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Josie and the Pussycats (2001) · Left of the Projector

• 0:17
  Track 1: Hello, and welcome to Left of the Projector. I'm your host, Evan,
• 0:20
  Track 1: back again with another film discussion from the left.
• 0:22
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  Track 1: you've got the best taste around.
• 0:37
  Track 1: Wherever you're listening, give us a rating and subscribe so you'll be notified
• 0:41
  Track 1: of our weekly episodes that drop every Tuesday. And now on to the show.
• 0:44
  Track 1: This week on the show, we'll be discussing the 2001 film Josie and the Pussycats,
• 0:50
  Track 1: which did not get too much press or, you know, good reviews upon its initial release.
• 0:57
  Track 1: But in retrospect, I think we have a great film to discuss today.
• 1:02
  Track 1: It stars a whole host of people, Tara Reid, Rosario Dawson, Rachel Lee Cook,
• 1:07
  Track 1: Alan Cumming, Gabriel Mann, Missy Pyle, Parker Posey, and some others that appear
• 1:13
  Track 1: early on in the film, which we will get to shortly.
• 1:16
  Track 1: The film was not a commercial success, making just $15 million on a $22 to $39
• 1:21
  Track 1: million budget. I don't know why there's such a wide range, perhaps marketing and all those things.
• 1:27
  Track 1: But with us to discuss, we have a friend of the show, Smirk Gently.
• 1:30
  Track 1: Thank you for being here, as always.
• 1:33
  Track 3: Thank you so much. And thanks for doing this, because I feel like I pestered
• 1:35
  Track 3: you about it for a little while.
• 1:37
  Track 1: I know and in full disclosure bill and i have never seen this movie until not
• 1:43
  Track 1: today i've watched it for the first time two days for.
• 1:46
  Track 2: Me it was last night so.
• 1:48
  Track 3: I'm i'm so glad to be that person for both of you and i'm so happy to make this happen.
• 1:53
  Track 1: And it wasn't like i feel like everybody needs to see this intentionally like
• 1:56
  Track 1: not watching this and i think unfortunately i think it has to do with just the sort of uh,
• 2:02
  Track 1: the way that it's the film is sort of viewed i think.
• 2:06
  Track 3: Again even.
• 2:06
  Track 1: Though i think there's like this reappraisal of it i think it
• 2:09
  Track 1: still suffers from that early 2000s sort
• 2:13
  Track 1: of uh i don't know what to call it uh era where there was a lot of crappy dude
• 2:19
  Track 1: bro comedy films that clogged the arteries of the film industry and this one
• 2:25
  Track 1: kind of floated under the radar and so i have to ask you how did you or why
• 2:30
  Track 1: did you want to discuss this film like what was it uh about it i mean.
• 2:33
  Track 3: I think it's partly because of that i think the movie is so much fun i've seen it so many times,
• 2:41
  Track 3: purely because it was just on always like it
• 2:44
  Track 3: was one of those that didn't do really well in theater so it was on like a lot
• 2:47
  Track 3: i don't know maybe it was like comedy central or like one of the movie channels
• 2:50
  Track 3: that we had when like my dad had direct tv for some reason but it was on all
• 2:53
  Track 3: the time so it was just i feel like it was always on in the background and i
• 2:56
  Track 3: think it's so clever and cute but it's also really cheesy in a way that I enjoy.
• 3:02
  Track 3: And for me, it occupies the same space in my mind as like Mystery Men and Zoolander
• 3:08
  Track 3: as far as these like satirical, like industry sort of films.
• 3:12
  Track 3: And I think you had mentioned to me that you hadn't seen it. I'm like, you have to-
• 3:17
  Track 3: I feel like everybody has to see this movie.
• 3:18
  Track 1: My Letterboxd review is literally, it's funny you said Zoolander was,
• 3:23
  Track 1: that Zoolander and the movie They Live had a baby, and the baby is this film.
• 3:28
  Track 1: And it does have a similar humor aspect as Zoolander, and it has a subversive
• 3:35
  Track 1: sort of undertone that's beating you over the head with like a bat as to how kind of blatant it is.
• 3:43
  Track 2: Calling it an undertone is, that's a stretch of that.
• 3:46
  Track 1: It's an overtone.
• 3:47
  Track 2: The definition of undertone. It's funny you mention Mystery Men because this,
• 3:53
  Track 2: like Mystery Men, is based on a comic book.
• 3:57
  Track 2: And this really, you know, we all talk about Spider-Man, you know,
• 4:02
  Track 2: as like, you know, the film that started the Superman renaissance or superhero renaissance in film.
• 4:08
  Track 2: But really, it's Josie and the Pussycats.
• 4:11
  Track 2: A full year. You did that. A full year. A full year.
• 4:15
  Track 2: 2002, a full year before Spider-Man, the Sam Raimi Spider-Man movies,
• 4:20
  Track 2: Josie and the Pussycats.
• 4:21
  Track 2: This is the movie that brought comics to the film.
• 4:25
  Track 1: I mean, I won't argue you too much there. But yes, and for anyone who doesn't know.
• 4:30
  Track 2: You won't engage in my not serious, facetious argument?
• 4:37
  Track 1: No.
• 4:37
  Track 3: It's like I'm not going to dignify that. I'm just going to move right.
• 4:39
  Track 1: I'm not going to dignify that with the response.
• 4:40
  Track 3: I'm rolling right along.
• 4:42
  Track 1: But for anyone who doesn't know look isn't familiar
• 4:45
  Track 1: with jose and the pussycats it's based it was a band within the archie comic
• 4:49
  Track 1: universe and then it became its own spinoff comic book and i think there was
• 4:53
  Track 1: also a tv show and there's obviously this film and there has now been more recently
• 4:58
  Track 1: yeah cartoon and there's also the show riverdale which is sort of like a teen,
• 5:03
  Track 1: drama about archie's world and the jose and the pussycats is sort of within
• 5:07
  Track 1: that world as well and then like Sabrina is also kind of in the same world. So it's kind of this.
• 5:12
  Track 2: But kind of, she is. She's, that's the Riverdale. That's the Riverdale universe.
• 5:16
  Track 1: The Riverdale universe? What do they call it?
• 5:17
  Track 2: Yes, it is.
• 5:18
  Track 3: Yeah. But she lives in like the next town over or something.
• 5:21
  Track 3: She doesn't, yeah, she lives.
• 5:22
  Track 3: So they show up in the dark and gritty Sabrina, like Netflix show from a few years back.
• 5:28
  Track 3: I fucking love that show. It's ridiculous.
• 5:31
  Track 2: Have you also watched Riverdale?
• 5:33
  Track 3: So I watched, I think the first one or two seasons. It's all a blur.
• 5:37
  Track 2: I mean, it got pretty bad. It got pretty bad.
• 5:40
  Track 3: It was crazy right off the bat. There was like...
• 5:42
  Track 2: Yeah, but I mean, it got like bad, but like in a really bad way.
• 5:47
  Track 2: I mean, there is an entire... I mean, there's an entire story arc involving
• 5:52
  Track 2: the drug known as, I believe, Jingle Jangle, which is just Pixie Stix.
• 5:56
  Track 2: It's just Pixie Stix. This is Jingle Jangle. And they talk about it all series. It's like...
• 6:01
  Track 2: Are you distributing Jingle Jangle?
• 6:04
  Track 1: I also got through about two seasons of that show. And my problem with that
• 6:08
  Track 1: show, not just getting crazy, is just that those shows, network shows,
• 6:11
  Track 1: took 24 episodes per season.
• 6:14
  Track 1: That would have been so good if it had been like 10 episode seasons, like more.
• 6:17
  Track 1: I hate using the stupid term like prestige TV, but like maybe slightly more.
• 6:23
  Track 1: Anyway, we don't need to go into the full Riverdale.
• 6:27
  Track 2: We need to talk about Jingle Jangle.
• 6:29
  Track 1: Yeah, we don't have to talk about Jingle Jangle on this. show
• 6:32
  Track 1: but like so for anyone who hasn't seen the film like it
• 6:35
  Track 1: starts off with not the joes and
• 6:38
  Track 1: the pussycats sort of leading the film it's this band called du
• 6:41
  Track 1: jour which is a boy band with
• 6:44
  Track 1: you know a lot of people you've you've seen like donald
• 6:47
  Track 1: face and seth green um what is
• 6:50
  Track 1: that breckenmire who you know from like the american pie no is he in american
• 6:54
  Track 1: pie no uh no he's in like road trip and like the craft and a few other things
• 7:00
  Track 1: in that like clueless clueless of course yes come on the stoner and clueless uh and so like you my.
• 7:08
  Track 2: Favorite part about du jour is if you go on the
• 7:11
  Track 2: wikipedia page for josey and the pussycats the fourth
• 7:14
  Track 2: member doesn't have a page the guy with the monkey no no less he doesn't have
• 7:21
  Track 2: he has nothing he has nothing he is like his non-antigeness in the movie is
• 7:29
  Track 2: reflected in our reality.
• 7:34
  Track 1: That's funny i didn't i i just i was reading from it and i didn't notice that
• 7:38
  Track 1: he didn't have his own page that's that's a little bit sad but yeah it's.
• 7:41
  Track 2: Kind of sad.
• 7:42
  Track 1: So they have this they're this sort of uh
• 7:45
  Track 1: you know big pop sensation they have a huge crowd and they're
• 7:48
  Track 1: sort of it's very they're very like initially leading you
• 7:51
  Track 1: into this memory hole for some people of the early
• 7:54
  Track 1: 2000s of like boy bands and spice girls and backstreet boys and in sync and
• 7:59
  Track 1: this whole thing yeah it's really well done it's like this idea of like you
• 8:02
  Track 1: know you step off a plane and there's a crowd you know excited to see them and
• 8:06
  Track 1: then they also have the um the most amazing hit single oh.
• 8:11
  Track 3: My god the lyrics to the song oh my god.
• 8:14
  Track 1: Backdoor lover is the name of the song that's.
• 8:17
  Track 3: A crime it's so funny.
• 8:19
  Track 1: Their dance is incredible they're.
• 8:22
  Track 3: Wearing you have seth green and like a feather boa and like that very,
• 8:25
  Track 3: like, late 90s sort of top hat situation.
• 8:29
  Track 3: Kind of, oh, like, four non-blondes. Like, she used to wear the top hat and
• 8:34
  Track 3: everything, and then it became, like, yeah, it's just... It's wild to see.
• 8:38
  Track 3: Also, all these dudes, I know that they're not...
• 8:41
  Track 3: much older than like boy band members were
• 8:44
  Track 3: at the time but they they seem so much older because i think of seth green as
• 8:49
  Track 3: like he is now it's insane to see to see him in that they're also not like typically
• 8:54
  Track 3: like these are not like bad looking dudes but they don't look like boy band
• 8:58
  Track 3: members it's just no it's very funny i.
• 9:01
  Track 2: Could see as a i could see donald fason fason as a as a as a boy band so at that.
• 9:07
  Track 3: Age oh yeah yeah nowadays he's.
• 9:11
  Track 2: Like fucking 45 years old like he looks.
• 9:14
  Track 3: He's older though is he that is he.
• 9:17
  Track 1: I don't know exactly how.
• 9:19
  Track 2: Old he is.
• 9:19
  Track 1: Well he's he's about to be in the new uh the scrubs uh uh reboot yeah he's 51 i'm.
• 9:27
  Track 2: Sorry yeah he's he's got a full decade on me.
• 9:29
  Track 1: Well does anyone do we do we need to do i need to read the lyrics for the part of this Yes.
• 9:34
  Track 2: You do. Or I will, if you'd like.
• 9:36
  Track 1: Okay.
• 9:37
  Track 2: Because I just pulled them up.
• 9:40
  Track 1: This kind of love is wrong, but you know it feels so fine. What if my hands cross your cheek?
• 9:47
  Track 1: Oh, so smooth as wine. Be the light baby and unlock your back door.
• 9:51
  Track 1: I'll be coming through, then waiting up to love you for sure.
• 9:55
  Track 1: That's the chorus. And then they have, you know, I don't need to read this entire.
• 10:01
  Track 1: lying on your bed, staring up at the moon. You got me crazy, but I'll love you soon.
• 10:05
  Track 1: And then it says, I'm your backdoor lover coming from behind with the lights
• 10:07
  Track 1: still on, backdoor lover, and so on.
• 10:10
  Track 2: I really like running my hands across your cheeks. They're oh so smooth and white.
• 10:15
  Track 2: So leave the light on, baby, and unlock your backdoor.
• 10:20
  Track 2: Like, truly, this is, this movie opens with this. It opens with this.
• 10:25
  Track 3: It does. You just dive right in, right from there.
• 10:28
  Track 1: I assume what they're referring to is like, you leave your door open because
• 10:31
  Track 1: like you don't have to worry about crime. And so your door is just open. Is that what they're?
• 10:35
  Track 3: Yeah.
• 10:36
  Track 2: This is about safe neighborhoods.
• 10:37
  Track 3: Yeah.
• 10:39
  Track 3: That's exactly what it is. You nailed it.
• 10:41
  Track 1: I got it. I understand the film.
• 10:43
  Track 3: You did.
• 10:44
  Track 2: It really, like, this movie does not ease you in.
• 10:49
  Track 2: Unlike being a backdoor lover, this movie does not ease you in.
• 10:54
  Track 2: It just, right off the bat, I mean, you know, let's see, in the plane they have
• 11:00
  Track 2: boxes of bounce laundry sheets framed on the walls.
• 11:07
  Track 2: and then jugs of Dawn dish soap. I believe it's Dawn. I think it's Dawn dish soap.
