Latest / The Bechdel Cast / A Star is Born (2018)

Transcript

A Star is Born (2018) · The Bechdel Cast

• 0:00
  Speaker 1: On the Big Dog Cast. The questions asked if movies
• 0:03
  Speaker 1: have women and um are all their discussions just boyfriends
• 0:07
  Speaker 1: and husbands or do they have individualism? The patriarchy? Zef
• 0:11
  Speaker 1: and best start changing it with the Bell Cast. I
• 0:23
  Speaker 1: hope if you're listening to this in your car, you
• 0:25
  Speaker 1: just crash. You just literally got into an accit. I
• 0:29
  Speaker 1: don't hope that. Well, I don't hope that. But if
• 0:32
  Speaker 1: that's what you're dealing with right now, it is our fault. Hi.
• 0:36
  Speaker 1: I'm Jamie Lofton and I'm Caitlin Dronte And this is
• 0:39
  Speaker 1: the best episode of the Big Dog Cast ever. I'm
• 0:43
  Speaker 1: so excited. We've never been less excited about anything. I've
• 0:47
  Speaker 1: been stewing in my juices for days now. I'm so
• 0:50
  Speaker 1: thrilled to be talking about a star is born with
• 0:53
  Speaker 1: our friend and Asne. I just I blew it and
• 0:57
  Speaker 1: my freaking what if I just needed my turn? Like
• 1:02
  Speaker 1: she's been vibrating at the table. Oh it's so good.
• 1:07
  Speaker 1: I just I every song is almost good enough to
• 1:10
  Speaker 1: be a real song, Like they are real songs. I
• 1:15
  Speaker 1: but I but the way sad I was like, this
• 1:19
  Speaker 1: song actually kind of slaps, but it's not quite a
• 1:22
  Speaker 1: real song. Oh I love it so much? So hey, hey,
• 1:27
  Speaker 1: here we are. We're the Betel Cast. We talked about
• 1:29
  Speaker 1: the portrayal and representation of women in film. We use
• 1:33
  Speaker 1: the Bechdel test to initiate a larger conversation about women
• 1:39
  Speaker 1: in film. Was that the Bechdel test is. It was founded, invented,
• 1:46
  Speaker 1: created by cartoonist Alison Bechdel, and it requires that a
• 1:51
  Speaker 1: movie has too female identifying characters with names. They have
• 1:58
  Speaker 1: to talk to each other there for at least a
• 2:03
  Speaker 1: two line exchange, and their conversation cannot be about a man. Well,
• 2:08
  Speaker 1: good luck with this franchion. Okay, so wait, we should
• 2:12
  Speaker 1: do with a dry round of the Bechtel test. Okay,
• 2:15
  Speaker 1: let's do it. Hey, Caitlin, will you ask me a
• 2:17
  Speaker 1: question and I'll ask you what to ask me? Wait?
• 2:21
  Speaker 1: What it's passing so far? Don't say my name? Hey, Jamie? Okay, Caleb,
• 2:26
  Speaker 1: If I ask you to ask me a question and
• 2:28
  Speaker 1: give you the copy, will you say will you ask
• 2:30
  Speaker 1: me that question? Yes? Okay, here's the question I want
• 2:33
  Speaker 1: you to ask me. Okay, what do they have an Arizona? Hey?
• 2:37
  Speaker 1: Hey Jamie, what do they have an Arizona? Nuts? Navas
• 2:41
  Speaker 1: and nowhere to go. That was a long way, but
• 2:44
  Speaker 1: that all passed. Yeah, that all passed. That passed the
• 2:47
  Speaker 1: beck That was great. That was the longest pass That's
• 2:51
  Speaker 1: like a full conversation with someone like okay, in the
• 2:54
  Speaker 1: history of cinema, I love my favorite part of the
• 2:57
  Speaker 1: Bechtel test. And that doesn't have to be good writing.
• 3:01
  Speaker 1: It just has to be writing. But the word, Hey,
• 3:06
  Speaker 1: should we introduce our guests? Yeah, okay, right, well let's
• 3:13
  Speaker 1: give her a proper introduction. She's a friend of the cast.
• 3:16
  Speaker 1: You've already heard her on her She's all that episode.
• 3:20
  Speaker 1: She is one half of Ethnically Ambiguous, and she's a
• 3:24
  Speaker 1: producer here at how stuff works. Ana and I sleep
• 3:28
  Speaker 1: under the table every time you guys record true fact. So,
• 3:35
  Speaker 1: so here we are talking about the two thousand and
• 3:38
  Speaker 1: eighteen A Star is Born. So, and this is quite
• 3:44
  Speaker 1: a hot request, which I think is one of the
• 3:46
  Speaker 1: only reasons Caitlyn agreed to do it. Also, I blackmails
• 3:51
  Speaker 1: you guys, I will be the guest, and that is
• 3:54
  Speaker 1: that I do have a memory of you walking towards
• 3:57
  Speaker 1: us as you're like, we're gonna to A Star is Born? Right,
• 4:02
  Speaker 1: and then two nights later, we were in the theater
• 4:04
  Speaker 1: fully reclined. Guess what. I bought tickets asap. I bought
• 4:07
  Speaker 1: tickets for everybody. I was like, great, we're going and
• 4:10
  Speaker 1: said us a paragraph long venmo. Yes. It was like
• 4:16
  Speaker 1: you guys had to ask for my permission, please give
• 4:20
  Speaker 1: me do A Star is Born? Pause? You knew you
• 4:23
  Speaker 1: were going south? Yeah, You're like, I'm not excited to
• 4:27
  Speaker 1: see this, Like that was the first thing you said
• 4:29
  Speaker 1: when I got in the car, was like, Oh, this
• 4:30
  Speaker 1: is gonna be fun. Take a hit of weed and
• 4:33
  Speaker 1: you're like no. I was like, weed gives me panic attacks.
• 4:37
  Speaker 1: I'm very cool. Love this movie. Smoke weed in the back,
• 4:42
  Speaker 1: freaking seed stars. Okay, So Jamie and Anna, you've both prepared,
• 4:50
  Speaker 1: I would say more than adequately so, but I still
• 4:54
  Speaker 1: feel completely all over the place. Okay, just to be clear,
• 4:57
  Speaker 1: not in organized, prepared, but I have all the thought
• 5:00
  Speaker 1: I need. Good. Okay, So, Anna, what is your history
• 5:03
  Speaker 1: with this, this film or the general A Star is Born?
• 5:07
  Speaker 1: So franchise if you will. I mean, as you know,
• 5:10
  Speaker 1: this movie is a remake of a remakeup remakeup remakeup remake,
• 5:14
  Speaker 1: and the original film was actually called what Price Hollywood,
• 5:17
  Speaker 1: which was the original one who no one's seen because
• 5:20
  Speaker 1: who carries it was a Selznick joint. Yeah, yeah, exactly who. Um.
• 5:25
  Speaker 1: A little known fact was the son in law of
• 5:28
  Speaker 1: Louis B. Mayor of Notorious Rapist. Um. Yes, because almost
• 5:35
  Speaker 1: an email executive of that era, but yeah, he was
• 5:37
  Speaker 1: a film executive and he yeah, they're all rapists. So
• 5:42
  Speaker 1: then the film that was remade based off what prize
• 5:44
  Speaker 1: Hollywood was A Star is Born with Janet Gainer. I
• 5:48
  Speaker 1: have not seen that version. I was from nineteen thirty seven. Seven.
• 5:52
  Speaker 1: That's a little too far back for me. I took
• 5:54
  Speaker 1: a thirties film class in college and I was like, yawn,
• 5:57
  Speaker 1: enough of these Joan Crawfords. Okay. And you know I
• 6:01
  Speaker 1: was never a fan of that whole censorship era. Well,
• 6:06
  Speaker 1: it lasted from the mid thirties till the late sixties,
• 6:09
  Speaker 1: so no interest. I've seen the thirty seven. Sorry, I
• 6:13
  Speaker 1: haven't seen a long time. I didn't commit, but I
• 6:16
  Speaker 1: one of my favorite fun fact about that Star Is
• 6:19
  Speaker 1: Born as Dorothy Parker helped write the script. I just
• 6:23
  Speaker 1: feel like women usually are involved in writing the scripts,
• 6:26
  Speaker 1: which is so interesting because the woman has no power
• 6:28
  Speaker 1: but um, and then I saw the Judy Garland one
• 6:32
  Speaker 1: a while back. Um, it's like three hours long. I
• 6:35
  Speaker 1: recommend it if you like. Yeah, I have three hours
• 6:38
  Speaker 1: or eight a very strong edible and I can't move. Um.
• 6:42
  Speaker 1: That one I think is the best because I've seen
• 6:44
  Speaker 1: The barberstriceand one and actually rewatched The Barbersicean one last night,
• 6:47
  Speaker 1: and god, damn is streisand a mess. Uh that's I
• 6:52
  Speaker 1: think the worst one because I listened to a podcast
• 6:54
  Speaker 1: you must remember this about the making of a star
• 6:57
  Speaker 1: is born the Barbersrrice and one, and boy, it was
• 7:00
  Speaker 1: not good. She was a real bit. She led Chris
• 7:03
  Speaker 1: Christofferson to drink like a bottle of tequila a day,
• 7:05
  Speaker 1: so he just basically became the guy and it wasn't
• 7:11
  Speaker 1: just being method. And apparently she cut her own edit
• 7:14
  Speaker 1: at the end that had her basically include more shots
• 7:18
  Speaker 1: of her ass. But she was like, so she's like,
• 7:22
  Speaker 1: there needs to be more male gaze. I do kind
• 7:25
  Speaker 1: of love, like I wish that every actor demanded that
• 7:28
  Speaker 1: they got their own kind I want to see, like,
• 7:30
  Speaker 1: what the what is the Taylor Lotner cut of Twilight
• 7:34
  Speaker 1: too as more of his I think maybe it's not
• 7:38
  Speaker 1: even gendered. It's like, like, this is my movie. My
• 7:40
  Speaker 1: ass should be in it as much as possible. I
• 7:43
  Speaker 1: get it. Yeah, that's basically when it's got so many
• 7:47
  Speaker 1: shots to get your ass in from a big crowd.
• 7:49
  Speaker 1: I get it. She's insane. Okay. I've also seen the
• 7:52
  Speaker 1: seventies six one. I could not get through it this time.
• 7:55
  Speaker 1: I got forty. It's such a mess, like it even
• 7:59
  Speaker 1: looks like it looks like a mess on the set.
• 8:02
  Speaker 1: I was just like, what is it? It's and now
• 8:05
  Speaker 1: you both have seen this two eighteen version twice. Now, okay, great,
• 8:10
  Speaker 1: we've seen good job you're all. You're way more prepared
• 8:15
  Speaker 1: than I am, because I've seen Bradley Cooper's A Star
• 8:19
  Speaker 1: is Born one time. Honestly, you catch yourself some yeah
• 8:24
  Speaker 1: you know what that thank you. I don't know if
• 8:27
  Speaker 1: you recall, but I did watch all six mission Impossible
• 8:31
  Speaker 1: movies to prep for the episode. So I so I'm
• 8:36
  Speaker 1: coming in not having a whole ton of background for
• 8:41
  Speaker 1: this film. And it's because, yeah, I don't especially like
• 8:45
  Speaker 1: this genre. I this is gonna make me sound psychotic,
• 8:49
  Speaker 1: but I don't like to watch people sing. I think
• 8:52
  Speaker 1: it's so boring. That's okay. Some people find musicals completely uncomfortable,
• 8:57
  Speaker 1: like they can't like, I'm not a huge fan of musicals.
