
• 57:36
  Speaker 1: reviews of like, why wasn't this Taxi Driver? I'm like,
• 57:41
  Speaker 1: if it's not taxi driver two stars like um now,
• 57:46
  Speaker 1: and then wasn't exactly like stand by Me because costead
• 57:51
  Speaker 1: stand by Me for girls stars? Um So anyways, just
• 57:57
  Speaker 1: another reflection on the state of film criticism this time.
• 58:02
  Speaker 1: Did you have any other that's kind of it? I have. Surprisingly,
• 58:06
  Speaker 1: I really don't have too much of a bad word
• 58:09
  Speaker 1: to say about this mo. Now. I have to say
• 58:11
  Speaker 1: that I'm so grateful that as part of my campaign duties,
• 58:17
  Speaker 1: I had to rewatch Sister Act, and it should be
• 58:21
  Speaker 1: a job qualification. It was such a pleasure because there's
• 58:26
  Speaker 1: so much to do right now. But I was like, whoa, whoa, whoa.
• 58:30
  Speaker 1: I will set a side time for Sister I need
• 58:33
  Speaker 1: to watch this. Don't disturb me. I'm rewatching Sister Act.
• 58:39
  Speaker 1: Sometimes my mom will call me and I'm like, sorry,
• 58:42
  Speaker 1: I've got too much work to do right now. I
• 58:44
  Speaker 1: have to go watch the Social Network. I understand why
• 58:50
  Speaker 1: my parents don't think this is a job. I get it.
• 58:52
  Speaker 1: I get it, I get it. But I'm a worker
• 58:56
  Speaker 1: and you have rights. Yes, we need to a podcast union.
• 59:01
  Speaker 1: We need a unionize. Honestly we should. Does this movie
• 59:05
  Speaker 1: pass the Vectel test tons, I think almost more than
• 59:10
  Speaker 1: any movie we've ever covered. There's whole scenes that passed
• 59:15
  Speaker 1: the Bechtel test. Um. I believe that the scene where
• 59:19
  Speaker 1: Sister Mary Robert brings in the weird daisy besides mentioning
• 59:22
  Speaker 1: her brother one time, that entire scene passes the Bectel test,
• 59:26
  Speaker 1: which is like virtually unheard of. Yeah, no, I mean
• 59:30
  Speaker 1: I was like, so the pope, do the nuns even
• 59:33
  Speaker 1: talk about another man? I mean Help or God or Jesus.
• 59:37
  Speaker 1: But yeah, most of the male characters are unseen because
• 59:41
  Speaker 1: they're Jesus and God. So I do like, how okay,
• 59:45
  Speaker 1: So there's one scene. There's a few scenes where the
• 59:48
  Speaker 1: priest is present. I do like how kind of generally
• 59:52
  Speaker 1: sidelined he is. But there is that one scene where like,
• 59:55
  Speaker 1: and I don't necessarily know entirely how to feel about this,
• 59:57
  Speaker 1: but there's a scene between um, the reverend mother or
• 1:00:01
  Speaker 1: mother reverend I don't know, Maggie Smith and Dolores, and Um,
• 1:00:07
  Speaker 1: she's yelling at Dolores for this is pop music. This
• 1:00:10
  Speaker 1: is secular music. Uh. And then the priest comes in.
• 1:00:14
  Speaker 1: He's like, no, I'm going to undermine your authority here
• 1:00:17
  Speaker 1: and be like hey, like he was on Dolores, I
• 1:00:22
  Speaker 1: thought that he just like for me, kind of was
• 1:00:26
  Speaker 1: on board with the nun hive mind of like we
• 1:00:28
  Speaker 1: love what we called burg will do whatever she says,
• 1:00:31
  Speaker 1: so and that, I mean, I see what you're saying.
• 1:00:33
  Speaker 1: But I was like, they should be singing fun music
• 1:00:36
  Speaker 1: or why am I watching um? But yes, yeah, big, big,
• 1:00:41
  Speaker 1: many passes, many passes between many combinations of characters. Yeah.
• 1:00:45
  Speaker 1: Usually if there's two women on screen talking to each other,
• 1:00:48
  Speaker 1: it'll pass the metal test at some point in the car.