• 11:13
  Track 1: Just like The plane is also sponsored by Target across.
• 11:16
  Track 3: Yes, by the entire thing.
• 11:16
  Track 2: Yes, it's the Target thing and then the Target is everywhere.
• 11:19
  Track 3: Everywhere. Motorola is the plane later on.
• 11:22
  Track 1: Right.
• 11:22
  Track 2: Yes.
• 11:23
  Track 3: Motorola crap everywhere.
• 11:24
  Track 2: Yeah.
• 11:24
  Track 3: Yeah. It just hits you in the face with the branding and it's funny because
• 11:27
  Track 3: this whole movie is about like advertising and the spoilers.
• 11:33
  Track 3: It's about subliminal advertising and consumerism and some of the complaints
• 11:38
  Track 3: from actual critics were that it was hypocritical to be doing this much product
• 11:44
  Track 3: placement in a movie with a message like this.
• 11:47
  Track 3: I feel like so many people missed the point.
• 11:50
  Track 3: Part of why it did so poorly is because they were saying when it came out,
• 11:55
  Track 3: they're like, okay, I think we really didn't think about the fact that 13-year-olds
• 11:59
  Track 3: were going to watch this.
• 12:01
  Track 3: And they were also the people that, like, weren't going to get it.
• 12:04
  Track 3: But then that happened with the critics, too.
• 12:07
  Track 3: And they just, they, yeah, they got totally screwed.
• 12:10
  Track 1: Guys, are these the same people who also didn't get Starship Troopers?
• 12:15
  Track 3: They're probably the same people. Or at least they talked to each other.
• 12:18
  Track 2: Did critics not get Starship Troopers? I thought critics at least got it.
• 12:22
  Track 1: No, they did not get it. They said, this is too overtly, like, fascist.
• 12:26
  Track 2: I forgot. Starship Troopers is Evans Roam. So, you know.
• 12:30
  Track 3: Yeah.
• 12:30
  Track 1: Yeah. Yeah, the reviews were very much exactly like you said.
• 12:35
  Track 1: Roger Ebert gave it one and a half stars, saying that Josie and the Pusscats
• 12:40
  Track 1: are not dumber than Spice Girls, but they're as dumb as the Spice Girls, which is dumb enough.
• 12:45
  Track 1: That's your review of this. Also, this would be a great double feature with Spice World.
• 12:51
  Track 3: By the way. You would.
• 12:52
  Track 2: I have to say, though, like there is I do think there is kind of merit to the idea.
• 12:58
  Track 2: It's like you're making a movie about the evils of product placement,
• 13:02
  Track 2: but you're still doing product placement.
• 13:06
  Track 2: Quite a lot of it, actually. Like it's everywhere.
• 13:10
  Track 2: There's still something to be said about that. Like you are doing what you're criticizing a lot.
• 13:16
  Track 3: Is i guess it's kind of you could you could be venturing into like a pose law sort of uh,
• 13:22
  Track 3: territory where you know you're kind of doing the thing you're satirizing but
• 13:27
  Track 3: given how little money they made on this movie it's probably good that they did.
• 13:32
  Track 2: They yeah and they they did it that none of it was paid for like none of the
• 13:37
  Track 2: product placement was paid for it it was all.
• 13:39
  Track 3: Really they didn't get any money for none.
• 13:41
  Track 2: Of it they didn't ask They just.
• 13:43
  Track 3: Did it. Oh, so they just did it.
• 13:44
  Track 1: They just did it. They were just going to advertise Frappuccino for free.
• 13:47
  Track 2: That's wild. None of the product placement in the movie was requested from the
• 13:51
  Track 2: companies. It was all just done at will by the director. They just did it.
• 13:57
  Track 3: Wow.
• 13:58
  Track 3: Okay, well, then at least, you know, they are somewhat ideologically consistent.
• 14:03
  Track 1: Can I also comment, one of my favorite moments in the very, like,
• 14:06
  Track 1: first, boy, the du jour band, is when they're on the plane, and they say that
• 14:11
  Track 1: the little monkey's name is Dr. Zayas.
• 14:13
  Track 1: And the only thing I could think of was, like, if they, like,
• 14:16
  Track 1: the Simpsons clip is just, like, playing in my head, like, the whole time I'm
• 14:19
  Track 1: watching, I'm like, Dr. Zayas, Dr.
• 14:20
  Track 3: Zayas. Of course.
• 14:23
  Track 1: And then what happens is the band members get into a fight, and they realize
• 14:28
  Track 1: that they've now sort of uncovered a tape that sort of uncovers a plot that
• 14:34
  Track 1: we don't get privy to at the moment.
• 14:37
  Track 1: And that Wyatt, who is their sort of the record label executive played by Alan
• 14:41
  Track 1: Cumming, they make the joke about—he makes the joke before he tells the pilot
• 14:47
  Track 1: something, and then they jump off the plane.
• 14:49
  Track 3: Oh, he says to shove it to the levy.
• 14:51
  Track 1: Yeah, to shove it to the levy.
• 14:52
  Track 3: It's been a really long time. This still feels like too soon. That's so mean.
• 14:56
  Track 2: I know.
• 14:56
  Track 1: It is.
• 14:56
  Track 2: It's brutal. Well, how about Smells Like Teen Spirit?
• 14:59
  Track 3: Yeah.
• 15:00
  Track 2: As they take that girl away.
• 15:02
  Track 3: Yeah.
• 15:02
  Track 1: Yeah.
• 15:02
  Track 3: Yeah, there are a lot of cute little...
• 15:04
  Track 3: throwaway sort of.
• 15:05
  Track 1: Thing so i mean essentially they're like we we have to kill this
• 15:08
  Track 1: band also sort of being like well there's nothing we can do we just have to
• 15:13
  Track 1: kill them you know or presumably killing them spoilers and they are you know
• 15:18
  Track 1: then why it is like tasked with finding a new band they're like okay there's
• 15:22
  Track 1: no other bands that exist in this label apparently you know how many backups they just have the.
• 15:26
  Track 3: One that's what i was thinking about when i watched it again today i was like
• 15:29
  Track 3: don't they have any other band they're just representing the one yeah.
• 15:33
  Track 2: No it's just.
• 15:34
  Track 3: Like boys band and now the girl group or.
• 15:36
  Track 1: Girl band. There's always like the backup. There's like NSYNC and there's Backstreet
• 15:40
  Track 1: Boys. There's always like, I don't know, you know, there's Yeah.
• 15:43
  Track 2: In this analogy, which of those are the backup NSYNC or Backstreet Boys?
• 15:49
  Track 3: Well, depends on when you're asking.
• 15:50
  Track 1: I mean, which one is better? Which band is better? Is that what you're asking me?
• 15:53
  Track 3: Oh, that's a better question.
• 15:54
  Track 2: This is a personal, I don't know. I'm not, I don't think I've ever listened
• 15:57
  Track 2: to more than like 10 seconds of any of their music.
• 16:01
  Track 1: I can't say that that's the same case for myself. given my like when i grew
• 16:07
  Track 1: up and like you know the my age we grew up.
• 16:09
  Track 2: At the same time you guys are like the same age.
• 16:11
  Track 1: Damn it i mean sorry.
• 16:17
  Track 2: Sorry you can't that's yeah.
• 16:19
  Track 1: In like in retrospect you probably would say that nsync is like the more talented
• 16:24
  Track 1: band just simply because of justin timberlake regardless of your feelings of
• 16:28
  Track 1: justin timberlake as a human probably
• 16:30
  Track 1: they're like they're probably a and backstreet Boys is probably B.
• 16:34
  Track 3: Yeah. But Backstreet Boys is like, I don't, although I don't know, I feel like they were,
• 16:39
  Track 3: less problematic consistently and they all just seemed like nice boys oh the
• 16:44
  Track 3: back yeah and sync was yeah they just see those are the one that's the one my
• 16:49
  Track 3: mom like she went out and bought their cd at sam goody and she got like that
• 16:52
  Track 3: like the millennium album came out and like we went together to get it she was so excited they.
• 16:57
  Track 1: Came out first too they were like a couple years before in sync i feel like
• 17:00
  Track 1: they were sort of like the original of this.
• 17:02
  Track 3: Kind of.
• 17:03
  Track 1: Band and then instinct was sort like grown in a lab to create,
• 17:07
  Track 1: to like be a second, you know?
• 17:09
  Track 2: Yeah. Justin, that's an accurate description of Justin Saber.
• 17:11
  Track 3: Like he was a, he was a Disney kid, right? Like, wasn't he on like or something?
• 17:15
  Track 2: Yeah.
• 17:16
  Track 3: He was. Yeah. Um, yeah, there were, and there were a ton of those bands and
• 17:20
  Track 3: that's why this movie, like this movie is definitely of its time.
• 17:23
  Track 3: Like it's very specific to like, it came out in 2001 and we'll get to the whole
• 17:28
  Track 3: pre nine 11 film thing later. Cause that is important to talk about. Um,
• 17:33
  Track 3: This was sort of like on the tail end of the boy band craze.
• 17:39
  Track 1: It was actually, because like big boy bands was like 96 to probably 2000.
• 17:44
  Track 1: I feel like they were trailing off at this point and to make a movie critiquing them.
• 17:49
  Track 1: I wonder if that plays into why it was so sort of pan.
• 17:51
  Track 1: Like if this had come out in 99 or something, I don't know. I mean,
• 17:57
  Track 1: maybe you couldn't have made the movie in 99 because it was like making fun
• 18:00
  Track 1: of these bands in a way that wasn't acceptable yet. I don't know. Maybe.
• 18:06
  Track 2: I mean.
• 18:07
  Track 3: Sorry, I lost you for a second.
• 18:08
  Track 1: Can you hear me still?
• 18:09
  Track 3: Yeah. Okay. All right.
• 18:10
  Track 1: I got you. I was just saying, like, I wonder if it couldn't.
• 18:14
  Track 1: I mean, I don't know the production and like when there was,
• 18:16
  Track 1: you know, when it was written and all that.
• 18:17
  Track 1: But if they had made the movie a few years earlier, maybe they wouldn't have
• 18:20
  Track 1: been able to because, you know, you're kind of shitting on this industry. So, yeah.
• 18:26
  Track 3: Yeah no you might be right.
• 18:28
  Track 2: I don't know i feel like if you're gonna make this the the people that would
• 18:32
  Track 2: make this movie like it depends on who and your like intention like i feel like
• 18:36
  Track 2: the the people that made this movie based on all i know about these people's this movie uh,
• 18:44
  Track 2: i feel like they would be down to like you know,
• 18:49
  Track 2: poke fun at that regardless of how culturally like you know dominant it was.
• 18:56
  Track 1: Yeah it was one of the directors is deborah caplan
• 18:59
  Track 1: and she also her the only movies
• 19:01
  Track 1: she made before this were a very brady sequel so the second
• 19:04
  Track 1: brady bunch movie and can't hardly wait which also had
• 19:07
  Track 1: you know had seth green and i'm sure that played a part into why he was in this
• 19:11
  Track 1: film but such a different take on teenagers teenage years and this is sort of
• 19:17
  Track 1: this is what they were listening to and this is why teenagers are the way they
• 19:22
  Track 1: are perhaps is that we have commercialized every facet of life,
• 19:27
  Track 1: you know from the you know the the joke early in the on with the group of girls
• 19:33
  Track 1: who like buy a bunch of stuff that's pink you know and red and then they have
• 19:36
  Track 1: like a blue is a new color and i couldn't keep up with their.
• 19:39
  Track 2: That felt very pointed at victoria's secret at that time when pink and the whole
• 19:46
  Track 2: Victoria's Secret and pink and their targeting of teen girls of that time,
• 19:51
  Track 2: which was like such a thing and how prevalent that was and the whole,
• 19:57
  Track 2: all of that. Like it's just so.
• 19:59
  Track 3: Yeah. And that was kind of, if I'm remembering correctly, through the fog of
• 20:03
  Track 3: what felt like a gallon of that love spell spray that was in the hallways at
• 20:07
  Track 3: my school in 2002 and beyond, you know exactly what I'm talking about. Everybody had it.
• 20:13
  Track 3: But that was when they started the Victoria's Secret pink thing specifically
• 20:16
  Track 3: to market to, like, teens and tweens and stuff.
• 20:19
  Track 3: And I think it was kind of controversial, too, because it was like,
• 20:22
  Track 3: oh, this is, like, the lingerie.
• 20:23
  Track 2: I feel like it wasn't controversial at first. It wasn't until,
• 20:28
  Track 2: like, a few years into it.
• 20:31
  Track 2: And it kept going that people finally were like, wait a minute.
• 20:34
  Track 2: This is kind of fucked up.
• 20:36
  Track 3: It's weird.
• 20:37
  Track 2: Like, at first, it was just like, yeah, this is, you know, it's okay.
• 20:40
  Track 2: This is what you do. You sell things. And then like at a certain point,
• 20:44
  Track 2: we, as a culture, like certain, there was a certain development of cultural
• 20:49
  Track 2: sensibilities because when it started, it just seemed acceptable.
• 20:55
  Track 2: I mean, this is at the same time with Abercrombie and Fitch and Hollister and
• 20:58
  Track 2: all that stuff was coming up and it was so sexualized and it took a while for
• 21:04
  Track 2: our culture as a whole to kind of like react to it.
• 21:07
  Track 2: I'd be like, this is kind of super fucked up. Like, why are you putting teen
• 21:11
  Track 2: boys and girls in super risque outfits on, like,
• 21:16
  Track 2: giant posters in your store and gassing mall walkers with your stuff that you
• 21:24
  Track 2: can smell from the other side of the mall?