• 9:00
  Speaker 1: I wouldn't classify this as a musical because all the
• 9:02
  Speaker 1: music that's happening in this one is diagetic. Is in
• 9:06
  Speaker 1: like it's happening as a part of the story, and
• 9:09
  Speaker 1: they're like not breaking out into random song. Yeah so,
• 9:14
  Speaker 1: And at least if there's like a song and dance number,
• 9:17
  Speaker 1: it's like they're there's fun, there's choreography. This one, we're
• 9:20
  Speaker 1: just watching people sing and I could not be more bored.
• 9:24
  Speaker 1: And I just, yeah, I don't, I just this is
• 9:28
  Speaker 1: not for me. But I did enjoy the first thirty minutes.
• 9:31
  Speaker 1: Yes to Amy, you're raising your hand. You have a
• 9:32
  Speaker 1: question my history this movie. I love Judy Garland so much.
• 9:43
  Speaker 1: She was my hero when I was little. I feel
• 9:45
  Speaker 1: like all young queer people slash very very very quiet
• 9:51
  Speaker 1: young women. For some reason, there's something about Judy. I
• 9:55
  Speaker 1: would record all of her movies on Turner Classic and
• 9:59
  Speaker 1: it would be to the point where it's like my
• 10:00
  Speaker 1: family would write it on the calendar Judy Garland's birthday
• 10:03
  Speaker 1: because there would always be a marathon. Would you take
• 10:06
  Speaker 1: a cake to school every I wouldn't talk to anyone
• 10:09
  Speaker 1: at school but that. But my one of my parents
• 10:11
  Speaker 1: was like usually home and so they would switch at
• 10:14
  Speaker 1: the VHS table to start recording the next one. So
• 10:16
  Speaker 1: I've seen every Judy Garland movie ever, love her so much,
• 10:20
  Speaker 1: and then I wanted to, you know, experience the Judy
• 10:22
  Speaker 1: Garland extended universe. And so that's why I watched the
• 10:25
  Speaker 1: other Stars born to be like. I know that she
• 10:28
  Speaker 1: had she was the best one, but let me just
• 10:30
  Speaker 1: cross check and confirm, uh check. And then I found
• 10:34
  Speaker 1: out Dorothy Parker helped write the first one I was like,
• 10:37
  Speaker 1: and then Joan Didion helped write the Barbastres, and there's
• 10:41
  Speaker 1: a lot of famous woman. The interesting fact about that
• 10:43
  Speaker 1: is she started to write it and then Barber stration
• 10:46
  Speaker 1: was so hell she left, but because she was like
• 10:49
  Speaker 1: still like you know, credit as a writer. She made
• 10:52
  Speaker 1: more money that she'd ever made in her entire life
• 10:54
  Speaker 1: off that movie basically, so she was like set for
• 10:57
  Speaker 1: life and all she had to do was like meet
• 10:58
  Speaker 1: with Barbara like five times before. She was like this woman. Honestly,
• 11:02
  Speaker 1: it sounds like worth the amount of the any like
• 11:07
  Speaker 1: story of Barber strikes and on set of anything, you're like,
• 11:09
  Speaker 1: holy sh it, this is this is a lot, what
• 11:13
  Speaker 1: a legend this is? She truly truly a diva. But yeah,
• 11:18
  Speaker 1: I love this movie. But I just I think I
• 11:21
  Speaker 1: just wanted to say I love Judy Garland. And I
• 11:24
  Speaker 1: think we between the three of us, we've seen the
• 11:26
  Speaker 1: trailer maybe five times. So I do recall when that
• 11:30
  Speaker 1: trailer first appeared on my YouTube, Like I remember when
• 11:33
  Speaker 1: it first appeared, yes, because I think I brought it
• 11:36
  Speaker 1: to you guys. I was like, you see this, and
• 11:38
  Speaker 1: then we proceeded. I made you watch that. I made
• 11:40
  Speaker 1: you watch that in a bunch of like we with
• 11:41
  Speaker 1: Mark Wahlberg films. But I I haven't stopped watching it.
• 11:47
  Speaker 1: I'm glad you guys have have had a great time
• 11:51
  Speaker 1: with this so far. I have a somewhat unhealthy relationship
• 11:54
  Speaker 1: to the part on the trailer where Lady Gaga starts
• 11:56
  Speaker 1: for like full Lady Gaga moment. It's good, And then
• 12:00
  Speaker 1: when it was coming up that whole scene, they it's
• 12:03
  Speaker 1: almost like the scene like whoever is editing, It's like, oh,
• 12:06
  Speaker 1: people are gonna be so excited for the part where
• 12:07
  Speaker 1: she just yells, and so they make you. It makes
• 12:10
  Speaker 1: you wait for it and wait for it and wait
• 12:12
  Speaker 1: for it, and then she finally hits the mic and
• 12:14
  Speaker 1: you're like, I think we all like grabbed hands hearted.
• 12:19
  Speaker 1: Levitating five feet off the ground was crazy. I do
• 12:22
  Speaker 1: remember when it was about to happen, an old man
• 12:25
  Speaker 1: got up to go use the bathroom, and I was
• 12:27
  Speaker 1: so fiercely offended, like I was like fucking kidding me
• 12:31
  Speaker 1: to stage. Yeah, if you're listening, sir, biggest parents love it.
• 12:42
  Speaker 1: Is this the a star is born's universe or as
• 12:45
  Speaker 1: stars are born or a stars are stars is born?
• 12:50
  Speaker 1: What would you how do you? How do you what
• 12:53
  Speaker 1: would you refer to this? Um stars is born stars
• 12:59
  Speaker 1: or stars? A star is born stars the stars the
• 13:02
  Speaker 1: stars are born born, Stars born stars. That's like porn.
• 13:07
  Speaker 1: Star the star is would have been a great one
• 13:13
  Speaker 1: missed opportunity for this round, because this this film, it's
• 13:18
  Speaker 1: not even a franchise, this story that refuses to die. Generally.
• 13:22
  Speaker 1: It was like coming up once once every twenty years.
• 13:26
  Speaker 1: And they skipped the nineties, which would have been a
• 13:29
  Speaker 1: great Curtain Courtney adjacent but they didn't. They skipped the nineties, right,
• 13:34
  Speaker 1: But it was originally supposed to be Clint Eastwood directing,
• 13:37
  Speaker 1: with Beyonce attached. Yeah, and then Will Smith was attached.
• 13:41
  Speaker 1: I think as as whoever this one for the two one, well,
• 13:44
  Speaker 1: the one that was that was in the works before
• 13:47
  Speaker 1: this one, you know, came out with every version who's
• 13:52
  Speaker 1: played it was Esther for the first three No, I
• 13:55
  Speaker 1: think the sect Judy Garland. Then they make it like
• 13:57
  Speaker 1: Vicky or something. No, they change so they change name
• 14:00
  Speaker 1: and most of them. There's like a few things they
• 14:02
  Speaker 1: don't do in this movie that they She normally starts
• 14:04
  Speaker 1: as Esther Blodge and they change her name to Vicky
• 14:07
  Speaker 1: Lester to make her like hot. But this time she
• 14:13
  Speaker 1: starts as Ali and we'd never find out her last name,
• 14:17
  Speaker 1: and then they don't change her name, and then she's
• 14:20
  Speaker 1: all because she is that's important until her last name
• 14:25
  Speaker 1: is the man's last name. Well, and that's something that
• 14:28
  Speaker 1: happens every movie too. There's a few well can there's
• 14:31
  Speaker 1: a few things that happened in every version of A
• 14:33
  Speaker 1: Star is Born, and they're all regressive and we and
• 14:36
  Speaker 1: Cooper could have done something about it. Also, who heard
• 14:41
  Speaker 1: that Vicky was the fun like the fucuble name Vicky.
• 14:45
  Speaker 1: I'm Vicky Xon, shall I do the recap please? I'm
• 14:51
  Speaker 1: gonna not. I'm not going to do a good job
• 14:53
  Speaker 1: because I've only seen the movie once and I I
• 14:55
  Speaker 1: don't worry. You've got yet fill in the blanks. Okay,
• 14:59
  Speaker 1: So we meet Jackson Maine. He's a country question Mark.
• 15:06
  Speaker 1: Well his songs sound a little bit like but people
• 15:13
  Speaker 1: love it. It's like country rock. He's like a Willie
• 15:15
  Speaker 1: Nelson of sorts. Yeah, but like hot and all the
• 15:18
  Speaker 1: he's such an alcoholic that all the blood is at
• 15:21
  Speaker 1: the surface of his face for the whole it's distracting.
• 15:25
  Speaker 1: So we meet him. He is a famous musician, and
• 15:28
  Speaker 1: but not at his peak, not quite at his piece.
• 15:32
  Speaker 1: I don't know. He's already peeked and now he's on
• 15:33
  Speaker 1: his way down off the piece. He's playing festivals, right,
• 15:37
  Speaker 1: but I think he's playing festivals because he's like a
• 15:39
  Speaker 1: legend in that sense. But he's at this point on
• 15:42
  Speaker 1: his way down. He's still famous, but right, he's not
• 15:45
  Speaker 1: at his peak anymore. He gets off of the gig,
• 15:47
  Speaker 1: he goes to a bar where there's a drag show.
• 15:50
  Speaker 1: Literally goes to the Virgin and he goes to the Virginal,
• 15:53
  Speaker 1: a bar that we've all been at many many times.
• 15:56
  Speaker 1: I eaten ship into that very microphone. It's wild. So
• 16:00
  Speaker 1: there he meets Ali Lady Gaga's character, Yes, and he's
• 16:07
  Speaker 1: smitten with her and he waits for her after the
• 16:10
  Speaker 1: show and peels off her tape eyebrow. His lives spoken
• 16:18
  Speaker 1: like out of context, you're like nobody now if he
• 16:25
  Speaker 1: wasn't a famous musician and just creepy drunk guy like
• 16:32
  Speaker 1: and we'll talk about that because that is certainly worth
• 16:35
  Speaker 1: talking about, or like a theme later was like could
• 16:37
  Speaker 1: I touch your nose? Like, oh my god, stop right.
• 16:43
  Speaker 1: So they hang out the rest of the night and
• 16:46
  Speaker 1: he finds out that she's an aspiring musician as well
• 16:50
  Speaker 1: punch a cop. She punches a cop. They go to
• 16:53
  Speaker 1: a grocery store to get some frozen peas about it.
• 16:57
  Speaker 1: They are are bonding and he's like, hey, why don't
• 17:00
  Speaker 1: you come to this gig and she's like, no, I can't.