• 1:00:50
  Speaker 1: And that's most of the scenes of the movie. So
• 1:00:52
  Speaker 1: this movie is truly it's the one feminist text we've
• 1:00:56
  Speaker 1: We've found it distract as our feminist text. I of it.
• 1:01:00
  Speaker 1: I was so happy. I mean, it's a sister in
• 1:01:03
  Speaker 1: the title. What do you expect? I'm so excited that
• 1:01:06
  Speaker 1: we covered this movie today. Really may be so happy.
• 1:01:09
  Speaker 1: Let's write it. Yes, rate it on our nipple scale.
• 1:01:12
  Speaker 1: We have a scale of zero to five nipples in
• 1:01:15
  Speaker 1: which we rate it based on its representation and treatment
• 1:01:18
  Speaker 1: of women. I'm gonna go with a solid like four
• 1:01:23
  Speaker 1: and a half, And there's just a few of those
• 1:01:26
  Speaker 1: little like nineties jokes and like, you know, uses of
• 1:01:30
  Speaker 1: certain words and you know, like black neighborhood equals dangerous neighborhood.
• 1:01:36
  Speaker 1: But it was far less problematic than I would have
• 1:01:39
  Speaker 1: expected if a movie from the early nineties. It's about
• 1:01:43
  Speaker 1: it's a movie about a woman being accepted into this sisterhood.
• 1:01:48
  Speaker 1: And and even though she's like at the beginning, she's like,
• 1:01:52
  Speaker 1: I don't like this, all the nuns are still like,
• 1:01:54
  Speaker 1: but you're so great, and you're so good at being
• 1:01:56
  Speaker 1: a nun, and we like you so much. Everyone this
• 1:01:58
  Speaker 1: movie is so accepting of each other, so very supportive. Yeah,
• 1:02:02
  Speaker 1: and the one female relationship where there is tension is
• 1:02:06
  Speaker 1: contextualize and like everyone comes around by the end. So yeah,
• 1:02:09
  Speaker 1: it's just it's a beautiful story about sisterhood and we
• 1:02:13
  Speaker 1: need more of them. So I would give this four
• 1:02:15
  Speaker 1: and half nipples and give one to Whoopee, one to
• 1:02:20
  Speaker 1: Maggie Smith, one to her bangs the bangs of the Bangs, none, none,
• 1:02:25
  Speaker 1: and I'll give one to Kathy Najimie, and I'll give
• 1:02:29
  Speaker 1: one to Lieutenant South there love it. Yeah, I'm gonna
• 1:02:33
  Speaker 1: do four and a half to two. I think that
• 1:02:34
  Speaker 1: this this movie just made me so happy. And no
• 1:02:37
  Speaker 1: movies hold up. In this movie, like holds up never happens.
• 1:02:44
  Speaker 1: It's so I just love how there were so many
• 1:02:48
  Speaker 1: opportunities for their writing to kind of turn women against
• 1:02:51
  Speaker 1: each other, but it really never takes that option. And
• 1:02:55
  Speaker 1: like the sisters are on board the whole time. They're
• 1:02:58
  Speaker 1: there to support each other. And when there's a reveal
• 1:03:00
  Speaker 1: of like Dolores isn't who she says she is, they're like,
• 1:03:04
  Speaker 1: who cares she was kidnapped? We're going to arena? Like
• 1:03:07
  Speaker 1: it's just it's so I just like I'm getting emotional
• 1:03:11
  Speaker 1: um there. I mean, there's very low um representation of
• 1:03:17
  Speaker 1: women behind the camera here, which is like something to
• 1:03:20
  Speaker 1: just be aware of. There's one credited female producer, but
• 1:03:25
  Speaker 1: it's you know, directed, written by editor, cinematography. The whole
• 1:03:28
  Speaker 1: bit is kind of men across the board. Just something
• 1:03:31
  Speaker 1: that we try to be aware of. But the story
• 1:03:33
  Speaker 1: itself and the actors that are there, it's just it's
• 1:03:36
  Speaker 1: just the best. So four and a half two will
• 1:03:38
  Speaker 1: be one of Maggie, one of Cathy and half to banks. Yeah,
• 1:03:43
  Speaker 1: I'm you know, I probably not because I haven't done
• 1:03:45
  Speaker 1: this as much as you guys, but I'm gonna give
• 1:03:47
  Speaker 1: it five nipples. Uh, and just look at the disgusting clue.