• 21:26
  Track 2: Like, why are you doing this? This seems kind of not cool.
• 21:29
  Track 3: Yeah, and, like, the music, like, being pumped out, like, into the halls and
• 21:32
  Track 3: it just sounds like a nightclub and stuff.
• 21:34
  Track 3: Yeah, the whole, like, everything that was marketed to, like,
• 21:38
  Track 3: teens and tweens back then, it seemed like it sort of pushed up the general,
• 21:43
  Track 3: like, idea of when kids would start dressing like adults.
• 21:48
  Track 3: Not in the way that, like, people didn't know how to dress kids,
• 21:51
  Track 3: so they'd put them in, like, weird outfits, but, like, have,
• 21:53
  Track 3: like, 12-year-olds dressing like 16-year-olds.
• 21:57
  Track 3: I work in a high school, so I see kids wear anything you could possibly imagine.
• 22:02
  Track 3: There's basically no dress code. I don't think anybody gives a shit about it.
• 22:05
  Track 3: And I don't care because I'm like, I'm not wearing it. But there's definitely...
• 22:09
  Track 3: Like, I feel like I can almost pinpoint when that happened because you look
• 22:13
  Track 3: at prom pictures of like my parents or like or like people who went to prom
• 22:19
  Track 3: in like 1989 to like 1999.
• 22:23
  Track 3: And they were dressed like they were going to a cocktail party and the next
• 22:27
  Track 3: day they were going to the office.
• 22:29
  Track 3: It wasn't like the runway or anything, you know, it's just weird the way that
• 22:33
  Track 3: fashion has changed for very younger people. Very strange.
• 22:36
  Track 1: One thing I saw in an article I did find earlier is that part of the,
• 22:42
  Track 1: this is not directly related to the advertising, but like it relates to how
• 22:46
  Track 1: they were crafting the movie.
• 22:47
  Track 1: So apparently they pitched the movie as sort of being this conspiracy kind of
• 22:52
  Track 1: idea because, you know, they had the like grunge era of like the mid 90s of like Nirvana,
• 22:58
  Track 1: Pearl Jam, Sonic Youth that were talking about sort of dissent against sort
• 23:02
  Track 1: of authority and like wearing different things.
• 23:05
  Track 1: And, you know, you look at like the movie Clues, like how people were dressing
• 23:07
  Track 1: kind of like in that movie.
• 23:09
  Track 1: And they're like, well, the music industry then decided to like completely course
• 23:14
  Track 1: correct in a way. This is kind of quoting what they're saying.
• 23:17
  Track 1: Instead, we want them to buy and promote corporate culture in a way we can't
• 23:22
  Track 1: still have them being down with corporations. We don't want to buy your crap.
• 23:25
  Track 1: And we actually do need you to buy our useless crap really badly.
• 23:30
  Track 1: And so they, I mean, do you think, thinking back to that era,
• 23:36
  Track 1: do you think that NSYNC and Backstreet Boys and those kind of bands were actually...
• 23:43
  Track 1: being used as a way to buy a bunch of shit? I mean, maybe not to the extreme
• 23:47
  Track 1: as this film goes, but like, do you think that they were being used to buy products
• 23:52
  Track 1: in some way? I can't like, I'm trying to like...
• 23:55
  Track 3: I think even if it's not intentional, which it very well could be,
• 23:58
  Track 3: even if it's not intentional,
• 24:00
  Track 3: a band or anybody who has a lot of influence,
• 24:03
  Track 3: like a really famous musician or an actor, anybody
• 24:06
  Track 3: who's getting a lot of attention is going
• 24:09
  Track 3: to be marketing a sort of aesthetic you know if it's if it's associated with
• 24:13
  Track 3: some sort of like whether it's the prevalent culture or like a subculture it
• 24:18
  Track 3: doesn't have to be boy bands it could also be like punk you know like anything
• 24:22
  Track 3: and they're tied into that because of the nature of capitalism and when just the world,
• 24:29
  Track 3: you're marketing an aesthetic and in order
• 24:32
  Track 3: to signify to other people that you're part of that same sort of
• 24:35
  Track 3: subculture or the dominant culture to fit in or to stand out as a member of
• 24:40
  Track 3: something else you're going to be buying things and adorning yourself in the
• 24:45
  Track 3: vestments of that culture so i think yeah intentional or not they're selling
• 24:50
  Track 3: stuff it's just there's no way around it.
• 24:52
  Track 2: This is at the same time that hot
• 24:56
  Track 2: topic turned and became
• 25:00
  Track 2: hot topic has a very interesting history and
• 25:02
  Track 2: the way it evolved and this is these years are the years in which hot topic
• 25:08
  Track 2: became like the alt alt lifestyle became heavily marketed and hot topic while
• 25:16
  Track 2: simultaneously like we're alt we're counterculture simultaneously was.
• 25:22
  Track 3: Selling hand.
• 25:25
  Track 2: Over fist that material and entering the music the music industry in a big way
• 25:31
  Track 2: and pushing music and aligning that with their product in.
• 25:36
  Track 3: A big way.
• 25:37
  Track 2: This is really, you know, it's, it's, you know, it's, you are always, you know.
• 25:43
  Track 2: They are selling an aesthetic. They're selling a lifestyle. They're selling
• 25:46
  Track 2: a culture. And that's always part of it.
• 25:48
  Track 2: I think it's interesting to think about though, that, that like they are saying
• 25:53
  Track 2: this as if this is like unique to this time, because we all know that this is
• 25:58
  Track 2: the music industry has been heavily,
• 26:02
  Track 2: heavily commodified,
• 26:05
  Track 2: incredibly commodified since basically the advent of radio.
• 26:11
  Track 2: and like records, like, you know, like Elvis, the Beatles, like all of those
• 26:18
  Track 2: people were huge commercial products.
• 26:23
  Track 2: And it's like, we keep having this thing. And this is like, so you're like, we keep, uh,
• 26:28
  Track 2: It reminds me of years ago, that the Winnie the Pooh movie with Ewan McGregor.
• 26:36
  Track 2: I don't remember the name of it.
• 26:38
  Track 2: And it's like, I remember my wife and I, we went to go see that, right?
• 26:41
  Track 2: And in the end, he learns like, oh, you know, you have to like,
• 26:44
  Track 2: you know, live with your family and it's not all about work.
• 26:47
  Track 2: And it's like, we just keep making these movies with these lessons that nobody pays attention to.
• 26:52
  Track 2: It's like, we already know this lesson.
• 26:55
  Track 2: We've learned this lesson. Like, we have this lesson. It's not new.
• 26:58
  Track 2: The music industry commodifies shit and like sells us culture.
• 27:02
  Track 2: Like, you know, it's like, this is just, we're just being told that lesson again and again.
• 27:07
  Track 2: And people don't like, you know, internalize it for obvious reasons.
• 27:12
  Track 3: Yeah. I think if this movie, no, it's very relevant. Because honestly,
• 27:17
  Track 3: I think if this movie was made, so this movie came out in April of 2001.
• 27:21
  Track 3: If it came out after September of 2001, so many things about this movie would be different.
• 27:27
  Track 1: The play part?
• 27:29
  Track 3: Yeah that's a big one first of
• 27:32
  Track 3: all yes sorry because they wouldn't they
• 27:35
  Track 3: would have shelved it no they would have shelved it there were so many things that they
• 27:38
  Track 3: cut out of movies they made they um made
• 27:41
  Track 3: the strokes had some song that was like something about cops
• 27:44
  Track 3: in new york and they made them take that off their album they
• 27:47
  Track 3: cut out shots of the twin towers in movies and tv spider
• 27:50
  Track 3: man and music and yeah music
• 27:54
  Track 3: tv movies everything fucking
• 27:57
  Track 3: changed after that point um aside
• 28:00
  Track 3: from not being able to show the twin towers for like ever the
• 28:04
  Track 3: music they were playing on the radio shifted i mean it's very obvious in country
• 28:07
  Track 3: music but also you went from like there was a little bit of a pendulum swing
• 28:12
  Track 3: back to the other way but as far as like the top songs like the billboard 100
• 28:16
  Track 3: rock music kind of like that was the point at which it started just,
• 28:21
  Track 3: completely shifting off because as well as the aesthetic like the.
• 28:27
  Track 3: Content of a lot of rock is you know it would be political and it would be there
• 28:31
  Track 3: would be like anti-establishment exactly and you don't you don't see that like
• 28:35
  Track 3: you look at the billboard 100 today and there's maybe like two actual bands
• 28:40
  Track 3: on there and they're like k-pop,
• 28:42
  Track 3: it's like it's like boy groups which is fine like
• 28:44
  Track 3: i don't my niece loves straight kids i'm like cool i don't
• 28:48
  Track 3: know you're just not seeing that at all really as far as like what is part of
• 28:53
  Track 3: the dominant culture like the billboard 100 stuff and even as recently as like
• 28:57
  Track 3: the end of 2001 that was completely different like half of it was bands and
• 29:02
  Track 3: now it's mostly like solo artists it's very strange even.
• 29:05
  Track 1: In this movie if you think of i mean again i
• 29:08
  Track 1: don't think this was maybe intentional but like the music of
• 29:12
  Track 1: the du jour boy band like
• 29:15
  Track 1: this very sexualized sort of song the music
• 29:18
  Track 1: that the joe's and the pussycats makes is like
• 29:21
  Track 1: a complete departure in terms of like the aesthetics the style i realize it's
• 29:25
  Track 1: a women's women's group it's more punk like they change the aesthetic within
• 29:31
  Track 1: this film which i think also is interesting that we can get to as well but um yeah it's i.
• 29:39
  Track 2: I think K-pop is such a relevant thing, though.
• 29:46
  Track 2: This movie and what it posits and how it presents the culture around du jour,
• 29:58
  Track 2: but really, not even, I'm sorry, not du jour.
• 30:01
  Track 2: What it posits is being done with Josie and the Pussycats is 100% the culture
• 30:11
  Track 2: of K-pop, but also the marketing of K-pop.
• 30:16
  Track 2: When Parker Posey shows those...
• 30:21
  Track 2: Headsets and she goes you if you want
• 30:24
  Track 2: to experience it you have to buy this my wife
• 30:27
  Track 2: turns she goes life's the light sticks at k-pop concerts
• 30:30
  Track 2: and it is a hundred percent what it is like k-pop has
• 30:34
  Track 2: taken the it really
• 30:38
  Track 2: is like it is you look at the
• 30:41
  Track 2: fact that south korea is a little
• 30:44
  Track 2: you know military dictatorship run
• 30:48
  Track 2: by the united states and where the
• 30:51
  Track 2: the united states just does its shit
• 30:54
  Track 2: and it's like oh look they perfected capitalist commodification of art in a
• 31:02
  Track 2: way that is so pure and inflicted upon that population and how it's coming back
• 31:07
  Track 2: to us in a in a new way and it's like this movie like literally like predicted that.
• 31:14
  Track 3: Yeah. No, because it's so interesting to me that when boy bands,
• 31:19
  Track 3: I think the last really big one to hear is like One Direction.
• 31:23
  Track 1: Yeah, probably so.
• 31:25
  Track 3: They were like huge and now like they're like adults and like nobody fucking
• 31:29
  Track 3: cares. I don't think they're doing anything.
• 31:30
  Track 2: The last one here is BTS probably.
• 31:34
  Track 3: Well, yeah, but that's the thing. It's like we're not we're not even making
• 31:37
  Track 3: our own boy bands anymore.
• 31:40
  Track 2: We used to be a real country.
• 31:42
  Track 3: We used to be a proper country. Make our own boy bands.
• 31:47
  Track 3: But it's so funny the way that that's been exported. And I was thinking about
• 31:52
  Track 3: that when I was watching this.
• 31:53
  Track 3: I'm like, damn. No, that's it. Because the...
• 31:56
  Track 3: k-pop industry too it's so abusive and terrible
• 31:59
  Track 3: like they'll force like the way they like trade like these trainee idols and
• 32:03
  Track 3: stuff and they'll force them to perform and everything the same shit that was
• 32:06
  Track 3: happening to britney and all the like the girl artists like the like queens
• 32:11
  Track 3: of pop all the shit that was happening to them it's happening to fuck but it's
• 32:14
  Track 3: like industrial scale we offshored.
• 32:17
  Track 1: Uh we offshored boy and girl bands.
• 32:20
  Track 2: To uh to our baby here
• 32:23
  Track 2: it's it's boutique it's bespoke it's
• 32:26
  Track 2: bespoke abuse there it's industrial
• 32:29
  Track 2: it's like you start at 13 like i
• 32:32
  Track 2: like baby metal am i like it's like wait one of them just turned like 30 i think
• 32:39
  Track 2: and it's like oh she's been or like honestly i think it might have been younger
• 32:44
  Track 2: it's like oh she's been around since what i mean she's like she started in like j-pop at like 13 it's.
• 32:51
  Track 3: That's crazy it's insane i was thinking a lot about how we don't see like there's
• 32:55
  Track 3: because we're not doing like the group band thing so much as far as like pop
• 32:59
  Track 3: music like it's a lot of individual artists and everything and i think the reason
• 33:02
  Track 3: and you can if you got to splice this somewhere else because you haven't gotten to this,
• 33:10
  Track 3: Part of the reason I think they want to get rid of the other pussycats,
• 33:13
  Track 3: aside from the fact that Val like kind of clocks the weirdness right away,
• 33:17
  Track 3: is it's so much easier to take advantage of and abuse one person than it is
• 33:23
  Track 3: to do to a group of people.
• 33:25
  Track 2: Yeah, they isolate them.
• 33:27
  Track 3: Yeah.