• 17:05
  Speaker 1: And then and then she goes, anyway, oh quick trailer talk,
• 17:11
  Speaker 1: so this is your specialty. I didn't I forgot the
• 17:15
  Speaker 1: famous much memed trailer moment of hey what that's how
• 17:26
  Speaker 1: I would the noise that goes that. She's like but
• 17:35
  Speaker 1: that is also spoken, and at least the Judy Garland version,
• 17:38
  Speaker 1: it's in the stressand one too. Oh is that's the
• 17:40
  Speaker 1: thing they pulled as well, that that whole just won't
• 17:43
  Speaker 1: take another look at you because I'm weird And every
• 17:47
  Speaker 1: other incarnation the actor in question separates the words. It
• 17:52
  Speaker 1: doesn't say the whole sentence as if it's one word.
• 17:55
  Speaker 1: But that's just kind of the coops take on the sentences.
• 17:57
  Speaker 1: It's just a word, and the word is one. Well,
• 18:02
  Speaker 1: it could be because he is drunk, because his character
• 18:06
  Speaker 1: is an aggressive alcoholic. Yes, but even but even when
• 18:10
  Speaker 1: he's sober, he's still still kind of slurring. You know
• 18:12
  Speaker 1: that scene at the piano where he's like just got
• 18:15
  Speaker 1: out of rehab, but he's like, yeah, playing with the
• 18:18
  Speaker 1: dog outside, like he still can't talk. Like all his
• 18:23
  Speaker 1: reactions are like sorry, he's so I mean, he's so famous,
• 18:27
  Speaker 1: no one will ever tell him. It's like I think
• 18:29
  Speaker 1: part of the like part of his character is like
• 18:32
  Speaker 1: he doesn't know he's weird to an extent because he's
• 18:35
  Speaker 1: been famous for so long that he just doesn't know
• 18:38
  Speaker 1: he's weird because everyone's like, oh, Jackson Maine, you're Simon
• 18:42
  Speaker 1: didties Jackson. You know. So basically they start to hang
• 18:48
  Speaker 1: or like the second time they hang out, she goes
• 18:51
  Speaker 1: on stage at one of his shows and like sings
• 18:54
  Speaker 1: the song and that's the right, the iconic. Oh, and
• 19:01
  Speaker 1: then you go that road and array not very good, right,
• 19:10
  Speaker 1: And he's like, otherwise I'll plagiarize. So I was like, well,
• 19:15
  Speaker 1: the steaks are there, they are right, Yeah, So she's
• 19:20
  Speaker 1: basically forced to go and sing her song on stage
• 19:23
  Speaker 1: with him, and this starts to kind of propel her
• 19:26
  Speaker 1: music career forward because people see it, and people take
• 19:28
  Speaker 1: video of it, and there's a bunch of YouTube views
• 19:30
  Speaker 1: and people start to take notice of her. And as
• 19:33
  Speaker 1: that's happening, they're developing a romantic relationship. And there's you know,
• 19:38
  Speaker 1: some struggles along the way because he again is a
• 19:42
  Speaker 1: little bit suffer like suffering from alcoholism. There's nothing like
• 19:45
  Speaker 1: having to always wait for your significant other to wake
• 19:48
  Speaker 1: up from his drunken stupor so you can hook up, right, Okay,
• 19:51
  Speaker 1: well I'll just wait till you wakept. It's h two
• 19:55
  Speaker 1: pm tomorrow, okay, five am, Okay, cool, awesome. There's and
• 20:01
  Speaker 1: also Sam Elliott is Bradley Cooper's brother and he's thirty
• 20:06
  Speaker 1: years older. This is a plat point that never I
• 20:07
  Speaker 1: was like, why couldn't he Like why does the brother
• 20:10
  Speaker 1: have to be elderly? But he is. And sam Elian's
• 20:16
  Speaker 1: character is his like manager road dog buddy, and he's
• 20:21
  Speaker 1: always like, you need to take better care of your
• 20:23
  Speaker 1: hearing because Bradley Cooper's character's hearing is got tonight, Like say,
• 20:29
  Speaker 1: I don't know that this is an Arizona farm boy accent,
• 20:32
  Speaker 1: but Sam Elliott talks the same fucking way Bradley Cooper does.
• 20:35
  Speaker 1: Bradley Cooper is doing a Sam Elliott impersonation back to
• 20:39
  Speaker 1: Sam Elliot because Sam Elliott comes. There's one scene that
• 20:42
  Speaker 1: you can't make a word out the entire thing, but
• 20:44
  Speaker 1: Sam Elliott walks up with Bradley Cooper's hearing aid and
• 20:48
  Speaker 1: he's like Jack Copper. And then there's that one scene
• 20:54
  Speaker 1: when he walks up to punch him, and it's just
• 20:56
  Speaker 1: a shot of their two faces, like just right in
• 20:59
  Speaker 1: front of each other's artisting at each other. Are we doing?
• 21:04
  Speaker 1: This movie should have been subtitled for Drunken Men, like
• 21:08
  Speaker 1: their women do not get drunk in this movie. It
• 21:10
  Speaker 1: is only useless men who can get drunk it there,
• 21:15
  Speaker 1: and then later on I got confused. There was a
• 21:18
  Speaker 1: part where I was like, Sam Elliott works at SNL
• 21:21
  Speaker 1: now because she's on SNL, right, why is he there?
• 21:24
  Speaker 1: He said? He I thought I would stop on see
• 21:28
  Speaker 1: how she's doing. And he's like, what what's that? What?
• 21:31
  Speaker 1: Like you can't hear anything because he has he's damn it,
• 21:35
  Speaker 1: you know how like when you have tonighta's you can
• 21:37
  Speaker 1: just treat everyone in your life like trash um. So
• 21:42
  Speaker 1: then at some point Ali and Jack get married, but
• 21:46
  Speaker 1: he's showing no signs there. It's a whole thing, right
• 21:51
  Speaker 1: and Eddie Griffin, Eddie Griffin's also there. Yeah, he rolls
• 21:55
  Speaker 1: through everyone's at the wedding. Andrew Dice Clay is Allie's dad,
• 22:00
  Speaker 1: explains YouTube video counts at one point it's a great movie.
• 22:05
  Speaker 1: He's like, you know, for everyone doubts how many people
• 22:07
  Speaker 1: seen it? I wanted two hundred times. I was like, oh,
• 22:09
  Speaker 1: this is great. It's unclear. I'm still not sure where
• 22:13
  Speaker 1: this movie is supposed to be taking place. I do.
• 22:15
  Speaker 1: I've reached the conclusion it's Los Angeles, Yes, I believe so,
• 22:18
  Speaker 1: But why they're they're talking like newsies. I thought she
• 22:21
  Speaker 1: was upstate New York because they all have New York accents.
• 22:23
  Speaker 1: But then they get on a motorcycle go to Arizona
• 22:26
  Speaker 1: like twenty minutes and they get there like two seconds.
• 22:28
  Speaker 1: List I'm like, they didn't drive across the country. And
• 22:31
  Speaker 1: then when Lady Gaga goes in the house, she's like,
• 22:33
  Speaker 1: what the button exactly, like this is not New Yorker.
• 22:38
  Speaker 1: Think her accent comes and goes like it's nothing, And
• 22:41
  Speaker 1: let me introduce you to the concept of moving. People
• 22:45
  Speaker 1: sometimes move from one location to another expand on this period.
• 22:50
  Speaker 1: I don't know, there's inconsistency where But then she made
• 22:54
  Speaker 1: it sound like they had lived in that house her
• 22:56
  Speaker 1: whole life, Like she's like, da, how many times do
• 22:58
  Speaker 1: you carry the piano for me? Oh my god. Okay,
• 23:02
  Speaker 1: so this has been a thing. A star is born
• 23:03
  Speaker 1: in the mystery of where Lady Gaga's character lives starts
• 23:06
  Speaker 1: a hilarious debate among film critics. Okay, so this has
• 23:08
  Speaker 1: been a point of contention. We don't know where anyone's from.
• 23:11
  Speaker 1: I don't think that's how people from Arizona sound, but
• 23:14
  Speaker 1: I'm not very well. I was also trying to gauge
• 23:16
  Speaker 1: where they lived together in that house of his. Is
• 23:18
  Speaker 1: that like supposed to be like the Hollywood Hills or something?
• 23:20
  Speaker 1: I thought, okay, because at one point she goes like,
• 23:24
  Speaker 1: I have to play the Forum tonight. Will you meet
• 23:25
  Speaker 1: me there? And then she leaves, so it's like, clearly
• 23:27
  Speaker 1: if you're somewhere else he lives, like l ash or something.
• 23:33
  Speaker 1: I don't know. She's like, oh, meet me at the
• 23:34
  Speaker 1: Forum and right and then and then he says hey,
• 23:43
  Speaker 1: he says, I don't want but this time it's sad
• 23:47
  Speaker 1: because he's going to kill him. Okay, so sorry. As
• 23:51
  Speaker 1: she's advancing in her career, he is, you know, still
• 23:55
  Speaker 1: drinking a lot. He becomes verbally abusive different points. He's jealous. Um,
• 24:01
  Speaker 1: he rubs a bagel on her face. There's lot of
• 24:05
  Speaker 1: icing ends up on face. Brad like Cooper's got I'll
• 24:07
  Speaker 1: go on the record. He's got a thing with the
• 24:09
  Speaker 1: cake on the face. There's a lot of cake in
• 24:11
  Speaker 1: the face in the movie. Every top Bill character gets
• 24:15
  Speaker 1: some cake on the face. Day of Chappelle gets cake
• 24:17
  Speaker 1: in the face. I don't know if Eddie Griffin gets
• 24:20
  Speaker 1: cake in the fast. So then she wins a Grammy
• 24:26
  Speaker 1: because she's become so famous, she's at that point in
• 24:29
  Speaker 1: her career. It was a nice touch that Lady Gaga
• 24:32
  Speaker 1: dressed like a Grammy because that's what Lady Gaga would do. Yeah,
• 24:35
  Speaker 1: her dress is like a Grammy dress. But at this
• 24:38
  Speaker 1: Awards ceremony, Jack is so drunk that he like stumbles
• 24:43
  Speaker 1: up onto the stage and then pisces himself, like on
• 24:47
  Speaker 1: camera on the stage and watching now, I don't know why.
• 24:51
  Speaker 1: I was like, first, sure, Bradley Cooper method pepe himself,
• 24:54
  Speaker 1: but it's definitely a post PEP. It's a I kind
• 24:59
  Speaker 1: of how to tube, like a tube of those like
• 25:02
  Speaker 1: we're going to excessively PP. I don't know, you know
• 25:05
  Speaker 1: how you can just sort of tell, Well, I'm a hacker,
• 25:07
  Speaker 1: so I can tell when things are computer but I'm
• 25:09
  Speaker 1: pretty sure it was computer PP. He wouldn't actually have
• 25:13
  Speaker 1: pped himself, No, I think maybe he tried, but he
• 25:15
  Speaker 1: got a nerve. I thought there was like a little pepee,
• 25:18
  Speaker 1: little two PP. I think it was a practical effect.
• 25:21
  Speaker 1: I think, really I feel that way. I feel like
• 25:25
  Speaker 1: this is this is what I love about movies Like this,
• 25:27
  Speaker 1: someone knows or someone that's in the process of trying
• 25:30
  Speaker 1: to find out what the deal with the PP is.
• 25:32
  Speaker 1: Bradley Cooper is known for being a practical effect genius hangout.