• 1:03:52
  Speaker 1: We were like just because yeah, like I expected this
• 1:03:55
  Speaker 1: to be yeah, expected it not to hold up as well,
• 1:03:59
  Speaker 1: and I was Yeah, I was so happy to be
• 1:04:02
  Speaker 1: able to watch a movie like this. It was just
• 1:04:04
  Speaker 1: so happy and it gave me an adult rated joy.
• 1:04:07
  Speaker 1: Do I have to assign the nipples to people? If
• 1:04:09
  Speaker 1: you want to? I would, I would, I would follow
• 1:04:12
  Speaker 1: you and we're assigning in your nipple assignments, spreading the
• 1:04:15
  Speaker 1: nipples across the board. Plenty of sisters, plenty of nipples.
• 1:04:19
  Speaker 1: I'll give the pope and one of my nipples. Yeah,
• 1:04:22
  Speaker 1: good for you, didn't get any well, Nathia, thank you
• 1:04:26
  Speaker 1: so much for being here, Thank you for having me.
• 1:04:28
  Speaker 1: Tell us what you want to plug. Where can people
• 1:04:30
  Speaker 1: find you on social media? Oh yeah, yeah, so I
• 1:04:34
  Speaker 1: meant Nitia for the City dot com. But if you
• 1:04:36
  Speaker 1: use social media, follow us on Twitter. Nittia v Raman.
• 1:04:39
  Speaker 1: That's an I T h y A and my last
• 1:04:41
  Speaker 1: name is r A m A and not not quite
• 1:04:43
  Speaker 1: like the noodle. Um. But if you know, if you
• 1:04:46
  Speaker 1: just google Nitia City Council, I'm the only Nitia running
• 1:04:48
  Speaker 1: for city council. Imagine that. Um. And we're on Instagram
• 1:04:53
  Speaker 1: and Natia for the city as well. And um, definitely
• 1:04:56
  Speaker 1: if you're in l A, please look me up, come
• 1:04:58
  Speaker 1: out to canvas. Um. We have a huge volunteer army
• 1:05:00
  Speaker 1: that's knocking on every door in the district to try
• 1:05:02
  Speaker 1: and get people excited about this election and how they
• 1:05:05
  Speaker 1: can expect change in the city. Um. Yeah, so look
• 1:05:09
  Speaker 1: look me up, come out, come meet us. And when
• 1:05:11
  Speaker 1: when's the election again? March three? And vote? Ever come
• 1:05:16
  Speaker 1: out and vote, yes exactly. I'm sure everyone's going to
• 1:05:18
  Speaker 1: be voting for the primaries. You should be well not
• 1:05:22
  Speaker 1: stop bothering our listeners about it. Um. Yeah, thank you
• 1:05:25
  Speaker 1: so much for making the time and and and carving
• 1:05:28
  Speaker 1: Sister Act into your schedule. Yes, thank you for giving
• 1:05:30
  Speaker 1: me the opportunity to carve Sister Act into my schedule anytime.
• 1:05:35
  Speaker 1: Very grateful. Thank you. Guys. Where's Sisterhood right now? Yes? Yes,
• 1:05:39
  Speaker 1: this is the Sisterhood of the Traveling Act. Where's that movie? Okay,
• 1:05:44
  Speaker 1: you can follow us all the normal places Twitter, Instagram,
• 1:05:46
  Speaker 1: et cetera. At Bechtel Cast. You can go to our
• 1:05:48
  Speaker 1: website bechtel cast dot com for our show dates and episodes.
• 1:05:54
  Speaker 1: Our patren aka Matreon is five dollars a month to
• 1:05:57
  Speaker 1: bonus episodes every month, plus the entire back atalogue. And
• 1:06:01
  Speaker 1: I think that's about it. Yeah, thank you so much.
• 1:06:04
  Speaker 1: Thank you. Byfi