• 33:29
  Track 1: And on top of that, I think it's also pressing the button of American,
• 33:35
  Track 1: the ideal of more individualistic expression versus sort of this group expression,
• 33:41
  Track 1: which I think actually starts early on is when he when Wyatt goes to Riverdale
• 33:45
  Track 1: to discover then called the Pussycats.
• 33:48
  Track 1: He immediately renames them Josie and the Pussycats and putting,
• 33:53
  Track 1: you know, Rachel Lee Cook as sort of their lead, you know, because she's the
• 33:57
  Track 1: singer and the guitar player is what he says.
• 33:59
  Track 1: But again, it's this, you know, Disney has that ridiculous thing.
• 34:03
  Track 1: It's like bands that have the
• 34:04
  Track 1: word and in them do like 50% better than no bands. He's like, the Beatles?
• 34:09
  Track 2: You know, you know, a music executive has said those words. You know it.
• 34:16
  Track 1: Something to that effect or something like that putting the in front of your
• 34:22
  Track 1: band you know that's happened.
• 34:23
  Track 2: It goes back to dark side of the moon in
• 34:26
  Track 2: like the pink floyd's dark side of the moon when you know in money and he's
• 34:30
  Track 2: like oh and which one or whichever song it was i don't remember which song exactly
• 34:33
  Track 2: it was like and which one of you is pink and it's like the the separation between
• 34:39
  Track 2: between the artist and the industry and the people that you know produce this stuff and they're.
• 34:46
  Track 1: Completely mega records i also
• 34:49
  Track 1: i love that just like we're not even going to dance around the day just called
• 34:52
  Track 1: could be we also get
• 34:55
  Track 1: very early on so after they've discovered them and
• 34:58
  Track 1: they like fly them out to you know which is new york city but
• 35:01
  Track 1: it's like even more bright light and you
• 35:04
  Track 1: know uh commercial than it actually is they show uh fiona who's played by parker
• 35:11
  Track 1: posey sort of the ceo of the company and i love how they have like the u.s government
• 35:15
  Track 1: is like there to visit them and then like the building floor just somehow is
• 35:19
  Track 1: like in the elevator and then it just like lowers in the building whatever it's.
• 35:24
  Track 3: Like you're in disney world for a second yeah it's like it's like you're in
• 35:26
  Track 3: a haunted mansion suddenly everything's moving like what the fuck.
• 35:29
  Track 1: And then they're like you know basically you know
• 35:32
  Track 1: sharing with the government which they already know is that they're using
• 35:35
  Track 1: music to subliminal messages to
• 35:38
  Track 1: sell products which is good for the economy and blah
• 35:41
  Track 1: blah blah and the thing that i immediately comes
• 35:43
  Track 1: to me is i think i mentioned maybe to both of you is like mk ultra
• 35:47
  Track 1: and like that's where i think of like
• 35:49
  Track 1: the movie they live and sort of like this this commercial stuff
• 35:53
  Track 1: that's sort of hidden within the cracks but probably thinking
• 35:56
  Track 1: back to 2001 going back to that conversation is i feel like soon after 9-11
• 36:02
  Track 1: wasn't there like the big push by bush be like go shopping again like go buy
• 36:07
  Track 1: stuff because yep the economy had been suffering and now you got to go buy stuff
• 36:11
  Track 1: to do your due diligence you know due diligence, do your duty as like an American.
• 36:15
  Track 1: And I feel like this plays that up to just like 11.
• 36:19
  Track 3: Yeah.
• 36:19
  Track 3: Yeah, you're contributing to the economy. You're being a good citizen by shopping
• 36:23
  Track 3: and consuming as much as you can. Because if you don't shop, who will?
• 36:27
  Track 3: Who's going to buy that orange shirt from the shitty guy? Yeah,
• 36:31
  Track 3: from the shitty guy at the Steve Madden store.
• 36:33
  Track 1: The new pink. Oh, yeah, orange is the new pink, right.
• 36:36
  Track 3: Yeah, orange is the new pink.
• 36:38
  Track 1: Does orange ever a popular cover? I don't think so.
• 36:41
  Track 2: In the 1970s.
• 36:42
  Track 3: For a very brief time.
• 36:43
  Track 1: Oh, okay.
• 36:43
  Track 3: And also, like, for a little bit, like, maybe after Fifth Element came out.
• 36:47
  Track 2: It's probably a thing.
• 36:48
  Track 1: Yeah.
• 36:49
  Track 2: Deep cut. I don't think so. I don't think Fifth Element was moving the cultural needle.
• 36:56
  Track 1: For me, it was.
• 36:57
  Track 3: It was for me.
• 36:58
  Track 2: Yeah. No, we all can agree, for us, it was moving things, but I don't think
• 37:05
  Track 2: it was largely moving the cultural needle.
• 37:09
  Track 1: I'm sorry. According to my calculations, the GDP went up 0.1% after Fifth Element
• 37:14
  Track 1: came out. That's just a fact. Sorry.
• 37:16
  Track 3: Yeah, you can't argue with numbers.
• 37:18
  Track 1: According to ChatGPT, he told me that. So for those listening,
• 37:21
  Track 1: I didn't actually use ChatGPT.
• 37:23
  Track 3: And think about how often you eat noodles.
• 37:26
  Track 2: I'm not denying the power of the fifth element, okay? Not denying that. Super green.
• 37:35
  Track 1: I mean, the thing that's also funny is the government is, like,
• 37:38
  Track 1: okay with people using it to sell records.
• 37:41
  Track 1: Like, wouldn't they have been wanting to put things in the music,
• 37:45
  Track 1: like, you know, enlist in the military and, you know, stuff that actually helped them? Oh, did they?
• 37:50
  Track 2: They did at the end.
• 37:50
  Track 1: Did I miss that?
• 37:51
  Track 2: In the movie.
• 37:51
  Track 3: At the end.
• 37:52
  Track 2: When they made the joke about how subliminal messages are better in movies, it literally said.
• 37:58
  Track 1: Right. Oh, right. Yes. On the screen.
• 37:59
  Track 2: What is it? Join the army or something like that?
• 38:01
  Track 1: Yeah.
• 38:01
  Track 3: I do want to mention that just a few months before this is when the Simpsons
• 38:07
  Track 3: episode 12, or sorry, season 12, episode 14 came out, which was New Kids on
• 38:12
  Track 3: the Blech, which is where they have the boy band, the Ivan Etniage episode.
• 38:16
  Track 1: That was in my notes.
• 38:17
  Track 2: This is when I check out.
• 38:18
  Track 3: This is crazy. I can't. I can't talk to you. Listen, Evan. I'm reading those,
• 38:25
  Track 3: Mike. You know what I'm talking about.
• 38:28
  Track 3: That's so, it's so crazy. I didn't realize it came out like right before. That's nuts.
• 38:32
  Track 1: And for those listeners who don't know this episode, like there is a boy band,
• 38:36
  Track 1: which is like Bart and Nelson, and they use like an auto tuner to basically
• 38:41
  Track 1: make their, like they can't sing actually.
• 38:43
  Track 1: And so like all of a sudden they can sing. And it was basically to recruit people for the Navy.
• 38:47
  Track 3: Yeah.
• 38:48
  Track 1: Like the entire thing was subliminal messaging to get people.
• 38:50
  Track 1: Like they film, I think they do like a music video on like a naval ship maybe
• 38:55
  Track 1: or something. I don't know. It's been a while since they've seen this.
• 38:57
  Track 3: They're in like the desert or something too. It's very weird.
• 39:00
  Track 2: I really appreciate that. That information download on that.
• 39:03
  Track 1: My brain thinks in like three ways like simpsons episodes uh i can't remember
• 39:09
  Track 1: the other two because that one's um pushing that one takes.
• 39:12
  Track 3: Up a lot of space yeah.
• 39:13
  Track 1: No you're.
• 39:14
  Track 3: In good company we know you're good.
• 39:17
  Track 1: Well the like what was i gonna say is the we didn't really talk specifically
• 39:22
  Track 1: about the character like i don't want to say characters the actors and like
• 39:26
  Track 1: the the i guess the characters in the film that are in the Josie and the Pussycats.
• 39:32
  Track 1: We have Rachel Lee Cook is Josie, and then Tara Reid plays Melody,
• 39:36
  Track 1: and then Rosario Dawson plays Valerie.
• 39:38
  Track 1: And I think I can speak for everyone when I say that they nailed the casting.
• 39:44
  Track 3: Oh, absolutely. That's so good. So good. I want good things for Tara Reid.
• 39:48
  Track 3: I don't know what she has going on now.
• 39:51
  Track 1: I don't think it's too good. I think not very much.
• 39:53
  Track 3: Yeah, I don't think it's too good. But she did such a good job.
• 39:57
  Track 3: But I love Rosario Dawson very much.
• 39:59
  Track 1: I think they're probably I think I joked in another episode how many different
• 40:03
  Track 1: American Pie movies there have been but there's been like four or five and I
• 40:07
  Track 1: think the most recent one was like they had a wedding and then I said like they're
• 40:11
  Track 1: going to make one soon where like one of them has a baby or something I don't know like.
• 40:14
  Track 2: Which also American Baby. Eugene Levy, another American Pie also in this.
• 40:18
  Track 3: Yeah yeah that's right and you know what him and Parker Posey there's some overlap
• 40:22
  Track 3: with Christopher Guest stuff too.
• 40:24
  Track 1: That's right yeah.
• 40:25
  Track 3: Yeah.
• 40:26
  Track 1: I have to think that like the, maybe not Parker Posey, but like Eugene Levy
• 40:30
  Track 1: being in this was almost, I don't want to say it like a favor to someone,
• 40:32
  Track 1: but like, hey, can you do this ridiculous commercial, not commercial,
• 40:35
  Track 1: this ridiculous training video or whatever you want to call it, promotional video?
• 40:40
  Track 2: That's exactly the kind of stuff Eugene Levy has always done.
• 40:42
  Track 1: That's true. He'll do anything.
• 40:43
  Track 2: Like, Eugene Levy is not, you know, like, listen, like, Eugene Levy is an amazing
• 40:47
  Track 2: actor with an amazing body of work, but Eugene Levy is not Brad Pitt or George Clooney.
• 40:52
  Track 2: Like, Eugene Levy is a character actor. Yes. But, like, Eugene Levy is a character
• 40:56
  Track 2: actor that, like, he's, he's like Michael Caine.
• 41:00
  Track 2: Like, he does things because, like, he's an actor and it's his job and he enjoys it.
• 41:06
  Track 2: Like, and he has bills to pay, you know?
• 41:08
  Track 2: Like, Michael Caine has said, he's like, I, I, I approach everything,
• 41:12
  Track 2: you know, like, it's like why did you do this because i had a mortgage like
• 41:15
  Track 2: yeah like literally that's an answer has.
• 41:19
  Track 3: Eugene levy been in a muppet thing.
• 41:22
  Track 2: Well i mean eugene levy is actually a i believe eugene levy is actually a muppet so that's.
• 41:28
  Track 3: Why guys have never seen them in the same room.
• 41:30
  Track 2: At the same.
• 41:30
  Track 1: Time so if there's a movie where like everyone is a muppet except for one actor
• 41:34
  Track 1: it couldn't be eugene levy because he would.
• 41:36
  Track 2: Just be one of the he's a muppet well.
• 41:38
  Track 3: Where's the human yeah.
• 41:39
  Track 2: Yeah you know like where's.
• 41:41
  Track 3: The guy yeah.
• 41:42
  Track 2: Schitt's creek is just it's what if you had a sitcom and everybody is a human
• 41:46
  Track 2: except for one muppet that's that's schitt's creek right.
• 41:52
  Track 3: That's so good.
• 41:53
  Track 1: Oh boy i mean like i love that he like plays himself too it's like it just here is.
• 41:59
  Track 2: You tell us.
• 42:00
  Track 1: Why and you know like what is he doesn't during his little thing he asked someone
• 42:03
  Track 1: to like get him a drink too and it's like the wrong.
• 42:05
  Track 2: Drink i.
• 42:06
  Track 1: Feel like that's like a very Eugene Levy thing to do I mean I'm sure.
• 42:10
  Track 2: He's not.
• 42:10
  Track 1: Actually a mean guy I'm sure he's a really nice guy.
• 42:12
  Track 2: I mean Eugene Levy is also like he's an improv actor and like that's the kind
• 42:16
  Track 2: of like historically like improv people are the most like ego bound you know
• 42:21
  Track 2: like they are willing you know like that's no who could you be exactly I've done improv.
• 42:26
  Track 3: It's you have to really just not give a shit and also just,
• 42:30
  Track 3: Not take yourself too seriously.
• 42:32
  Track 2: Yeah, exactly.
• 42:33
  Track 1: Yeah, that's true.
• 42:34
  Track 2: I'm not really... It's just interesting, but also like Tara Reade.
• 42:37
  Track 2: Like Tara Reade came to this because of American Pie, and they didn't even audition
• 42:41
  Track 2: her. They're just like, we liked her in that. Come on.
• 42:44
  Track 3: Yeah. They nailed it.
• 42:45
  Track 1: Yeah.
• 42:46
  Track 3: I also don't think... Just for a second to go back to 9-11.
• 42:51
  Track 3: If this movie was made after 9-11, I'm not certain it would be.
• 42:54
  Track 3: There's no way the United States government would be the villain.
• 42:57
  Track 2: Absolutely.
• 42:58
  Track 3: It would be like, it would be like Iraq somehow or China, or if it was made
• 43:03
  Track 3: now Russia for some reason, Russia or China. Yeah.
• 43:06
  Track 1: Yeah. They're trying to program Americans to believe that like,
• 43:11
  Track 1: insert, yeah, insert something absurd.