• 25:39
  Speaker 1: He was James Cameron. He all that face. He just
• 25:43
  Speaker 1: laid in the sun for ten hours for that facial.
• 25:45
  Speaker 1: Whatever was going on is a bloated red face the
• 25:48
  Speaker 1: whole time. Yeah, I love it. Okay. So at the
• 25:51
  Speaker 1: award ceremony, he p's himself and then he's like, oh crap,
• 25:55
  Speaker 1: I've hit rock bottom. Better go to hit the rock
• 26:04
  Speaker 1: of Peppy. So he goes to rehab and Ali's all like,
• 26:10
  Speaker 1: I still love you. We can make this work. You're
• 26:12
  Speaker 1: going to come back home, right, And he's like, oh yeah,
• 26:14
  Speaker 1: I think so. She way over dresses to go to rehab. Yeah.
• 26:18
  Speaker 1: I didn't think her outfit was appropriate for rehab. He
• 26:23
  Speaker 1: gets back home, he's in recovery and her manager, whose
• 26:28
  Speaker 1: name is rez Gavrin, I believe British villain, British twink
• 26:34
  Speaker 1: villain off head of you. And then she's like in
• 26:39
  Speaker 1: her Scott records and he literally goes over to probably
• 26:42
  Speaker 1: Cooper's house. He's like, I would be real help if
• 26:45
  Speaker 1: you killed He basically tells Jack that he has ruined
• 26:51
  Speaker 1: Lady Guga's career and that they've had to do like
• 26:54
  Speaker 1: so much damage control. So Jack this prompts him to
• 26:58
  Speaker 1: commit suicide Fish so it's like the the British Guy.
• 27:06
  Speaker 1: And then there's like a tribute song at the end
• 27:09
  Speaker 1: where she's like, I'm Ali Maine and she sings a
• 27:11
  Speaker 1: song and everyone's sad. This is original, the actual Let's
• 27:18
  Speaker 1: take a quick break and we'll come back and watch
• 27:21
  Speaker 1: A Star is Born again. Let's take a quick break
• 27:24
  Speaker 1: and then we will be right back and we're back. Okay,
• 27:33
  Speaker 1: So where do we want to begin with this? Because
• 27:35
  Speaker 1: I just have so many thoughts I don't know where
• 27:37
  Speaker 1: to start. Well, I personally would like to draw attention
• 27:41
  Speaker 1: to Jack's behavior in the beginning of the movie, where
• 27:46
  Speaker 1: I think we can apply the Bushemi test to this,
• 27:50
  Speaker 1: where early on he's apply that not super like you
• 27:54
  Speaker 1: were saying, like the not super famous guy. I think
• 27:56
  Speaker 1: if someone that hot who was a nobody was doing
• 28:00
  Speaker 1: that ship people would also not be having it. Sure.
• 28:02
  Speaker 1: I mean, basically, after they've met, for they've known each
• 28:07
  Speaker 1: other for less than twenty four hours, he's like, Hey,
• 28:09
  Speaker 1: come to my gig tonight, and she's like, I can't.
• 28:12
  Speaker 1: I have to work. No thanks, and he's like please though,
• 28:15
  Speaker 1: and she's like, no, I can't. She's telling him no
• 28:18
  Speaker 1: several times. Then he sends his driver to her house
• 28:22
  Speaker 1: to pick her up to follow her right um, and
• 28:25
  Speaker 1: then she's like no, I can't. But then eventually she
• 28:28
  Speaker 1: decides to get on this private jet and go to
• 28:31
  Speaker 1: this gig after all. Uh. And then a few scenes later,
• 28:36
  Speaker 1: she's sleeping in her bed and she wakes up and
• 28:39
  Speaker 1: Jack is there and she's like, how why are you here?
• 28:42
  Speaker 1: And he's like, oh, your dad let me in here.
• 28:44
  Speaker 1: I am. So this is like, Dice, what are you doing?
• 28:48
  Speaker 1: I respect your daughta. What the are you doing? That
• 28:55
  Speaker 1: a good line read by Dice. We have to remember
• 28:58
  Speaker 1: he is one of comedies most notorious misogynists, one of
• 29:01
  Speaker 1: the most successful misogynists in the entire industry. Good for
• 29:05
  Speaker 1: him though. He did a couple of goods my daught Yeah,
• 29:08
  Speaker 1: he had a great lines beginning. Take a look at
• 29:11
  Speaker 1: her To all his buddies, you know, some with the
• 29:14
  Speaker 1: most talent, they just don't make it. It was like,
• 29:17
  Speaker 1: you fucking assho. Literally after she comes home starts cleaning
• 29:21
  Speaker 1: up after him and his gross friends. Although I think
• 29:24
  Speaker 1: It was a super producer, Sophie, who said, uh, Dice
• 29:29
  Speaker 1: is squatted in every scene in this movie. He's got
• 29:32
  Speaker 1: like no less than four old men with him, just
• 29:35
  Speaker 1: like being like, Dice is the fucking I think that's
• 29:38
  Speaker 1: his like real life entourage. He's like, I don't come
• 29:41
  Speaker 1: on set with less than four fucking gross dudes. I
• 29:45
  Speaker 1: think though probably I could not figure out that was
• 29:48
  Speaker 1: Dice to save my life because I realized I had
• 29:50
  Speaker 1: never seen andrewdies Clay's eyes because he always wears his sunglasses,
• 29:54
  Speaker 1: and that was fucking me up until the last same
• 29:56
  Speaker 1: of the credits, and I'm like, is that andrewdiese Clay?
• 29:58
  Speaker 1: And I like felt like a fucking idiot. It really
• 30:00
  Speaker 1: actually took me out of the film a little. It
• 30:02
  Speaker 1: took a couple of scenes to figure out it was Dice,
• 30:04
  Speaker 1: which is too bad because I think that all of
• 30:06
  Speaker 1: us right now could play his girlfriend and a thing
• 30:10
  Speaker 1: about the right age. My boyfriend is Andrew night Anna
• 30:17
  Speaker 1: my daddy. But you know what I mean, I'm so
• 30:20
  Speaker 1: sorry about that funked up stuff I said. But in
• 30:24
  Speaker 1: any case, the behavior the Bradley Cooper's character is doing
• 30:30
  Speaker 1: is troubling. It's stockery. It's predatory, but because he is
• 30:35
  Speaker 1: a man with fame and power and influence, she's like, oh,
• 30:40
  Speaker 1: how romantic. So I was truly surprised how quickly they
• 30:45
  Speaker 1: just started making out. I was like, really, that girl,
• 30:47
  Speaker 1: I don't mean, you don't really know much about him
• 30:48
  Speaker 1: on the knees a famous person and seems drunk as fuck.
• 30:53
  Speaker 1: They I feel like they try to work around that
• 30:56
  Speaker 1: by saying like, oh, she does at least go to work,
• 31:00
  Speaker 1: but then someone's like, you're fucking late, and she's like,
• 31:03
  Speaker 1: I fucking quit, and then she gets in the limit
• 31:07
  Speaker 1: that followed her. I don't know. I didn't. This is
• 31:11
  Speaker 1: kind of like the inception of this relationship changes. I
• 31:15
  Speaker 1: think there's versions of it where it's done better in
• 31:17
  Speaker 1: past stars, and there's also versions where it's like way creepier.
• 31:21
  Speaker 1: But they're the first two stars born. Happens between actors.
• 31:26
  Speaker 1: This one and the Strisan one are musicians, but it
• 31:31
  Speaker 1: usually starts with like them they meet she's a little
• 31:34
  Speaker 1: girl from nowhere who just moved to Hollywood to become
• 31:37
  Speaker 1: a big staw and she's an extra and she's a
• 31:40
  Speaker 1: waitress in the whole bit, and then he like gets
• 31:43
  Speaker 1: her an audition, which is less creepy than sending someone
• 31:48
  Speaker 1: in a in a vehicle to follow her around. Um yeah,
• 31:52
  Speaker 1: I feel like they're really trying to push the like
• 31:54
  Speaker 1: this is an undeniable love situation, but that didn't work
• 31:58
  Speaker 1: for me. Like I I didn't believe that they were
• 32:00
  Speaker 1: like undeniably attracted to each other, and we're just being
• 32:02
  Speaker 1: pulled without their control to each other. And that's why
• 32:05
  Speaker 1: they started, like, you know, almost hooking up almost immediately.
• 32:08
  Speaker 1: Like I didn't trust the way it was done in
• 32:10
  Speaker 1: the movie. I didn't believe it necessarily. There's so much
• 32:13
  Speaker 1: in all of these stories, but speaking to like the
• 32:16
  Speaker 1: eighteen one as well, that like there's so many elements
• 32:20
  Speaker 1: of this story that go completely unexplored, and I think that,
• 32:24
  Speaker 1: like one of the greatest weaknesses of this story is
• 32:27
  Speaker 1: that it is like sort of doesn't give it's the
• 32:30
  Speaker 1: star who is born a k a. The one woman
• 32:33
  Speaker 1: in the movie who talks really enough, not even like
• 32:36
  Speaker 1: it's like Lady Guy was very present in this movie,
• 32:39
  Speaker 1: but there are certain elements of her personality that are
• 32:41
  Speaker 1: totally unexplored because this character that esther Bladget or Ali
• 32:46
  Speaker 1: who fucking knows is like the woman who stands by
• 32:50
  Speaker 1: her man, and it's like the message of this whole
• 32:53
  Speaker 1: franchise is like, hey, if you're in a relationship with
• 32:56
  Speaker 1: an abusive alcoholic hanging there, maybe he'll die. Like it's
• 33:02
  Speaker 1: just not good. But but there's a few like, Okay,
• 33:05
  Speaker 1: some things that occurred to me. And I haven't done
• 33:08
  Speaker 1: a lot of reading about this Star is Born, just
• 33:11
  Speaker 1: because I just I've been too busy watching it over
• 33:15
  Speaker 1: and over. But some things that occurred to me about
• 33:18
  Speaker 1: Ali and Jackson's relationship that we never addressed, aside from
• 33:23
  Speaker 1: being in a relationship with an addict, which we can
• 33:25
  Speaker 1: get to because that is like weight glassed over, like
• 33:29
  Speaker 1: he was mean to her one time, Like that's not
• 33:31
  Speaker 1: how I know. But one thing that's never touched on is,
• 33:37
  Speaker 1: you know, the power dynamics in this relationship from the
• 33:40
  Speaker 1: jump are off, and they're off in every incarnation of
• 33:44
  Speaker 1: this story. And so I don't I mean, I don't
• 33:47
  Speaker 1: even know where a land on this. But there's some
• 33:49
  Speaker 1: times where I'm in the story and I'm like, well,
• 33:52
  Speaker 1: Ali like probably would feel weird leaving him early in
• 33:56
  Speaker 1: that relationship, even though he's clearly a fucking mess, even
• 34:00
  Speaker 1: if she does like him because her entire career is
• 34:02
  Speaker 1: dependent on him, which is a power dynamic he introduced.
• 34:06
  Speaker 1: But you know, it's I think that that adds some
• 34:08
  Speaker 1: complexity to her character. If it's not just like she's
• 34:12
  Speaker 1: so in love with him and she can't leave because
• 34:15
  Speaker 1: she loves him so much. It's like, well, what if
• 34:16
  Speaker 1: she sort of wants to leave but her entire career
• 34:19
  Speaker 1: is tethered to this one person. Like that's something that
• 34:22
  Speaker 1: happens in the first half of the movie that I
• 34:24
  Speaker 1: thought would have been at least interesting to acknowledge. But
• 34:27
  Speaker 1: that power dynamic is never They're like, well, they love
• 34:29
  Speaker 1: each other and correct me if I'm wrong, But I
• 34:31
  Speaker 1: don't think he ever does anything to like promise that
• 34:35
  Speaker 1: he's gonna, like uplift her career and get her to
• 34:37
  Speaker 1: where that doesn't happen, right, He's always like, I'll get
• 34:40
  Speaker 1: too far. He does, he does that and in the
• 34:42
  Speaker 1: other versions, but I mean, it still feels pretty heavily implied,
• 34:46
  Speaker 1: like if she left that tour, it's not like she
• 34:50
  Speaker 1: could just you know, like I think the story would
• 34:52
  Speaker 1: have you believe she needs to be on tour with
• 34:54
  Speaker 1: him at the beginning, and you know, establish herself as
• 34:57
  Speaker 1: his sort of like right hand singer before she can
• 35:01
  Speaker 1: become you know, and meets everybody she has to meet
• 35:03
  Speaker 1: and then she can take off on her own. But
• 35:05
  Speaker 1: she couldn't have technically started on this path in this
• 35:08
  Speaker 1: story without him. And that's like to sort of a
• 35:11
  Speaker 1: dynamic that they don't acknowledge at all. Right, And I'm
• 35:14
  Speaker 1: not saying that this thing happens in this I'm not
• 35:19
  Speaker 1: familiar enough with the other ones to know if this happens,
• 35:21
  Speaker 1: but like it's reminiscent of situations where someone like Harvey
• 35:26
  Speaker 1: Weinstein targets a young up and comer who's like, I'll
• 35:32
  Speaker 1: take you far if you just come to my hotel room,
• 35:34
  Speaker 1: or you know, like making promises, and what they're really
• 35:38
  Speaker 1: doing is just manipulating and abusing and ruining their lives.
• 35:43
  Speaker 1: They felt like sorry, there was a selfishness to his
• 35:46
  Speaker 1: behavior in the sense that he actually didn't want her
• 35:49
  Speaker 1: to grow beyond being a singer with him, right, And
• 35:53
  Speaker 1: that's when he starts to get the kid. That's when
• 35:55
  Speaker 1: the cake is in the face when she starts to
• 35:59
  Speaker 1: out achieve him, and she does call him out and
• 36:01
  Speaker 1: was like, you're jealous, but it's like, I do like
• 36:05
  Speaker 1: the part where she lets him headbutt a TV or
• 36:09
  Speaker 1: she's like, you want to play? Lest fucking play? And
• 36:11
  Speaker 1: then he had butt the TV and she's like it
• 36:14
  Speaker 1: just like passes out into it. Yeah, and then she
• 36:16
  Speaker 1: gets the cake off her face, she goes, what the
• 36:17
  Speaker 1: fund is this? This? I did want to see more?
• 36:22
  Speaker 1: Sad thing is like a lot of her attitude came
• 36:24
  Speaker 1: out in the beginning and then sort of just became
• 36:27
  Speaker 1: passive at the end, Like she didn't defend herself, shen
• 36:30
  Speaker 1: stand up for herself. She just kind of went along
• 36:32
  Speaker 1: with what people told her to do. Thing Like, she
• 36:34
  Speaker 1: doesn't have much agency in this story. She things happened
• 36:37
  Speaker 1: to her, but she's not necessarily I mean you could say, like,
• 36:41
  Speaker 1: you know, the the hard work she's put into being
• 36:44
  Speaker 1: a singer and you know, working on her craft, but
• 36:46
  Speaker 1: we don't really see that. The story picks up basically
• 36:49
  Speaker 1: right before she's propelled to start them, so right, I mean,
• 36:52
  Speaker 1: we at least get the moment of like we know
• 36:55
  Speaker 1: she's good enough, she has what it takes. It's not
• 36:57
  Speaker 1: like they need to fake her talent at any point, right,
• 37:00
  Speaker 1: which I appreciate it, it's not like, what's that fucking
• 37:03
  Speaker 1: movie with Meryl Streep and Hugh Grant Florence Foster Jenkins.
• 37:07
  Speaker 1: It's not a Florence Foster Jenkins sitch, right, But yeah,
• 37:12
  Speaker 1: but everything happens to her. Yeah, so she's not necessarily
• 37:15
  Speaker 1: going out and making active choices, and arguably that's because
• 37:20
  Speaker 1: it's Bradley Cooper's character who's the protagonist of the story,
• 37:23
  Speaker 1: who's driving the narrative. But it would still be nice
• 37:25
  Speaker 1: to like to see her, I don't know, just be
• 37:28
  Speaker 1: more active in the pursuit of something. But it's a
• 37:31
  Speaker 1: lot of stuff happening to her and her kind of
• 37:34
  Speaker 1: rolling with the punches. It does seem like there's this
• 37:38
  Speaker 1: overall like male savior vibe throughout the entire film. It
• 37:41
  Speaker 1: like it's very broad because it starts with him, you know,
• 37:44
  Speaker 1: giving her her first break to like that guy being
• 37:47
  Speaker 1: like I'll make you know, signing Interscope Records, and then
• 37:49
  Speaker 1: it ends with him killing himself because he's like, I'm
• 37:51
  Speaker 1: doing this for you so you can go on and
• 37:54
  Speaker 1: live your life without being drinking myself. Yeah, Like I'm
• 37:58
  Speaker 1: here for like this is all because of you. I'm
• 38:00
  Speaker 1: trying to make your life better and it's like she
• 38:02
  Speaker 1: could have easily have succeeded fine and gotten her life
• 38:05
  Speaker 1: together as you have not killed yourself. And also it's
• 38:08
  Speaker 1: she could have divorces like there's there's there's a lot
• 38:13
  Speaker 1: of like missed like things that you're like, you would
• 38:17
  Speaker 1: think that it would go more challenge but just doesn't.
• 38:20
  Speaker 1: Which is I mean, I don't know, I still love
• 38:23
  Speaker 1: the movie so much, so hard, but but there's so
• 38:26
  Speaker 1: there's so much where it's like she really doesn't have
• 38:29
  Speaker 1: another element. Okay, another I think we've already talked about
• 38:32
  Speaker 1: this because we've been talking about this movie for a week.
• 38:35
  Speaker 1: Where Ali does. I mean, we see the sort of
• 38:38
  Speaker 1: song she's writing at the beginning, she's ah, and then
• 38:42
  Speaker 1: when she becomes a pop star that goes away and
• 38:45
  Speaker 1: all of a sudden she's like, why would it the
• 38:47
  Speaker 1: that that it's all the time they're good, but they change, right,
• 38:52
  Speaker 1: she becomes a pop star, and there's one scene because
• 38:56
  Speaker 1: she does she sells out immediately, which is not even
• 38:59
  Speaker 1: a moment on the character because we don't really know
• 39:02
  Speaker 1: her well enough to know what her code of ethics
• 39:04
  Speaker 1: with this is. But you know, the British guy is
• 39:08
  Speaker 1: like you go to die your hand and learn to dance,
• 39:11
  Speaker 1: and so she does. And then there's one scene, the
• 39:14
  Speaker 1: one scene in their entire relationship where Bradley Cooper is
• 39:17
  Speaker 1: an alcoholic and mean to her. He comes in, she's
• 39:21
  Speaker 1: in her fucking grammy bathtub or whatever, and he is
• 39:26
  Speaker 1: He's like, so, what we're singing songs about s now?
• 39:30
  Speaker 1: Which is which is like one of the only good
• 39:33
  Speaker 1: points he makes in the entire movie that goes totally unexploited.
• 39:36
  Speaker 1: Like he points out, like, hey, you have changed a lot,
• 39:40
  Speaker 1: and you are. And he's saying that partially because he's jealous,
• 39:44
  Speaker 1: but also there is an element to that character, yeah,
• 39:47
  Speaker 1: where he's like a pure artist or whatever he thinks
• 39:50
  Speaker 1: he is, and he looks down at people who aren't
• 39:52
  Speaker 1: like that. Should have approached it differently because also in
• 39:56
  Speaker 1: that conversation, he's telling her that she's ugly and that
• 39:59
  Speaker 1: she has no talent. She's an embarrassment now because of
• 40:02
  Speaker 1: how she's taken her opportunity and like used it to
• 40:06
  Speaker 1: become this pop star or just mostly I don't know,
• 40:08
  Speaker 1: I guess let go of her true inner musician to
• 40:12
  Speaker 1: cater to people who will give her that kind of attention.
• 40:15
  Speaker 1: In money and you know which isn't I think that's
• 40:18
  Speaker 1: a really interesting theme that they drop after that Like that,
• 40:23
  Speaker 1: it's just because as flawed and bad and as much
• 40:27
  Speaker 1: of a sign of like, this is a toxic relationship
• 40:30
  Speaker 1: as that scene is. He makes that point and she's like, no,
• 40:33
  Speaker 1: that's my song. I wrote it. It's great, and then
• 40:35
  Speaker 1: it's like, but we know that it's I don't know.
• 40:38
  Speaker 1: That was one thing where I was like, that would
• 40:39
  Speaker 1: have been another interesting element to this character. But the
• 40:42
  Speaker 1: story is so committed to making her a perfect angel
• 40:46
  Speaker 1: that she's a boring character. Sure. I would also real
• 40:49
  Speaker 1: quick argue that there's some gratuitous nudity in that scene,
• 40:52
  Speaker 1: because why does it take in place in a bathtub
• 40:54
  Speaker 1: and then she stands up out of it and you're like,
• 40:56
  Speaker 1: see her whole naked body, just a quick glimpse of it.
• 40:58
  Speaker 1: But it's like, that's even the past stars bathtubs a lot. Okay,
• 41:04
  Speaker 1: Like the actual scene where she's putting on makeup on him,
• 41:06
  Speaker 1: like that happened in the stridesand vers and I think
• 41:09
  Speaker 1: it happened in the Garland does on the version also
• 41:13
  Speaker 1: argue that we didn't necessarily need that nudity in that moment,
• 41:16
  Speaker 1: but maybe I'm just approved. I decayed it, but I
• 41:18
  Speaker 1: can't wait to print it on iTunes and pose it.
• 41:21
  Speaker 1: So another thing that I thought could have been explored
• 41:26
  Speaker 1: far more that wasn't is the sort of pressure that
• 41:30
  Speaker 1: is placed upon usually women in the entertainment industry to
• 41:35
  Speaker 1: change the way they look and cater to a specific
• 41:38
  Speaker 1: image that like whatever studio or record label is voisting
• 41:42
  Speaker 1: upon them. Because early on in the film, Ali is
• 41:46
  Speaker 1: talking to Jack. I think it's like the night that
• 41:49
  Speaker 1: they first meet, and she's describing right, She's like, oh,
• 41:52
  Speaker 1: you know, I haven't gotten my break in this industry yet,
• 41:55
  Speaker 1: because you go into these rooms and there's all these
• 41:58
  Speaker 1: men looking at you and they tell you that you
• 42:00
  Speaker 1: sound great, but you don't look great. And she expresses
• 42:02
  Speaker 1: some insecurities about her nose and stuff like that. So
• 42:06
  Speaker 1: she's talking about this and then she gets her big
• 42:09
  Speaker 1: break and it starts to work out, but then her
• 42:12
  Speaker 1: manager is like, we need you to dye your hair
• 42:15
  Speaker 1: blonde and don't tell the dances not to go on stage.