• 43:14
  Track 2: It would be France.
• 43:15
  Track 3: It would be the French.
• 43:16
  Track 2: Yeah. It would be France.
• 43:17
  Track 1: When in doubt, blame the French.
• 43:19
  Track 2: But you know, I think it's a really good point. Cause like, I,
• 43:23
  Track 2: I, I think, you know, especially as like someone who's like a little like older, sometimes it's,
• 43:30
  Track 2: is easy to miss that kind of thing. Cause it's like, I have such like a history
• 43:36
  Track 2: of like things prior to that.
• 43:38
  Track 2: And it's like, that is what I grew up with. That's what shaped me in a lot of ways.
• 43:42
  Track 2: And so like, sometimes like I miss quite how starkly things change.
• 43:47
  Track 2: Cause I'm still, I'm still looking back at so much.
• 43:51
  Track 2: And then you look forward and it's like, oh yeah, that's like,
• 43:55
  Track 2: you're a hundred percent right.
• 43:55
  Track 2: They would not, the U S government would not have been the villain because,
• 44:00
  Track 2: Because, I mean, the Dixie Chicks got canceled, literally.
• 44:03
  Track 2: The Dixie Chicks are the only people who have ever actually been the victims
• 44:06
  Track 2: of cancel culture, okay?
• 44:08
  Track 2: And because they said a bad thing about George W. B. Bush. And by bad thing.
• 44:13
  Track 1: I mean correct thing. I think the villain would have been North Korea for some reason.
• 44:17
  Track 1: Like, they're using it to soften Americans to, I don't know,
• 44:22
  Track 1: something. They would have thought of something.
• 44:23
  Track 2: I think it would have been a nameless, nebulous, quote-unquote,
• 44:29
  Track 2: Middle Eastern country, and it would have been a person in just the most racist attire.
• 44:37
  Track 1: Iraqistan.
• 44:38
  Track 2: Racist accent. That's what I think it would have been.
• 44:41
  Track 3: If they made it now, it would be the deep state, and it wouldn't be making people
• 44:45
  Track 3: buy things. It would be making them gay. Communists.
• 44:49
  Track 2: No, that would be if Ben Shapiro's production company made it.
• 44:53
  Track 1: I think that Rachel Lee Cook and Rosario Dawson were doing that on their own.
• 44:59
  Track 1: I don't think they needed any support to make people gay.
• 45:02
  Track 2: Making people gay? Rachel Lee Cook did not make me gay. Quite the opposite.
• 45:07
  Track 3: Well, maybe not you.
• 45:09
  Track 2: Yeah, I'm just saying it wasn't universal.
• 45:13
  Track 1: 50, it's six one way happens in the other.
• 45:16
  Track 3: About half of the population.
• 45:18
  Track 2: Yeah.
• 45:18
  Track 1: Yeah. I mean, which one of you, I was talking to you both separately about this.
• 45:23
  Track 1: Which one of you mentioned sort of like the chemistry also between Rachel A.
• 45:28
  Track 1: Cook and Rosario Dawson in the film?
• 45:30
  Track 2: That would have been me.
• 45:31
  Track 3: It was a little like...
• 45:34
  Track 3: what's happening here?
• 45:35
  Track 2: The sexual tension between Rosario Dawson and Rachel A. Cook in this movie was
• 45:40
  Track 2: thick enough to cut with a chainsaw. Especially in the beginning.
• 45:44
  Track 2: There were times when Rosario Dawson, and it was all one way.
• 45:49
  Track 2: The way Rosario Dawson looked at Rachel A. Cook in this movie was intense.
• 45:53
  Track 3: She never looked at Cory Booker that way. I'm going to say right now. No. I never saw it.
• 45:58
  Track 2: No.
• 46:01
  Track 2: That scene when they're in there truly bizarre looking house and she takes Rachel
• 46:07
  Track 2: LeCook and sits her on her lap. I was like, what the fuck is happening?
• 46:11
  Track 1: I've had that friend. Tara Reid falls down. She sits down and falls on the ground.
• 46:15
  Track 1: Poor Tara Reid. I mean, I feel a little bit bad for her. They just make her
• 46:18
  Track 1: just like the dummy in pretty much all the movies she's in.
• 46:22
  Track 2: I do think it was a major, there was a huge comedic beat loss when they did
• 46:28
  Track 2: that bit when it was like the thoughts of the three of them,
• 46:32
  Track 2: and rachel lee cook's like why is everybody looking at
• 46:35
  Track 2: me blah blah blah blah and the rosario dawson's like of course they all look
• 46:39
  Track 2: at her and then uh tara reed is like if you're happy and you know clap your
• 46:43
  Track 2: hands and i really think it was a major failure to just they should just had
• 46:46
  Track 2: wind just hollow wind like.
• 46:55
  Track 1: The simpsons with like the little like.
• 46:57
  Track 2: Monkey yeah monkey Yeah.
• 47:00
  Track 3: Yeah. The monkey with symbols. Yeah.
• 47:03
  Track 1: Listeners, there'll be no less than seven more Simpsons references this episode. Sorry.
• 47:08
  Track 2: And none of which I will get.
• 47:11
  Track 1: That's okay.
• 47:14
  Track 2: Listen, listeners, I'm a Futurama fan, okay? Not a Simpsons fan, all right?
• 47:19
  Track 3: Oh, I'm a Futurama fan, too.
• 47:20
  Track 1: You can't be both.
• 47:22
  Track 3: But they didn't do this. Yeah.
• 47:27
  Track 1: Yeah well the the like so i
• 47:30
  Track 1: was also thinking about like so two things one the soundtrack for the movie
• 47:34
  Track 1: is awesome just generally but like the song that the band that josey pussycast
• 47:39
  Track 1: has is like pretend to be nice and then of course has all those supplemental
• 47:43
  Track 1: messages where they're listening to it back and she's like i could really go
• 47:45
  Track 1: go for a big mac and like you're a vegetarian,
• 47:48
  Track 1: it's like well can we just stop on the way back for a big mac and then she's
• 47:53
  Track 1: like can i get a pair of Pumas or something.
• 47:55
  Track 1: And I mean, again, I think I was talking about sort of like the difference in
• 47:58
  Track 1: the bands and sort of this like sexual song versus this one.
• 48:02
  Track 1: It's sort of the opposite of that in a way.
• 48:05
  Track 1: And I sort of think about like the women groups from that time,
• 48:09
  Track 1: like Britney Spears too.
• 48:10
  Track 1: It was not the kind of songs that those bands were like coming out with.
• 48:14
  Track 1: They all, they're all were very sort of a lot of them sexualized women and themselves,
• 48:18
  Track 1: you know, because that's what executives wanted and that's what the people demanded
• 48:23
  Track 1: per the record companies.
• 48:25
  Track 1: Whereas their song is very much not that kind of song, which in my mind is sort
• 48:29
  Track 1: of an intentional maybe way of showing that.
• 48:32
  Track 1: I mean, maybe the better way to do it was for it to be super sexual,
• 48:36
  Track 1: but then maybe their way of their thinking is this is sort of, this is a satire.
• 48:40
  Track 1: You know, this is critiquing that. So I don't know. Maybe I'm thinking way too much into it.
• 48:44
  Track 3: I think um i think it kind of captures
• 48:48
  Track 3: the vibe of like what a girl band
• 48:51
  Track 3: would be at that point because they were doing like girl groups
• 48:54
  Track 3: like they'd had that show pop star where they put together um do
• 48:58
  Track 3: you remember eden's crush they were a thing for like not very long
• 49:00
  Track 3: at all um but there were some other there were
• 49:03
  Track 3: like girl groups like 3lw was one
• 49:06
  Track 3: um and they would sing about relationship stuff but it was mostly like i love
• 49:13
  Track 3: you be nicer to me or like like hey fuck you i'm not gonna hang out with you
• 49:17
  Track 3: anymore you're not good enough for me but it wasn't yeah it wasn't very sexual
• 49:21
  Track 3: over usually there was a distinct difference.
• 49:24
  Track 2: Between the content of solo female artists at the time versus,
• 49:33
  Track 2: like female groups, like a distinct difference.
• 49:36
  Track 1: True. Yeah, I think you're right.
• 49:37
  Track 2: But I do think it is an interesting choice to make, because this is still a
• 49:43
  Track 2: movie and they could still do whatever they want.
• 49:46
  Track 2: It's still an interesting choice to make that decision to have that be the content
• 49:51
  Track 2: because it does, it does play into the notion, the,
• 49:57
  Track 2: the subtext of the movie of being count
• 50:01
  Track 2: you know counter to these things and you know this and
• 50:04
  Track 2: pushing back on uh compliance with
• 50:08
  Track 2: things it does you know it's like they by
• 50:12
  Track 2: having them their song be like that it
• 50:15
  Track 2: does in the end give them that hero moment where when they're singing that song
• 50:20
  Track 2: it's like it pushes back and it puts them very firmly in the position of these
• 50:25
  Track 2: are the antagonists these of the heroes and they are you know rejecting the
• 50:29
  Track 2: message that the the villains of the movie are selling exactly.
• 50:33
  Track 3: Because like it so as far as we know like du jour the only reason anybody likes
• 50:37
  Track 3: them is because they have that track underneath that says like listen to du
• 50:40
  Track 3: jour and it's mr movie phone it's like you love du jour you want to buy all
• 50:43
  Track 3: the du jour shit i love and they do the same thing it's so funny it's mr movie
• 50:47
  Track 3: phone which oh my god is he dead.
• 50:50
  Track 2: No okay.
• 50:54
  Track 3: Well i hope not But anyway, as far as we know, it's the only reason anybody liked DuJour.
• 50:58
  Track 3: I mean, the song is hilarious, but who knows if it would have done as well if not for that.
• 51:04
  Track 3: But I think it's supposed to underline... Good. Oh, thank God. Well, that's a relief.
• 51:14
  Track 3: It kind of underlines the whole idea that like Josie and the Pussycats,
• 51:18
  Track 3: the Pussycats are very, they're authentic and they're just, they're artists
• 51:22
  Track 3: and they want to make music and they, they are talented and they should have had a shot.
• 51:26
  Track 3: They just got caught up in this shitty thing just by chance.
• 51:30
  Track 1: Yeah.
• 51:31
  Track 3: But it was still like what they, their authentic selves and their music and
• 51:35
  Track 3: what they care about is still, it still resonates with people.
• 51:37
  Track 3: They don't need all that.
• 51:39
  Track 2: Because that is the, like, if they had them sing those songs,
• 51:43
  Track 2: that would completely and utterly undermine the point of the movie.
• 51:49
  Track 2: Because it really is, like, what they are saying in the movie,
• 51:52
  Track 2: that, like, people with talent deserve to be recognized for their talent.
• 51:57
  Track 2: And it's like, if you do that, then it's like...
• 52:01
  Track 2: you're not telling that story you're you're saying like you know listen you
• 52:05
  Track 2: should commodify music but don't you know but don't put subliminal messages
• 52:07
  Track 2: underneath it you know right.
• 52:09
  Track 1: Well and part of like when you
• 52:12
  Track 1: look i can i don't need to read the lyrics of the song but part of the the
• 52:15
  Track 1: song too is i think is josie's you
• 52:19
  Track 1: know like the love interest what is it alan m i
• 52:22
  Track 1: think is a character's name in the film he's sort
• 52:25
  Track 1: of like this you know uh acoustic guitar
• 52:29
  Track 1: you know solo act and you know he keeps being
• 52:32
  Track 1: blocked from seeing her she keeps getting blocked from seeing
• 52:35
  Track 1: her by the executive the studio executive but the
• 52:38
  Track 1: song is very much seems to be like i just want to be like a good person and
• 52:42
  Track 1: be with this guy you know why can't you let me be with him and then you know
• 52:46
  Track 1: lo and behold during the they're like big concert performance after everything
• 52:50
  Track 1: is kind of revealed he gets crowd surfed across and sort of they are together so why.
• 52:55
  Track 2: Is he miked up during that performance.
• 52:57
  Track 3: Yeah, how are they hearing each other?
• 52:59
  Track 1: That is crazy. That is a great point.
• 53:03
  Track 2: It's not even like how are they hearing... He is clearly mic'd up.
• 53:07
  Track 3: And she walks away. Yeah, she walks away from the mic. Maybe he just never gave
• 53:11
  Track 3: it back after his bar thing that nobody came to.
• 53:14
  Track 2: And then connected it to the stadium sound system.
• 53:17
  Track 3: Yeah. Yeah.
• 53:19
  Track 1: You've just destroyed the magic of this film, Bill.
• 53:24
  Track 3: Suspension of disbelief Everything was so realistic until that moment.
• 53:27
  Track 2: I literally, when we were watching it, like, we both said, I was like,
• 53:31
  Track 2: how, how is he mic'd? Like, what the fuck is happening?
• 53:35
  Track 2: Like, and then he got on stage and reserved us and tried to get in between them.
• 53:41
  Track 3: Yeah. She, well, she gave him, she gave him some time, but then she was like,
• 53:45
  Track 3: all right, hey, hi. No, we're doing a concert right now.
• 53:48
  Track 2: So, I'm here. I'm here.
• 53:50
  Track 3: Get over there.
• 53:52
  Track 1: There are a couple of other,
• 53:54
  Track 1: A couple other scenes that I think are amazing that we have to talk about.
• 53:57
  Track 1: One is, so, like, you mentioned earlier how, like, they're trying to separate the band.
• 54:00
  Track 1: And so they take, you know, Tara Reid and Rosario Dawson and they send them
• 54:03
  Track 1: to be on, like, Total Request Live.
• 54:05
  Track 1: And they actually get Carson Daly to, like, kill them, which I think is incredible that he did it.
• 54:12
  Track 2: No, I'm sorry. But it starts with the fact that they're on the fakest looking set ever.
• 54:22
  Track 1: Cardboard cutouts of people.
• 54:23
  Track 2: It says TRL with masking tape.
• 54:27
  Track 3: Yeah.
• 54:30
  Track 1: And they're like, I think there's something that's wrong with this set.
• 54:33
  Track 2: Part of it, this movie, the choices in this movie are absolutely comedy gold.
• 54:44
  Track 2: Yeah. Some of the cardboard cutouts in that audience are them.
• 54:50
  Track 3: Yeah, some of them are. Like there's at least a couple of Carson Daly's.
• 54:53
  Track 3: There's a Matt Damon, of course. Yeah. It's just, Oh my God.
• 54:58
  Track 1: I also do like that. They got that guy. I think his name is like,
• 55:01
  Track 1: um, uh, like Aries Spears.
• 55:05
  Track 1: He was on the, the, he was on like mad TV back in the late nineties.
• 55:09
  Track 1: Like he was like, this is probably his heyday in some ways. Comedian.
• 55:12
  Track 1: And like, I like his like impression of, of, you know, Carson Daly.
• 55:17
  Track 1: And then he's like, the nail polish.
• 55:19
  Track 1: And then, yeah.
• 55:22
  Track 1: That scene is just...
• 55:25
  Track 1: It's so wacky that I just, I'm like, good job, guys.
• 55:31
  Track 3: When he does the Cosby impression, that's a lot more unsettling now.
• 55:36
  Track 2: Right? In retrospect. Oh, my God. So much darker. So much darker now. Holy shit.
• 55:44
  Track 3: It's not, either ages poorly or very well. I can't decide. But it's, yeah, it's a lot.
• 55:49
  Track 2: What exactly does he say as Cosby?
• 55:51
  Track 3: He's like, I'm going to kill you.
• 55:53
  Track 2: It's something.
• 55:53
  Track 3: A spoon in the pudding.
• 55:55
  Track 2: I'm going to stick my spoon in your pudding.
• 55:58
  Track 1: Oh, yeah.
• 55:58
  Track 3: More or less.
• 55:59
  Track 1: That's very, very unfortunate.
• 56:01
  Track 3: Gross. Yeah. It's really, it's really gross.
• 56:03
  Track 2: That's what the lady's saying.
• 56:04
  Track 3: But the face he makes while he's doing it is funny.
• 56:06
  Track 2: Yeah. Yeah.
• 56:06
  Track 1: There actually isn't a ton of this that I would say like doesn't,
• 56:09
  Track 1: like there's a lot of movies from the two thousands that just you watch them
• 56:12
  Track 1: now and it's very cringeworthy the whole time.
• 56:15
  Track 1: Other than that, there isn't anything that's like really sticks out to me as.
• 56:19
  Track 2: That's not even like, that is not even cringeworthy.
• 56:23
  Track 2: That, that, that, that, that, didn't not age well because of the
• 56:26
  Track 2: movie that true i mean and it's like it
• 56:29
  Track 2: didn't age poorly it's just like it makes
• 56:32
  Track 2: you reflect on a change in things which is wholly independent of the movie like
• 56:36
  Track 2: you know and it wasn't even like it's not even like it's not like most most
• 56:40
  Track 2: things like this were like oh they made a terrible homophobic joke like this
• 56:44
  Track 2: is right he just made an impersonation of a person who we found out was a horrible fucking person.
• 56:50
  Track 1: That's true. That is true. But I will say, the point stands that the movie doesn't
• 56:55
  Track 1: really use disgusting and crude humor to get across jokes.
• 57:04
  Track 3: Usually you can almost depend on a movie or a show from this time from dropping
• 57:08
  Track 3: the R word, and they don't say it once.
• 57:10
  Track 2: Or even like, that's gay. Not a single moment in this movie is there ever a
• 57:16
  Track 2: homophobic comment, ever. Which is shocking for a movie at this time.
• 57:20
  Track 1: Yeah, that's that alone should rocket this to the top of everyone's.
• 57:25
  Track 3: You know, it's kind of a moment right now, though. Like, I know I was talking
• 57:29
  Track 3: about it online the other day. I've been seeing a lot of people talk about this movie.
• 57:32
  Track 1: I mean, I think, I mean, we talked about a lot about like the corporatization
• 57:36
  Track 1: and the commercial aspect of it, but I think that's what makes it so relevant
• 57:42
  Track 1: now is that we still are getting,
• 57:44
  Track 1: I mean, I sort of liken this to the idea of all these, you know,
• 57:49
  Track 1: in like the movie today would be, you know, I think of that scene from Truman
• 57:55
  Track 1: Show where like she's holding up like the thing of Coco.
• 57:58
  Track 1: I don't know if you know what scene I'm talking about. And she's like just speaking to nobody.
• 58:02
  Track 1: And Jim Carrey's like, who are you talking to? Who are you selling this product?
• 58:06
  Track 1: And I think about that too with, you know, TikTok creators and Instagram,
• 58:09
  Track 1: you know, creators, these huge followings that are just hawking all kinds of
• 58:14
  Track 1: stuff on like TikTok, TikTok, you know, store and all this stuff.
• 58:18
  Track 1: And like the movie today could still be made and like, and still have very valid
• 58:24
  Track 1: criticism and like critique of corporate culture. but the difference is that
• 58:29
  Track 1: people are buying less shit because like they can't afford to buy them.
• 58:32
  Track 3: Yeah. And also you don't necessarily need to create a whole conspiracy to sell
• 58:35
  Track 3: people shit because that's literally what we have TikTok influencers for. And like these,
• 58:41
  Track 3: like the so-called like trad wives
• 58:44
  Track 3: and the minimalist living and like all of that and it's really just
• 58:47
  Track 3: more stuff to buy so that you can minimize the
• 58:50
  Track 3: amount of crap taking up space in your house and like but even aside from the
• 58:57
  Track 3: under tracks and like using that to sell stuff to people that's i mean they're
• 59:03
  Track 3: literal songs that have been out forever about actual products like there's
• 59:08
  Track 3: that the Red Solo Cup one,
• 59:10
  Track 3: and then there's the Air Force Ones one.
• 59:15
  Track 3: And it's just that over and over again.
• 59:16
  Track 1: There's an Adidas one. Subliminal subtext to just like, buy this thing.
• 59:20
  Track 3: Just saying brands. Yeah. There's like an Adidas one. I can't remember.
• 59:24
  Track 3: I feel like I had a couple others.
• 59:26
  Track 2: I mean, that's been a criticism against a lot of, you know, newer,
• 59:33
  Track 2: you know, or contemporary rap from rap artists historically,
• 59:37
  Track 2: you know, like who came up during like more radical time.
• 59:40
  Track 2: Like that you've taken what was a radical and, you know, revolutionary in a
• 59:47
  Track 2: lot of ways, culture and art and turned it into commercialized slop and you're pushing products.
• 59:53
  Track 2: It's all you're doing. You were selling that, you know, especially the gangster
• 59:57
  Track 2: rap that became, that started out as very, very, you know, like anti-establishment
• 1:00:04
  Track 2: and then turned into, you know,
• 1:00:06
  Track 2: Gucci and, you know, Cristal and, you know, bitches and hoes.
• 1:00:10
  Track 2: And that's, that's what it became.
• 1:00:11
  Track 3: Yeah. The whole shift after Tupac and Biggie over to like, okay,
• 1:00:15
  Track 3: okay. So now you have Diddy and we all know what he was doing.
• 1:00:18
  Track 2: It's on. Speaking of people, things, finding out things about people.
• 1:00:23
  Track 3: He was involved. Yeah, and he was involved.
• 1:00:26
  Track 1: Yeah, you think about Ice-T and some of those bands in the 80s actually singing
• 1:00:30
  Track 1: about NWA of their conditions.
• 1:00:34
  Track 1: They're talking about the material conditions and the way that they're being treated by police.
• 1:00:38
  Track 2: And now we have Ice-T, who is literally just playing copaganda.
• 1:00:44
  Track 3: Yeah.
• 1:00:45
  Track 1: Oh, boy. And Ice Cube also playing. Wait, isn't he in like a—no,
• 1:00:50
  Track 1: he's not in a cop show. He's just like in bad movies.
• 1:00:51
  Track 3: No, he's not like, are you there yet or whatever. because like family movies
• 1:00:54
  Track 3: now and so and war of the worlds yeah which is which is.
• 1:01:00
  Track 2: Just one commercial for amazon.
• 1:01:02
  Track 1: Yeah we we really truly have like come full circle.
• 1:01:07
  Track 3: And i do want to talk about the whole not that we were even alluding to this
• 1:01:11
  Track 3: but the whole pirating thing and the and the,
• 1:01:15
  Track 3: surreptitiously sailing the seas to get stuff um how do you think that would
• 1:01:21
  Track 3: factor in to like this reality of the putting subliminal stuff in music would it matter would they.
• 1:01:28
  Track 2: Fucking care i don't think they care now that's
• 1:01:31
  Track 2: the thing yeah i think they make a big deal about it but i don't think that
• 1:01:36
  Track 2: it has never been the music industry despite all their shit they've never been
• 1:01:40
  Track 2: the one's losing money on it any of this ever i mean for all of the fact that
• 1:01:46
  Track 2: metallica are scumbags and hetford is a piece of shit like they.
• 1:01:51
  Track 3: Beat the shit out of du jour too their fans did anyway.
• 1:01:54
  Track 2: Oh my god oh my god god that's fucking perfect i totally forgot,
• 1:02:02
  Track 2: for all the fact that like hetfield is a piece of
• 1:02:05
  Track 2: shit like he is correct in that
• 1:02:08
  Track 2: like they were the ones suffering not the industry
• 1:02:11
  Track 2: not the not the recording companies they were the ones who were being you know
• 1:02:16
  Track 2: being losing money just like now like all they did all all that happened is
• 1:02:22
  Track 2: that the music industry co-opted piracy that's all spotify is yeah you took the.
• 1:02:30
  Track 1: Words out of my mouth is like the the person who's now stealing from the artist
• 1:02:34
  Track 1: is not people pirating music or pirating movies or pirating books or whatever
• 1:02:39
  Track 1: it is it's the fact that spotify and these companies have all of the music and they.
• 1:02:45
  Track 2: Give the.
• 1:02:45
  Track 1: Artists almost nothing while they're profiting billions and.
• 1:02:48
  Track 2: I mean it's always been music has always been a loss leader like the sale of
• 1:02:55
  Track 2: music has was always a loss lead and like where a band makes money is on tours
• 1:03:02
  Track 2: and merch not selling their music.
• 1:03:06
  Track 3: So in i i've meant to bring this up um in 1995 tlc got on stage at the grammys,
• 1:03:13
  Track 3: and they were like we're fucking broke they had
• 1:03:16
  Track 3: all of them bankrupt they were making like 50 cents
• 1:03:19
  Track 3: off of each album split three ways they were making no
• 1:03:22
  Track 3: money because all that money was going to record execs
• 1:03:25
  Track 3: and managers and everybody else but the people actually creating the stuff and
• 1:03:30
  Track 3: this is why i get frustrated when people are like i think it was i think it
• 1:03:33
  Track 3: was actually the thing that set me off and i probably ranted to you about the
• 1:03:36
  Track 3: seven was somebody was talking about anthony bourdain they were like the rich
• 1:03:38
  Track 3: includes you know well he he had money so i'm like first quality's dad shut
• 1:03:41
  Track 3: up secondly secondly never.
• 1:03:43
  Track 2: Besmirch anthony bourdain.
• 1:03:44
  Track 3: No like shut your fucking mouth it's not about the amount of money yeah like
• 1:03:50
  Track 3: any of these people aren't making a ton of money they don't even have control
• 1:03:54
  Track 3: over their own fucking art like they're not controlling their own means of production
• 1:03:59
  Track 3: even though they are the means of production like they're not,
• 1:04:02
  Track 3: taylor swift the value of their work.
• 1:04:04
  Track 2: Exception to this like taylor swift.
• 1:04:07
  Track 3: Is the.
• 1:04:07
  Track 2: Exception that proves the rule like.
• 1:04:08
  Track 3: She is.
• 1:04:09
  Track 2: Literally the like she's the thing you compare to like oh you know it's like
• 1:04:14
  Track 2: because of what she has you know acquired and and contained.
• 1:04:18
  Track 3: You know obtained but the vast majority was the norm nobody would be talking
• 1:04:21
  Track 3: about it exactly nobody would be pointing to her and.
• 1:04:24
  Track 1: The thing about anthony bourdain well sorry i was just saying about anthony
• 1:04:26
  Track 1: bourdain like to to to because i love anthony bourdain.
• 1:04:29
  Track 3: Yeah he.
• 1:04:30
  Track 1: At the time like when he died about seven years ago i think like 2018.
• 1:04:33
  Track 3: He like.
• 1:04:34
  Track 1: You know you go online you're like so like celebrity's name,
• 1:04:38
  Track 1: net worth, and it just like spits out some like article that just isn't, which is also bullshit.
• 1:04:42
  Track 1: So like there are articles about him saying he was like had tens of millions
• 1:04:45
  Track 1: of dollars, but he basically said like, I barely make any money.
• 1:04:48
  Track 1: Like once I like pay my, for my apartment and like I don't have any stuff.
• 1:04:53
  Track 1: Like he wasn't, the reason why he brought his show to CNN was because he was broke.
• 1:04:57
  Track 3: Yeah, he was working constantly. He was flying all over the fucking planet.