• 42:19
  Speaker 1: To build on that point, it was almost as if
• 42:21
  Speaker 1: they couldn't acknowledge that her looks didn't matter until she
• 42:24
  Speaker 1: got signed off by another man to be like, hey,
• 42:26
  Speaker 1: well I approve and then they're like yeah, yeah, exactly.
• 42:31
  Speaker 1: But the entertainment industry has like a very long, troubling
• 42:35
  Speaker 1: history of like shaping women into, you know, the person
• 42:40
  Speaker 1: that whatever studio wants them to be. For example, you
• 42:43
  Speaker 1: can take a look at Judy Garland's career where she
• 42:47
  Speaker 1: was like forced pills to like keep her thin, to
• 42:50
  Speaker 1: keep her peppy and eight years right, and then you
• 42:53
  Speaker 1: know there's other Garland was also famously molested by Louis B.
• 42:58
  Speaker 1: Mayer himself when she was like thirteen or fourteen years olds.
• 43:02
  Speaker 1: So it's like, but yeah, different, you know the studios
• 43:07
  Speaker 1: network's record labels, you don't have an image in mind
• 43:11
  Speaker 1: for you know, whatever young anginue they are trying to
• 43:15
  Speaker 1: build into a superstar, and they basically decide, Okay, here's
• 43:18
  Speaker 1: what you look like, here's what you're gonna wear, here's
• 43:20
  Speaker 1: what you're going to act like. And I think, right,
• 43:25
  Speaker 1: I think the movie could have explored that a lot more.
• 43:28
  Speaker 1: But especially it's not the story, I guess, especially because
• 43:31
  Speaker 1: it's like you have Lady Gaga here, you have a
• 43:34
  Speaker 1: fucking expert on this topic in the room. She can
• 43:39
  Speaker 1: tell you, but I don't know. This is. This is
• 43:42
  Speaker 1: also I believe this is the only version of this
• 43:49
  Speaker 1: script that is written entirely by men. There's usually at
• 43:52
  Speaker 1: least one woman involved, but this is There's a lot
• 43:56
  Speaker 1: of themes that go like surface explored, Like I think
• 43:59
  Speaker 1: that they're trying trying to make a statement by like
• 44:02
  Speaker 1: Lady Gaga's nose, but then she's famous anyways, and like cool,
• 44:06
  Speaker 1: but it is it's also surface where she basically still
• 44:10
  Speaker 1: ends up folding to all of their demands and that
• 44:12
  Speaker 1: ends up working out in her favor. There's really no
• 44:15
  Speaker 1: consequence for that happening, So like, what's the comment, like
• 44:18
  Speaker 1: do it? There is a part in her smart and
• 44:21
  Speaker 1: I think that like she does kind of decide to
• 44:25
  Speaker 1: just give it and take it into her own hands
• 44:26
  Speaker 1: and be like, fine, I'm going to do all this,
• 44:29
  Speaker 1: but I'm going to do it my own way, Like
• 44:30
  Speaker 1: when they said, oh, make your hair plan and Blonde's like, no,
• 44:33
  Speaker 1: I'll do orange, which is weird choice. But there is
• 44:36
  Speaker 1: things that I think like, oh, well, she was actually
• 44:38
  Speaker 1: like even though it wasn't necessarily the right choice and
• 44:41
  Speaker 1: it was selling out, she made the choice to sell out,
• 44:44
  Speaker 1: which was like, I don't even care that this character
• 44:47
  Speaker 1: sells out. I'm not even critical of her for that.
• 44:49
  Speaker 1: But it's like they don't even talk about that, they
• 44:51
  Speaker 1: don't even look at that, just like they're like, well,
• 44:53
  Speaker 1: this is what happened. I'm like, but this is the
• 44:55
  Speaker 1: star who's born. Why don't we get to here where
• 44:57
  Speaker 1: she'd think about nothing? Right? It's so the whole thing
• 44:59
  Speaker 1: is it's about this woman, but the whole story unfolds
• 45:03
  Speaker 1: from the point of view of men around. Yeah, you
• 45:07
  Speaker 1: have to see I mean, you know, as much as
• 45:09
  Speaker 1: I love seeing Bradley Cooper and Sam Elliott crying together
• 45:12
  Speaker 1: in like three different scenes, it's like, okay, we uh,
• 45:17
  Speaker 1: there's there's there's there's so much I mean. And then
• 45:19
  Speaker 1: the last big note I had for things that go
• 45:22
  Speaker 1: unexplored in Ali's character is her relationship to her father
• 45:26
  Speaker 1: where there's a scene that I find so frustrating with
• 45:29
  Speaker 1: Ali and Dice, uh towards the end of the movie,
• 45:34
  Speaker 1: and it's after Jackson Pepete himself and now he's in
• 45:38
  Speaker 1: rehab and she's like, eat us up a breakfast. Sorry,
• 45:40
  Speaker 1: I'm stressed. The whole thing and Dice it's already been
• 45:44
  Speaker 1: acknowledged several times that Dice is also an alcoholic seems
• 45:50
  Speaker 1: to have had a drinking problem. That tracks in terms
• 45:53
  Speaker 1: of like, you know, children of alcoholics very often end
• 45:56
  Speaker 1: up with alcoholics. R I p me, but um, but
• 46:04
  Speaker 1: the same though. Yeah, I mean it's it's we've got
• 46:07
  Speaker 1: we've got evidence in the room. Uh. But he starts
• 46:10
  Speaker 1: to apologize to her, starts to be like, I'm sorry
• 46:13
  Speaker 1: I wasn't a better father to you. And I think
• 46:16
  Speaker 1: her character acts, I mean, it makes sense that this
• 46:20
  Speaker 1: would be a conversation that would happen, But in terms
• 46:22
  Speaker 1: of moving the plot forward, I found it very frustrating
• 46:24
  Speaker 1: because she's like, it's totally fine, It's totally fine. You
• 46:27
  Speaker 1: were supportive of my music career. You carried my piano
• 46:30
  Speaker 1: up the stairs once, and you like paid attention to
• 46:33
  Speaker 1: me in that way. It's fine. You didn't do anything.
• 46:36
  Speaker 1: And then Dice goes, you're the best person in the
• 46:39
  Speaker 1: world kidding me. Something I know, you know, just throughout
• 46:42
  Speaker 1: a lot of movies or just even in real life,
• 46:43
  Speaker 1: is that women, no matter what, even if we get
• 46:46
  Speaker 1: the abuse and we have to take it, we still
• 46:48
  Speaker 1: have to be the ones to make sure the men
• 46:49
  Speaker 1: are okay, right, It's like she's the one going through it,
• 46:52
  Speaker 1: but she's still reassuring her father that he's okay, making
• 46:54
  Speaker 1: sure he eats. It's like she literally had to go
• 46:58
  Speaker 1: on the Grammy stage and while her Ben Pete himself
• 47:01
  Speaker 1: and she was like, we're having a lot of fun tonight.
• 47:04
  Speaker 1: Like that was the most cringe worthy moment where you're
• 47:06
  Speaker 1: just trying to just like keep your ship together for
• 47:09
  Speaker 1: your trash ass. She's so accommodating, and it's it is frustrating.
• 47:15
  Speaker 1: It's like these people around you are fucking up and
• 47:18
  Speaker 1: you're just taking care of them and like not reacting
• 47:20
  Speaker 1: to it. And if that's a part of who your
• 47:22
  Speaker 1: character is, fine, but like show us that and show
• 47:25
  Speaker 1: us that it causes her pain outside of like you
• 47:29
  Speaker 1: hurt me, which happens like three times. Yeah, at that
• 47:32
  Speaker 1: moment where she forgave him, I was like you need
• 47:34
  Speaker 1: to slap him across the face because you hurt me,
• 47:38
  Speaker 1: and him being like taken Jesus Christ, And that's like
• 47:45
  Speaker 1: another like if if this movie was a different kind
• 47:49
  Speaker 1: of movie, it could have explored the dynamics of an
• 47:53
  Speaker 1: abusive relationship where it's not like if you're in an
• 47:55
  Speaker 1: abusive relationship. It's out of the question that someone would
• 47:58
  Speaker 1: say something really fucked up to you and you would
• 48:01
  Speaker 1: say I forgive you to avoid further conflict. But it's
• 48:05
  Speaker 1: presented to us as like they love each other and
• 48:08
  Speaker 1: they're working through some stuff. But that doesn't, I mean,
• 48:11
  Speaker 1: in context, seemed to be the reality of this relationship
• 48:14
  Speaker 1: at all. Also a question, uh that goes back to
• 48:17
  Speaker 1: our Fifty Shades episode, what amount of time does this
• 48:21
  Speaker 1: movie take place at? No, that is a good question.
• 48:23
  Speaker 1: I think two years max. The only time that we
• 48:26
  Speaker 1: know has passed is when he says he's been at
• 48:28
  Speaker 1: rehab for two months. That is the only time really
• 48:30
  Speaker 1: acknowledged time time twenty four hours where they meet and
• 48:36
  Speaker 1: then a few hours later she's on a private jet
• 48:39
  Speaker 1: to go to his gig and sting with him on stage.
• 48:42
  Speaker 1: It's crazy. We got to take a quick break, but
• 48:45
  Speaker 1: let's explore this more when we return. And we're back,
• 48:54
  Speaker 1: I have a quick comment about juxon Main's character um
• 48:58
  Speaker 1: compared to pass versions of this character. The first one
• 49:03
  Speaker 1: is Norman Maine, I believe the second one is also
• 49:07
  Speaker 1: Norman Maine. And then does Christopherson have like a weird
• 49:10
  Speaker 1: John Harman Howard they're all variants, and then Jackson Maine
• 49:14
  Speaker 1: all variants in the same name Bradley Cooper's. I think
• 49:17
  Speaker 1: one of the adjustments made that I don't even know
• 49:21
  Speaker 1: how I feel about it. I think it's just kind
• 49:23
  Speaker 1: of like it makes sense, but it also creates a
• 49:26
  Speaker 1: lot of problems. That we've been talking about is that
• 49:29
  Speaker 1: Bradley's Jackson Maine is of the four, by far the
• 49:34
  Speaker 1: least despicable version of this character and by far the
• 49:37
  Speaker 1: most lovable, because the previous three are drunk in ways
• 49:42
  Speaker 1: that are more violent. I believe in the first one
• 49:45
  Speaker 1: she literally is hit uh in in the straisand one
• 49:50
  Speaker 1: he cheats on her. There's like more clear implications of like,
• 49:54
  Speaker 1: this is not a good guy, which makes it more
• 49:57
  Speaker 1: frustrating at the end where she's like I have him,
• 50:00
  Speaker 1: but also creates, I mean, a more disgustable relationship or
• 50:05
  Speaker 1: a more real relationship that could actually have happened, where
• 50:10
  Speaker 1: Bradley Cooper is sort of Jackson Mane presented as like,
• 50:14
  Speaker 1: as far as we know, he never cheats on her,
• 50:15
  Speaker 1: as far as we know, he is mean to her
• 50:17
  Speaker 1: one time, and and there's a cake in the face
• 50:20
  Speaker 1: but he's pretty good natured about everything and he stays
• 50:22
  Speaker 1: generally supportive. I I feel like, just based on talking
• 50:27
  Speaker 1: to my my friends about it last night, because I
• 50:30
  Speaker 1: was like, oh, I wonder, like, what the Because I
• 50:32
  Speaker 1: think if you left any of the first three, no
• 50:34
  Speaker 1: matter how you feel about it, you leave being like
• 50:36
  Speaker 1: it sucks that he killed himself, but he was a
• 50:38
  Speaker 1: bad guy and he he wanted to hurt her, you know,
• 50:42
  Speaker 1: And in this one, I think you leave like Bradley Cooper,
• 50:45
  Speaker 1: it was so nice, but so like they make adjustments
• 50:48
  Speaker 1: to the character, they kind of neutralize It makes it
• 50:53
  Speaker 1: harder to criticize him. And I don't even know how
• 50:55
  Speaker 1: I feel about that, but it's just weird. A lot
• 50:58
  Speaker 1: of that also feels like the reason Bradley Cooper's like
• 51:01
  Speaker 1: the worst he gets is, you know, being on stage
• 51:04
  Speaker 1: and you know, berating her a little while she's in
• 51:06
  Speaker 1: the bathtubs. That also just feels like the industry working
• 51:09
  Speaker 1: behind Bradley Cooper to be like, well, I mean, you'll
• 51:11
  Speaker 1: be a shitty drunk, but we're not going to have
• 51:13
  Speaker 1: you hit her because we don't want people to see
• 51:14
  Speaker 1: you in that nature. You know, Like there's something working
• 51:17
  Speaker 1: there where Bradley has that control over how his character
• 51:20
  Speaker 1: like as how evil his character can be. So it's
• 51:24
  Speaker 1: like you're, yeah, like you come away from watching this
• 51:28
  Speaker 1: relationship different than any of the other three, where you're
• 51:31
  Speaker 1: you it's almost like cheesier and sweeter than any of
• 51:35
  Speaker 1: the other ones, where he's the best guy out of
• 51:37
  Speaker 1: all of them, but he's still awful And I don't
• 51:41
  Speaker 1: even know, it's just like it was a change that
• 51:43
  Speaker 1: I get why, Like, obviously I'm not like man, I
• 51:46
  Speaker 1: wish he hit Lady Gaga, but because like his alcoholism
• 51:51
  Speaker 1: is portrayed in such a it's more like goofy and
• 51:54
  Speaker 1: embarrassing than dangerous and harmful. In the way it's portrayed,
• 52:00
  Speaker 1: it just kind of it just makes it bizarre. And
• 52:03
  Speaker 1: it's not I mean, not that movies have to be
• 52:04
  Speaker 1: a realistic portrayal of everything, but it just the way
• 52:07
  Speaker 1: that relationship is. You leave kind of still liking him
• 52:11
  Speaker 1: anyway that I don't think that character is supposed to work.
• 52:14
  Speaker 1: And and you touch on this where like him committing
• 52:17
  Speaker 1: suicide is like this act of sacrifice and he's doing
• 52:22
  Speaker 1: it for her, and it also makes him seem like
• 52:24
  Speaker 1: kind of a martyr and almost heroic, where it is
• 52:28
  Speaker 1: like a pretty irresponsible way to frame suicidality. I do
• 52:33
  Speaker 1: appreciate that the movie does acknowledge alcoholism as a disease
• 52:38
  Speaker 1: because addiction, addiction is a mental illness, and I think
• 52:42
  Speaker 1: that a lot of people still don't quite realize that,
• 52:44
  Speaker 1: and that's because of the stigma surrounding mental illness and
• 52:46
  Speaker 1: things like that. At least, I mean, could it have
• 52:49
  Speaker 1: been explored more sure, especially because that's a huge component
• 52:52
  Speaker 1: of this movie. Was one conversation with just one line
• 52:56
  Speaker 1: where persons then the line is it's a there. I
• 53:01
  Speaker 1: did love that, Like I should have broken up with
• 53:04
  Speaker 1: him in that scene, but she doesn't. She just goes
• 53:06
  Speaker 1: it's a disease. That's what is really frustrating to me
• 53:09
  Speaker 1: about this movie is that even though he is not
• 53:11
  Speaker 1: the worst of all the renditions of this character, he
• 53:15
  Speaker 1: still mistreats her. He still puts her in positions where
• 53:17
  Speaker 1: she's constantly worrying and suffering and all this stuff. And like,
• 53:21
  Speaker 1: and maybe this is just the cynic in me where
• 53:23
  Speaker 1: I'm like, she should have lift him and like not
• 53:26
  Speaker 1: put up with this bullshit. But like I wish the
• 53:29
  Speaker 1: ending that we saw to this movie is rather than
• 53:32
  Speaker 1: him killing himself, she leaves him and she goes on
• 53:36
  Speaker 1: her own path and been a great like updated version
• 53:41
  Speaker 1: of how the story goes, because that is like a
• 53:43
  Speaker 1: convention of he always kills himself. The first two he
• 53:46
  Speaker 1: runs into the ocean drama and he like drives really
• 53:50
  Speaker 1: crazy and then gets in a car accident. Everything. I
• 53:53
  Speaker 1: don't even think it's like technically a suit I don't know.
• 53:55
  Speaker 1: It's basically the boyfriend husband of Barbara streisand who is
• 53:58
  Speaker 1: producing it, said he can't kill himself because that would
• 54:01
  Speaker 1: make him weak, so it has to be like an
• 54:02
  Speaker 1: unintentional death, which is like yeah, so the third one
• 54:07
  Speaker 1: and technically at suicide, but that was like cannon to
• 54:09
  Speaker 1: the story that he kills himself and then she goes
• 54:12
  Speaker 1: to a function and says, I miss his mane and
• 54:15
  Speaker 1: that's we love that. That's when we find out what
• 54:18
  Speaker 1: her last name is. It's the last name of the
• 54:20
  Speaker 1: man um. Sorry, is this the only one that he
• 54:23
  Speaker 1: goes to rehab? Usually he goes to jail, jail, usually
• 54:27
  Speaker 1: he does in the first stress and I don't think.
• 54:30
  Speaker 1: I don't know the Streisan one, the streisand one I
• 54:33
  Speaker 1: think is the only version where he cheats on her
• 54:35
  Speaker 1: right and then in the first two the husband does
• 54:39
  Speaker 1: something drunken disorderly and goes to jail and she has
• 54:43
  Speaker 1: to bail him out of jail. So I think that
• 54:45
  Speaker 1: that's version of they all have like a Grammy Awards
• 54:49
  Speaker 1: Show meltdown, though oscars are Grammy's. Yeah, Okay. The bottom
• 54:53
  Speaker 1: line is updates were made to the various renditions of
• 54:57
  Speaker 1: this story, so I think an update could have and
• 55:00
  Speaker 1: done to the ending where he doesn't kill himself and
• 55:02
  Speaker 1: instead she's like, I'm not going to put up with
• 55:04
  Speaker 1: your behavior anymore and the ship that you put me
• 55:07
  Speaker 1: through goodbye. And then they meet up ten years later
• 55:10
  Speaker 1: and he's like, I've been sober for ten years. You
• 55:13
  Speaker 1: get back together and whatever, or they don't and she
• 55:22
  Speaker 1: does the thing where she tries her face. I keep
• 55:25
  Speaker 1: doing that my boy friend's face. He doesn't like it.
• 55:31
  Speaker 1: I'm just like a face tracer. It's not who hasn't
• 55:36
  Speaker 1: seen the sore as. You can't just do that to
• 55:38
  Speaker 1: someone and CVS when they're not expecting. You cannot do that.
• 55:41
  Speaker 1: It's bad. Uh, just like a quick face trace. But yes,
• 55:46
  Speaker 1: I totally agree that like a version of this where
• 55:49
  Speaker 1: she leaves him would have been so effective or if
• 55:52
  Speaker 1: if if they're like no, she absolutely cannot leave him,
• 55:56
  Speaker 1: then explore why other than she loves him. That sinister
• 56:04
  Speaker 1: Another thing that I was apparted with feminist icon Alice
• 56:08
  Speaker 1: Wetterland because it just I need to talk to everyone
• 56:12
  Speaker 1: I encounter about a star's board now has her take
• 56:16
  Speaker 1: on I think that's a good point about the nature
• 56:18
  Speaker 1: of suicidality, of the way the British manager comes at
• 56:24
  Speaker 1: Bradley Cooper's character at the end and it's like kill yourself?
• 56:27
  Speaker 1: Does he literally? I mean, that's that's that whole scene.
• 56:31
  Speaker 1: And she made the point of, like, you know, someone
• 56:33
  Speaker 1: with suicidal tendencies, it just excuse what that actually is
• 56:38
  Speaker 1: and makes it bizarre of like, you know, someone committing
• 56:42
  Speaker 1: suicide very suddenly, it's usually prompted by something small and
• 56:47
  Speaker 1: like it's it wouldn't just be like, I don't know,
• 56:50
  Speaker 1: spreading the idea that suicidality is spread by someone saying
• 56:54
  Speaker 1: kill yourself is just a total misrepresentation of what that
• 56:58
  Speaker 1: sort of depression is like. It's usually something like and
• 57:02
  Speaker 1: and that could have so easily happened in that same
• 57:04
  Speaker 1: scene where it seems more likely, like the the some
• 57:08
  Speaker 1: like a manager like that would be like passive aggressive
• 57:12
  Speaker 1: and pretending to be nice. And maybe that is something
• 57:15
  Speaker 1: that triggers him because he understands that I don't know
• 57:17
  Speaker 1: it was so this movie is over the top. The movie.
• 57:20
  Speaker 1: It does set up that he has had suicidal ideation
• 57:23
  Speaker 1: before when he was a much younger guy. But yeah,
• 57:27
  Speaker 1: I think that it was not handled the most responsibly.
• 57:30
  Speaker 1: I think that what happens at the end of this
• 57:32
  Speaker 1: movie is like a very nineteen fifties understanding of suicidal ideation.
• 57:37
  Speaker 1: The cowboy hat. His character hasn't evolved from that era.
• 57:44
  Speaker 1: Like his character is still like the gruff, Right, I
• 57:47
  Speaker 1: have to wear socks, my shoes, you know, I'm a man,
• 57:50
  Speaker 1: Like he does no drink. He's yeah, he's not. He's
• 57:55
  Speaker 1: not progressive in any manner, Like he's still the old guys,
• 57:58
  Speaker 1: Like he didn't go to the women's arch. Yea, yeah,
• 58:01
  Speaker 1: where's your pussy hat? Bradley, I like that last shot,
• 58:07
  Speaker 1: puts his hat down and he's like, all right, I'm
• 58:10
  Speaker 1: laying this down for the last time. It is such
• 58:12
  Speaker 1: and he's drunk. He dies drunk, uh like pills. He's
• 58:16
  Speaker 1: something he definitely mists stoggering he's stogg yeah, and then
• 58:21
  Speaker 1: it ends with this is pretty consistent across the four.