• 1:05:01
  Track 3: The dude, like, if he was rich, do you think he'd be going everywhere all the time?
• 1:05:04
  Track 1: Yeah, the Food Network, the money he was making was essentially,
• 1:05:07
  Track 1: like, just the way you look at a band like the Grateful Dead until,
• 1:05:10
  Track 1: like, the 80s. They made no money.
• 1:05:12
  Track 1: They were just, like, they're living off of what they had just to, anyway, sorry.
• 1:05:16
  Track 2: Alan Cummings' character literally, like, says it right off,
• 1:05:20
  Track 2: has them sign that contract and says,
• 1:05:23
  Track 2: you know, like, you will get this, you know, like, I forget
• 1:05:26
  Track 2: what he says exactly it's like we will take this we're like you'll be you'll
• 1:05:30
  Track 2: get the money back do you know or like you'll make the money back or you'll
• 1:05:33
  Track 2: pay it back don't worry about it and it's like hand waved away as i assume it
• 1:05:38
  Track 2: is in real life you know where it's like oh no no it'll be fine it's exploitation.
• 1:05:43
  Track 1: Of young artists who like want to.
• 1:05:45
  Track 2: Make it big.
• 1:05:46
  Track 1: They want to make an album and so they sign on the dotted line and they get
• 1:05:49
  Track 1: fucked i mean you also see their manager who they mention She's like,
• 1:05:53
  Track 1: oh, you're going to get 15%.
• 1:05:55
  Track 1: And, like, it seemed pretty clear, like, throughout the rest of the movie, he didn't get anything.
• 1:05:58
  Track 3: Well, he didn't do anything either.
• 1:06:00
  Track 1: Well, true.
• 1:06:01
  Track 3: To be clear.
• 1:06:02
  Track 2: But really, the fact, the way he responds to him, though, really says everything.
• 1:06:08
  Track 2: Like, let's not wave him off or, like, make him as, like, you know,
• 1:06:15
  Track 2: innocent or, like, you know, like, not.
• 1:06:17
  Track 2: Because he is very clearly throughout the movie, like,
• 1:06:23
  Track 2: He has tickets to du jour. He buys tickets to du jour.
• 1:06:26
  Track 2: He doesn't show up to their set. He's taking money from them.
• 1:06:30
  Track 2: They don't make any money.
• 1:06:32
  Track 2: Then he's like, oh, what do I get?
• 1:06:35
  Track 2: And then later on, the way the music exec responds to him is in such a way of,
• 1:06:40
  Track 2: it's very much class solidarity.
• 1:06:43
  Track 2: It's like, oh, you're part of the exploitive class. You're part of my group.
• 1:06:47
  Track 1: Yes.
• 1:06:48
  Track 2: Yes. Yes. No, no, you'll be fine. And he's like, okay, yeah,
• 1:06:52
  Track 2: good. But no concern for them, nothing, no questions asked, just,
• 1:06:56
  Track 2: oh, I'm going to get something? Good enough.
• 1:06:58
  Track 1: When they say they're going to split the $5 from that bowling alley gig,
• 1:07:02
  Track 1: that, to me, feels like very much the TLC thing that you just said.
• 1:07:06
  Track 3: Yeah.
• 1:07:06
  Track 1: I feel like that's a one-to-one. They took that as their inspiration for that joke.
• 1:07:12
  Track 2: Anyway, I'm just giving you that. It reminds me, what?
• 1:07:14
  Track 1: No, go ahead. I wasn't saying anything.
• 1:07:16
  Track 2: What did I miss?
• 1:07:17
  Track 1: I was giving Ashley the, like, you brought that up.
• 1:07:21
  Track 2: Oh yeah this is
• 1:07:25
  Track 2: not we don't have to keep this in but it's just very
• 1:07:27
  Track 2: much so like my favorite band just
• 1:07:31
  Track 2: retired and they never had huge
• 1:07:34
  Track 2: commercial success and they just spent 25 years
• 1:07:39
  Track 2: touring and never and then
• 1:07:41
  Track 2: finally like they're all in their like 40s and they're just
• 1:07:44
  Track 2: like we can't do it anymore like we
• 1:07:47
  Track 2: just can't we've never you know been able
• 1:07:50
  Track 2: we've never cleared more than like 30 or
• 1:07:53
  Track 2: 40 grand a year like we've spent
• 1:07:56
  Track 2: all of our lives touring never making
• 1:08:00
  Track 2: enough money and it's like they're like we can't do it anymore you know it's
• 1:08:05
  Track 2: like that's what it is that's what and then meanwhile you have people like taylor
• 1:08:11
  Track 2: swift who got i could talk about how much i hate her for fucking hours um you.
• 1:08:17
  Track 3: Get a lot of comments.
• 1:08:18
  Track 2: Bring it bring him.
• 1:08:23
  Track 1: To like getting to the like the end of the movie
• 1:08:26
  Track 1: is also like ridiculous in the in like just
• 1:08:29
  Track 1: the way that they have to sort of so weird sum things
• 1:08:32
  Track 1: up and like primarily like the it's very much in
• 1:08:34
  Track 1: the the like zoolander kind of ending where
• 1:08:37
  Track 1: there's just sort of like a big showdown and like everyone sort of admits their
• 1:08:41
  Track 1: thing you know that fiona played by parker posey is like she has a lisp and
• 1:08:45
  Track 1: she's like is sort of the whole point of that concert was to like make people
• 1:08:49
  Track 1: like her because she's also insecure about her own you know lisp and her like
• 1:08:53
  Track 1: teeth and then we just find that
• 1:08:55
  Track 1: alan coming is was like they knew each other and they sort of you know this
• 1:08:59
  Track 1: heartfelt moment like you know after they go to jail they can maybe be together
• 1:09:03
  Track 1: you know kind of thing and it's it's like such a ridiculous ending that i'm
• 1:09:08
  Track 1: just like sure okay you know like,
• 1:09:16
  Track 1: yeah it's like it's it's like a lot of these movies of this kind of thing It's
• 1:09:20
  Track 1: sort of like the ending is sort of, you know, the conspiracy or like the thing
• 1:09:24
  Track 1: that comes out and then they sort of have that concert at the end to sort of,
• 1:09:27
  Track 1: you know, to end everything.
• 1:09:30
  Track 3: And yeah, I do think that Fiona's whole deal of just wanting everybody to think she's cool.
• 1:09:36
  Track 3: Her like very deep seated insecurity is just what I imagine is like running
• 1:09:41
  Track 3: through the mind on a deeper level of like every tech CEO.
• 1:09:45
  Track 2: A hundred percent.
• 1:09:47
  Track 3: Like that complete self-hatred and never feeling good enough is the driving force behind me.
• 1:09:53
  Track 3: Like an Elon Musk, for example, or like a Mark Zuckerberg.
• 1:09:56
  Track 2: Are we going to bring up our favorite term lately? Alienation?
• 1:10:02
  Track 2: How all these people are victims of capital, even as they push it.
• 1:10:07
  Track 2: And they're alienated from themselves and their community. And that's why they do these things.
• 1:10:12
  Track 3: They're the child who was not embraced by the village. So they're burning it down.
• 1:10:18
  Track 2: They're going to burn it down.
• 1:10:18
  Track 3: Yeah, everybody's 12.
• 1:10:19
  Track 2: Everybody's 12.
• 1:10:20
  Track 1: Those are like the two most popular theories on this podcast is alien asian
• 1:10:25
  Track 1: and everybody's 12 and uh it's.
• 1:10:27
  Track 3: So true though.
• 1:10:28
  Track 1: It really is just it's i mean it does explain that she has she creates this
• 1:10:35
  Track 1: entire elaborate plot you know to get rich perhaps but also if no one likes
• 1:10:41
  Track 1: me what's the point of all of this i have 500 billion dollars but like people
• 1:10:45
  Track 1: won't praise me on the internet.
• 1:10:47
  Track 1: Oh, I'm sad. I made this truck that no one likes. Why?
• 1:10:52
  Track 1: Well, I'm going to make everyone's life miserable and make the most disgusting.
• 1:10:55
  Track 3: I'm going to make a robot that makes fucking...
• 1:10:59
  Track 3: child abuse materials and and tells everybody i'm cool and that i could piss
• 1:11:04
  Track 3: further than anybody else even than the person who has the world.
• 1:11:07
  Track 1: And also has brockipedia because like you know wikipedia is too woke like yeah
• 1:11:12
  Track 1: i mean it i it's very yeah it's very
• 1:11:15
  Track 1: coded into this you know deep-seated insecurity of like the ceo tech ceo i.
• 1:11:21
  Track 2: I don't love that they attempted to basically give them like redeem them in
• 1:11:28
  Track 2: some way like i don't love that.
• 1:11:30
  Track 1: Yeah well.
• 1:11:31
  Track 3: They kind of address it right away they're like in a in a creepy ironic way
• 1:11:34
  Track 3: like i guess it's cute or whatever like yeah which is what josie says like immediately
• 1:11:39
  Track 3: yeah melody says it's romantic but that's because she's she's all heart and nothing else a.
• 1:11:44
  Track 2: Bag of hammers.
• 1:11:45
  Track 3: Nothing's going on up here but she's right here this and for those listening
• 1:11:50
  Track 3: at home i'm indicating your heart um.
• 1:11:52
  Track 1: That's where that's where melody's head lies
• 1:11:55
  Track 1: so one of my other also i think one of the other i
• 1:11:58
  Track 1: think one of my favorite comedic scenes is when
• 1:12:01
  Track 1: the uh the the like government guy
• 1:12:04
  Track 1: i don't know what his title is like a agent something agent kelly i think he
• 1:12:08
  Track 1: is like leaving and parker posey keeps like continuing sentences and she's like
• 1:12:12
  Track 1: what did you just say and that is like it's it's funny because like after the
• 1:12:18
  Track 1: first time you're like haha that's pretty funny and then they like do it again.
• 1:12:21
  Track 1: And like, then it's even funnier. It's just, it's.
• 1:12:23
  Track 2: They did the three, they did the three times. Also, what the fuck was up with
• 1:12:28
  Track 2: that outfit she was wearing? That was like cat toys.
• 1:12:30
  Track 3: Looked like negative patches too? No, the other one.
• 1:12:33
  Track 2: The cat toys.
• 1:12:34
  Track 3: Yeah.
• 1:12:35
  Track 1: See, to me that looked like she had like, uh, what's the, uh,
• 1:12:38
  Track 1: acupuncture needles like sticking out of her shirt.
• 1:12:40
  Track 3: Oh yeah.
• 1:12:41
  Track 2: It reminded me of cat toys with the long, the long stick and the feathers. Yeah. Cat dancer.
• 1:12:46
  Track 3: Yeah.
• 1:12:47
  Track 2: Yeah.
• 1:12:47
  Track 3: Yeah.
• 1:12:48
  Track 2: That's what it reminded me of. It was fucking wild.
• 1:12:50
  Track 3: Yes.
• 1:12:51
  Track 2: Yeah, I can tell you. I know you can tell. You clearly know cats.
• 1:12:54
  Track 1: They also threw in for just because, you know, it's had to do it is when they
• 1:13:00
  Track 1: go, when they all go to see her at her party and she has like all the product
• 1:13:04
  Track 1: food on the thing. And she's like, I'm going to have a big snack.
• 1:13:06
  Track 1: And then she puts like a single Pringle on there too.
• 1:13:09
  Track 1: So they have to also throw in the sort of female body image in there too.
• 1:13:13
  Track 2: Which we talked my wife and i talked about
• 1:13:16
  Track 2: a lot because the clothing in this
• 1:13:19
  Track 2: like despite everything like this
• 1:13:22
  Track 2: movie is still was still very much a victim of the time and the imagery it was
• 1:13:28
  Track 2: pushing it's like oh yeah it's gonna make this comment but every one of these
• 1:13:33
  Track 2: characters is gonna wear clothing that only fits one body type and it's like
• 1:13:39
  Track 2: and it's gonna present it like, oh, these are heroes.
• 1:13:42
  Track 2: Look how beautiful they are. And it's like that early 2000s that,
• 1:13:47
  Track 2: like, first of all, the low rise pants that, like, you know,
• 1:13:52
  Track 2: Jesus Christ, so low rise.
• 1:13:55
  Track 2: And then the, like, you know, the shirt, the open back shirt.
• 1:13:59
  Track 2: And it's like only one body type can wear that. That's it.
• 1:14:04
  Track 2: If, you know, anybody else tries to, you know, any other young woman tries to
• 1:14:08
  Track 2: wear a clothes, like, you know, shirt like that.
• 1:14:10
  Track 3: It's going to be the joke. Yeah. If they're putting them in that for the movie,
• 1:14:13
  Track 3: it's because it's a joke.
• 1:14:14
  Track 2: Yeah. It's just like, but in this, it's like, you know, they're in it and it's
• 1:14:18
  Track 2: like, well, they fit that standard perfectly.
• 1:14:21
  Track 2: That's what they are, the body type of that, that they're pushing, you know?
• 1:14:26
  Track 2: And it's like, it's still inevitable because it is part of the system that it
• 1:14:32
  Track 2: is still pushing some of this because this is not as satirical as it is.
• 1:14:40
  Track 2: The people behind this are still beholden to some of these things.
• 1:14:45
  Track 2: They are not radical people.
• 1:14:48
  Track 2: at a level of truly breaking away from a system and they are still reinforcing quite a lot of bad shit.
• 1:14:56
  Track 3: Well yeah and i think that's i in a weird way i think that kind of it kind of
• 1:15:02
  Track 3: supports the whole central conceit of the film which is that you know any artist
• 1:15:07
  Track 3: you like capitalism makes hucksters and and fucking used car salesmen of artists you know
• 1:15:16
  Track 3: the only way they can survive and when you
• 1:15:19
  Track 3: make a movie like this or any movie like remember when
• 1:15:22
  Track 3: we did the menu it's like regardless of what the message is there's always over
• 1:15:29
  Track 3: here the fact that it's being produced for a profit by people who have certain
• 1:15:34
  Track 3: metrics to me and there are limits to what they're allowed to say and what they're
• 1:15:38
  Track 3: allowed to do and there's also expectations that they're supposed to live up to,
• 1:15:41
  Track 3: which is also an aesthetic because you're right.
• 1:15:44
  Track 3: In 2001, in low-rise jeans, they're not putting...
• 1:15:50
  Track 3: any fat people in this movie it's just not happening you
• 1:15:53
  Track 3: know it's just that and that's exactly the same
• 1:15:56
  Track 3: thing that happens with josie and valerie
• 1:16:00
  Track 3: and melody it's like for the best of their intentions their their music as as
• 1:16:06
  Track 3: authentic as it is and how and however much it is true to who they are and what
• 1:16:10
  Track 3: they want to make it still is used to sell something until they take the
• 1:16:18
  Track 3: conspiracy and the company right out of it.
• 1:16:20
  Track 3: I don't know how they got to still do the concert. Nobody knows.
• 1:16:25
  Track 2: The mystery is there, just like how is Alan M. miked up?
• 1:16:28
  Track 3: Nobody knows. It's okay. Don't worry about it. But at that point, it's pure.
• 1:16:35
  Track 2: Listen, the venue was paid for already.
• 1:16:37
  Track 3: Yeah, and everybody's already there.
• 1:16:38
  Track 2: They're already there.
• 1:16:39
  Track 3: What are you going to do?
• 1:16:41
  Track 1: I like, too, how they had the car there that they were going to use to have
• 1:16:46
  Track 1: be blown up like in the parking lot too and it's like on the on the like showroom
• 1:16:51
  Track 1: car spinny thing it's like,
• 1:16:54
  Track 1: why not yeah well the u.s.
• 1:16:56
  Track 3: Government's paying for it and that's the fact that they didn't know that the
• 1:17:00
  Track 3: message that she was putting out was that she was cool and everybody should
• 1:17:03
  Track 3: want to hang out with fiona or date her it's because it's.
• 1:17:06
  Track 1: Because they sent samples to the government but we already had that in the subliminal
• 1:17:11
  Track 1: messages so the government was subliminally convinced to do it despite.
• 1:17:16
  Track 3: Or because the government literally just
• 1:17:19
  Track 3: the u.s government just fucking gives money to the military and any other seedy
• 1:17:25
  Track 3: operation without really fucking caring how it's going as long as they see results
• 1:17:30
  Track 3: they don't really nobody's really paying attention how much money did the pentagon
• 1:17:33
  Track 3: just lose nobody fucking we will never know who cares we'll never know.
• 1:17:38
  Track 2: I do think it's important that we do, for those who did not watch the movie,
• 1:17:43
  Track 2: it is important to point out that DuJour did survive and show up at the end
• 1:17:48
  Track 2: of the movie and expose everything in full body casts, including Dr.
• 1:17:54
  Track 2: Zayas in a full body cast attached to his owner's full body cast.
• 1:18:06
  Track 1: I love a full body cast bit it's it's kind of hard to to beat one of those like
• 1:18:11
  Track 1: also it feels like very of that time too and.
• 1:18:13
  Track 2: Seth green i think it was seth green seth green's full body cast had the flames
• 1:18:18
  Track 2: of his his jacket drawn on the full body cast.
• 1:18:22
  Track 1: Yeah yeah that's right yeah
• 1:18:25
  Track 1: they definitely had a very good attention to these like little silly
• 1:18:29
  Track 1: details and uh i also love just like
• 1:18:32
  Track 1: the command center underground of this record label of
• 1:18:35
  Track 1: like they're you know they have like the tv and then
• 1:18:38
  Track 1: all these different things and i mean you could also call a lot of this too
• 1:18:43
  Track 1: is sort of the usurping of mtv from being like the place in the 80s and early
• 1:18:48
  Track 1: 90s that just had cool music videos to being a trash show a trash channel that
• 1:18:54
  Track 1: just did not do that anymore uh so trash.
• 1:18:58
  Track 2: Channel with trash shows that gave us eventually i believe our deputy fbi director
• 1:19:04
  Track 2: yeah our deputy fbi director i believe was on road rules.
• 1:19:08
  Track 1: Oh i did not know that but that of course he did it's the stupidest fucking.
• 1:19:15
  Track 3: Timeline i can't i can't fuck every day i learn something else that's so fucking
• 1:19:20
  Track 3: stupid that i'm like what what is this wake me up from the coma what's happening no.
• 1:19:27
  Track 2: I'm sorry it's not him but it is somebody else it's some other fucking fed.
• 1:19:32
  Track 3: If any of those people are involved in government i just want to say,
• 1:19:36
  Track 3: This is the stupidest. It's just, it's so, it's so fucking dumb.
• 1:19:39
  Track 1: I thought you were going to tell me that like Serena Altschul,
• 1:19:42
  Track 1: who I think is one of the, he's in the movie as herself on MTV News,
• 1:19:45
  Track 1: who like does the report as of them dying in the like blaze of crash.
• 1:19:50
  Track 1: I thought you were going to tell me like that she was working for the,
• 1:19:53
  Track 1: you know, U.S. government.
• 1:19:54
  Track 3: Well, the secretary of education was married to Vince McMahon.
• 1:19:58
  Track 3: Like that's a real fucking thing. Like it's all so stupid. It's reality TV show bullshit.
• 1:20:03
  Track 2: I have got to find who it was.
• 1:20:07
  Track 1: Kurt Loder is 80 years old.
• 1:20:09
  Track 2: Jesus Christ. Thank you.
• 1:20:10
  Track 1: That's wild.
• 1:20:11
  Track 2: Thank you for making me feel old. Thank you.
• 1:20:13
  Track 1: But that's just crazy. I mean, I guess we didn't think of him as being that
• 1:20:18
  Track 1: old when he was on the show for some reason. But anyway.
• 1:20:23
  Track 3: Oh, did you catch at the beginning when they're in the cafe or whatever?
• 1:20:27
  Track 3: Oh, sorry. At the fucking Starbucks. and he's like oh it's so happy to be sitting
• 1:20:33
  Track 3: here with the pussy hats i wrote that down because that made me that made me laugh yeah i i didn't.
• 1:20:39
  Track 1: At first get that in my brain and then.
• 1:20:41
  Track 3: Like oh.
• 1:20:41
  Track 1: Yeah that's the.
• 1:20:42
  Track 3: Haha the pussy hats go to brunch after this no.
• 1:20:45
  Track 1: They would just go to starbucks because they're already there.
• 1:20:47
  Track 3: They're already there yeah it's.
• 1:20:49
  Track 2: Sean duffy he was previously on the real world.
• 1:20:53
  Track 3: What does he do what's his deal i can't be bothered he.
• 1:20:56
  Track 2: Is the secretary of transportation.
• 1:20:57
  Track 3: Right okay yeah,
• 1:21:00
  Track 3: I mean, did you say it was on World Rules, though?
• 1:21:03
  Track 2: Yeah, but it was the real world.
• 1:21:05
  Track 3: But that's really funny because transportation, that's actually hilarious.
• 1:21:10
  Track 2: That's my experience. Jackie actually texted me.
• 1:21:14
  Track 2: Jackie heard and texted me. She just poked her head. She's like,
• 1:21:19
  Track 2: I texted you who you're thinking of.
• 1:21:23
  Track 2: um he um was
• 1:21:26
  Track 2: really good uh representative for wisconsin's
• 1:21:30
  Track 2: seventh congressional congressional district um district uh attorney of ashland
• 1:21:34
  Track 2: county and he is the current secretary of transportation um who is we have a
• 1:21:40
  Track 2: pretty fucking terrible comments and pretty terrible things A long.
• 1:21:47
  Track 3: Strange trip it's been.
• 1:21:48
  Track 1: We, we, we, we.
• 1:21:51
  Track 2: He was also on Road Rules. He was also on Road Rules. He was on Road Rules All Stars.
• 1:21:57
  Track 3: Wow.
• 1:21:59
  Track 1: Well, that's the top.
• 1:22:00
  Track 2: So, yes, that's how he has his expertise. Yeah, that's how he's. That's why he's.
• 1:22:05
  Track 1: I saw things with wheels and I'm like, I'm going to do that.
• 1:22:10
  Track 3: Yeah.
• 1:22:11
  Track 1: We're not going to do any trains because those would actually. I know the road.
• 1:22:15
  Track 3: Yeah.
• 1:22:15
  Track 1: He was going to use roads. The roads rule. How many times do you think he's like said that at stuff?
• 1:22:22
  Track 2: This is the fucking country we live in. Yeah.
• 1:22:25
  Track 3: So stupid.
• 1:22:26
  Track 2: Fuck. He lives in New Jersey now. God damn it. Fuck.
• 1:22:30
  Track 3: Where in New Jersey?
• 1:22:32
  Track 2: Far Hills.
• 1:22:35
  Track 1: Any last things on Josie and the Pussycat?
• 1:22:39
  Track 3: I don't know. I don't think so. um but i'm so glad i'm so glad you guys watched
• 1:22:44
  Track 3: this and i'm glad you had a good time with it um.
• 1:22:47
  Track 1: It is a movie that people should watch, you know? I mean.
• 1:22:53
  Track 2: I think, like you said earlier, Ashley, that this has become kind of like a
• 1:22:59
  Track 2: topic in the zeitgeist lately.
• 1:23:01
  Track 2: I think it's because this movie accurately predicted exactly where we are. Yeah.
• 1:23:07
  Track 3: It was pretty fucking, I mean, speaking of The Simpsons.
• 1:23:11
  Track 2: Yeah.
• 1:23:11
  Track 3: It did. It did predict a lot.
• 1:23:13
  Track 2: This is pretty spot on for where we are as a culture, you know,
• 1:23:21
  Track 2: minus subliminal message, because as Evan has already put out, we don't need them.
• 1:23:25
  Track 3: Yeah, they're just saying stuff now.
• 1:23:27
  Track 2: They just say it.
• 1:23:28
  Track 3: Yeah. It's like, no, we kidnapped him. Yeah. We took him.
• 1:23:33
  Track 2: Yeah, yeah.
• 1:23:34
  Track 3: He's here now. We took him.
• 1:23:35
  Track 1: We're going to get oil and stuff. Good, you know, satire and over the top.
• 1:23:40
  Track 1: And, you know, I mean, from that era of like early 2000s, late 90s,
• 1:23:46
  Track 1: I mean, it really deserved better is all I would say. Deserved better.
• 1:23:52
  Track 2: It was ahead of its time.
• 1:23:54
  Track 3: It deserves a prime spot on pre-9-11 film.
• 1:23:58
  Track 1: Film one of these days one of these days i am gonna do some kind of i think
• 1:24:05
  Track 1: i've been saying it's like three years like a pre post 9 11 type of it comes
• 1:24:10
  Track 1: up in movies that are around that period anyway but just i'm sure there's a
• 1:24:15
  Track 1: lot more that could be people.
• 1:24:16
  Track 3: Were feeling confident they were feeling like i can say some stuff about the government.
• 1:24:20
  Track 1: You know i mean i think you're 100 % correct, though.
• 1:24:24
  Track 1: Like, five months later, this movie probably doesn't come out,
• 1:24:28
  Track 1: or they may come change stuff.
• 1:24:29
  Track 2: We'd talk about it in a very different way. We'd be talking about it in a Red Dawn sort of way.
• 1:24:33
  Track 1: Duh.
• 1:24:33
  Track 3: Oh, God. Yeah.
• 1:24:38
  Track 1: Not good.
• 1:24:38
  Track 2: We're Marxists, man. We can talk about anything in any way. We can always find
• 1:24:43
  Track 2: a thing to pick apart. Yeah.
• 1:24:45
  Track 1: Just might not be the most pleasant experience.
• 1:24:48
  Track 2: Yeah, yeah.
• 1:24:49
  Track 1: This, on the other hand, very, very positive experience.
• 1:24:52
  Track 2: Yeah, I gotta be honest. I'd rather watch this at Old Boy.
• 1:24:57
  Track 1: I mean, that's like, those are such polar opposite films that, sure.
• 1:25:04
  Track 2: I'd rather watch this than The Long Walk, which I'm going to have to watch again.
• 1:25:08
  Track 2: Sneak peek, folks. We're going to do The Long Walk soon. And boy,
• 1:25:12
  Track 2: am I not looking forward to watching that again.
• 1:25:14
  Track 3: Good luck. That's going to be a long walk. How long is that movie?
• 1:25:17
  Track 2: I don't remember. It's not short.
• 1:25:19
  Track 3: Okay.
• 1:25:20
  Track 1: It feels like four. Like a long walk.
• 1:25:24
  Track 3: That's what I've heard.
• 1:25:26
  Track 1: It's very good. Ashley, thank you for making us watch this film.
• 1:25:30
  Track 1: It was a pleasure as always to have you on.
• 1:25:33
  Track 3: Thank you so much. Such a fun time as always.
• 1:25:38
  Track 1: Amazing.
• 1:25:38
  Track 2: Well, thank you for joining us.
• 1:25:40
  Track 1: You can listen subscribe to the podcast stuff on all the podcast places and
• 1:25:47
  Track 1: i'll catch you next week with bill only see.
• 1:25:50
  Track 2: You next week.