• 58:26
  Speaker 1: The star whom is born is depressed and then has
• 58:30
  Speaker 1: asked to do a function in which she sings song,
• 58:35
  Speaker 1: and then she introduces herself as missus. I think in
• 58:38
  Speaker 1: the first two it's Mrs Norman Maine, like, she doesn't
• 58:40
  Speaker 1: even use any of her names, so this one, she
• 58:43
  Speaker 1: saysn't it it's my name is Ali Maine, defining herself
• 58:47
  Speaker 1: as she relates to a man, right, I mean, which
• 58:52
  Speaker 1: wouldn't bother me as much if we knew it. Her
• 58:54
  Speaker 1: maiden name was I never had a last name. Husband
• 58:58
  Speaker 1: was one of those people that switch exactly what she says,
• 59:02
  Speaker 1: um and Ali critique not a critique, world critique. There
• 59:07
  Speaker 1: are no women in Alle's life at all, and this
• 59:10
  Speaker 1: is not addressed once well. Interestingly enough, she relates most
• 59:15
  Speaker 1: to the women in drag that she works with at
• 59:18
  Speaker 1: the beginning, or their men in dragons. Drags are drag queens,
• 59:24
  Speaker 1: drag queens. Yes, she worked at the drag bar, and
• 59:28
  Speaker 1: then it's clear that she's known the drag queens for
• 59:32
  Speaker 1: a long time. And then she has Oh, what's the
• 59:34
  Speaker 1: name of her friend? Oh, Ramon is Ali's friend. He's
• 59:39
  Speaker 1: an ally to Ali, if you will, former former Hamilton's actor,
• 59:43
  Speaker 1: really only the best in a stars born. Oh my god. Wow,
• 59:48
  Speaker 1: he's good for him and he's also he's a part
• 59:52
  Speaker 1: of that system that like pushes her to go and yeah,
• 59:56
  Speaker 1: he encourages her, like hey, and this guy who's creeping
• 59:58
  Speaker 1: on you and like send his driver into your house.
• 1:00:04
  Speaker 1: She goes to his door when he's passed out. He's like,
• 1:00:06
  Speaker 1: wake him up, shake your titties at him, which is like, yeah,
• 1:00:09
  Speaker 1: he's maybe not a great friend, but there are no
• 1:00:14
  Speaker 1: even an Ali. We don't know anything about Ali's my mom.
• 1:00:18
  Speaker 1: In the earlier versions with Esther Blodgett that her mother
• 1:00:21
  Speaker 1: is in the various conditions of being alive, but she
• 1:00:24
  Speaker 1: is acknowledged at any point. We don't know anything, never
• 1:00:28
  Speaker 1: references the mom. We do know what happens to Jackson's mom,
• 1:00:31
  Speaker 1: but she's also killed off and first for what you know,
• 1:00:35
  Speaker 1: her death doesn't impact him the way his father's death does.
• 1:00:38
  Speaker 1: It's just all all the narrative impact is coming from
• 1:00:42
  Speaker 1: men doing shitty stuff in real time, or the shitty
• 1:00:45
  Speaker 1: stuff men did back in the day where so much
• 1:00:48
  Speaker 1: of Jackson's alcoholism is attributed to the fact that he
• 1:00:51
  Speaker 1: was dead drinking buddy, and you want to knock one back,
• 1:00:55
  Speaker 1: and he days drinking. But and I do feel like
• 1:00:57
  Speaker 1: maybe implied, sorry, I mean to cut you. Oh I
• 1:01:00
  Speaker 1: couldn't kept going, I'm sorry, I mean to interrupt your impression,
• 1:01:04
  Speaker 1: um that he was dealing with tenitus, because they do
• 1:01:08
  Speaker 1: say that at a very young age, that he may
• 1:01:10
  Speaker 1: have gone in for putting his head in like you know,
• 1:01:12
  Speaker 1: the grandmophone. So I feel like a little part of
• 1:01:15
  Speaker 1: his imply that he drinks a lot because of that tonitus,
• 1:01:18
  Speaker 1: that he's just trying. That's what I under hear that tone.
• 1:01:20
  Speaker 1: I kept forgetting about me remembering he had tenightus was
• 1:01:24
  Speaker 1: in and out the whole movie, because there were some
• 1:01:27
  Speaker 1: points where you you're hearing his tonitus in the sound design.
• 1:01:32
  Speaker 1: But then I was like, oh, just but half of
• 1:01:34
  Speaker 1: his dialogue is like what's that because he didn't hear
• 1:01:36
  Speaker 1: what someone said to him. I was constantly reminded said
• 1:01:40
  Speaker 1: it's like, how's your tonightus, And he's like, I'm here
• 1:01:42
  Speaker 1: with my wife. He's like the dude, he does change
• 1:01:46
  Speaker 1: the subject a lot where you're like fucking hell. Okay,
• 1:01:49
  Speaker 1: but I also was confused because he seemed like he
• 1:01:51
  Speaker 1: got Tonight's at a young age. But then he also
• 1:01:54
  Speaker 1: tells Ali he was born with an ear thing so
• 1:01:56
  Speaker 1: he couldn't hear, so so he's either like had an
• 1:02:00
  Speaker 1: ear issue and then also got tenitis, which is probably
• 1:02:03
  Speaker 1: just fucking hell. I don't understand how that, like, if
• 1:02:06
  Speaker 1: you can't even hear normal things, but then there's also
• 1:02:08
  Speaker 1: like a ringing in your head at all times. That's
• 1:02:11
  Speaker 1: like a very probably unbearable situation that he should be
• 1:02:14
  Speaker 1: wearing those things that they were making for him, right,
• 1:02:18
  Speaker 1: but I guess it takes him out of the music
• 1:02:20
  Speaker 1: that he's playing. See that's saying it's he's making so
• 1:02:23
  Speaker 1: many excuses to not get better that it's just like
• 1:02:26
  Speaker 1: there's no justification at all for like any of his behavior.
• 1:02:31
  Speaker 1: It's just like you're just choosing to not deal with
• 1:02:33
  Speaker 1: all your own issues. And then you bring Ali into
• 1:02:36
  Speaker 1: your life, and she loves you, so she's not going
• 1:02:38
  Speaker 1: to force you to deal with I mean, she makes
• 1:02:40
  Speaker 1: points to be like stop drinking. You smell like alcohol.
• 1:02:43
  Speaker 1: We'll see how long it lasts till you drink again,
• 1:02:45
  Speaker 1: Like she does make jabs in him, but she doesn't
• 1:02:47
  Speaker 1: fully stand up for herself until that moment they get
• 1:02:50
  Speaker 1: in a fight when she's in the bath, and it's
• 1:02:52
  Speaker 1: only because he calls her names and says all those
• 1:02:54
  Speaker 1: rude things, like she barely even when she saw he
• 1:02:57
  Speaker 1: was drinking, she doesn't say anything. She kind of lets
• 1:02:58
  Speaker 1: it go, which seems like it's a carryover of how
• 1:03:01
  Speaker 1: she treated her dad. And so it's like, I understand
• 1:03:05
  Speaker 1: why Ali gets into this relationship for a few reasons,
• 1:03:08
  Speaker 1: is like he has power in an area that can
• 1:03:12
  Speaker 1: help her career. That's not the only reasons she's in
• 1:03:15
  Speaker 1: this relationship, but it's clearly a part of it. And
• 1:03:17
  Speaker 1: you know she's predisposed to uh, messy dudes who have
• 1:03:22
  Speaker 1: alcohol issues. But yeah, she like never, I don't know,
• 1:03:26
  Speaker 1: there's just so and and then and you were saying earlier,
• 1:03:29
  Speaker 1: like the concept of his like suicide is sacrifice where
• 1:03:35
  Speaker 1: he kills himself so he won't embarrass her anymore. He's
• 1:03:39
  Speaker 1: like letting her go and setting her free right like
• 1:03:41
  Speaker 1: actually really causing her quite a bit of pain. And
• 1:03:43
  Speaker 1: that's another eighteen update that they try to make the
• 1:03:48
  Speaker 1: kind of rings hollow as there's that scene with Lady
• 1:03:50
  Speaker 1: Gaga and Sam Elliott. Imagine that I never would think
• 1:03:53
  Speaker 1: that would be a sentence. But that scene where Lady
• 1:03:56
  Speaker 1: Gaga and Sam Elliott are crying and he's like, you're
• 1:03:58
  Speaker 1: not Your fault is jet fault alledged, which is like
• 1:04:01
  Speaker 1: a clearer view of suicide than any of the past
• 1:04:05
  Speaker 1: movies have offered. But that's still not how it's presented.
• 1:04:09
  Speaker 1: When it happens. It's presented as a sacrifice, but then
• 1:04:12
  Speaker 1: they're like, oh, but it's actually not. But then it's
• 1:04:15
  Speaker 1: still I don't know where what is? What is this? Yeah?
• 1:04:18
  Speaker 1: Does anyone have any final points? While I think it's
• 1:04:22
  Speaker 1: a great film, I really enjoyed it, you just have
• 1:04:25
  Speaker 1: to suspend your disbelief that like women are on the top,
• 1:04:30
  Speaker 1: like it all is just it's a fantasy of like,
• 1:04:33
  Speaker 1: oh I was discovered and I made it and thank
• 1:04:36
  Speaker 1: God for this man. Like you really have to just
• 1:04:38
  Speaker 1: let all that go to go watch the movie and
• 1:04:40
  Speaker 1: then you know, slowly think about it later, because it
• 1:04:43
  Speaker 1: does the more you think about it's like, Okay, like
• 1:04:46
  Speaker 1: this entire movie is happening because of a guy being like,
• 1:04:49
  Speaker 1: oh you're hot, and a good singer, you know, like
• 1:04:51
  Speaker 1: that's his whole interest in her was like, first, I
• 1:04:54
  Speaker 1: believe it's because she was a good singer, and then
• 1:04:56
  Speaker 1: as he got to know her, he's like, oh, well,
• 1:04:57
  Speaker 1: I'm very attracted to you, and I'm going to make
• 1:05:00
  Speaker 1: everything happen. And then it proceeds to be like only
• 1:05:02
  Speaker 1: men around her, and that's a frustrating thing. It's a
• 1:05:06
  Speaker 1: great film if you just you don't want to have
• 1:05:07
  Speaker 1: a good time, but don't expect to get a lot
• 1:05:10
  Speaker 1: of depth when it comes to strong women do whatever
• 1:05:15
  Speaker 1: they have to do, or even women interacting, which brings
• 1:05:20
  Speaker 1: us to the matter at hand. Does this movie pass
• 1:05:24
  Speaker 1: the Bechtel test? Well? Sort of. There is a conversation
• 1:05:30
  Speaker 1: between a woman named Gail, who's like, I guess like
• 1:05:34
  Speaker 1: a stage hand or something, tour manager type assistant person too.
• 1:05:37
  Speaker 1: I agree with Sophie feminist icon Gail Feministon. Gail shows up.
• 1:05:43
  Speaker 1: Ellie has known Jack for about eighteen hours. She shows
• 1:05:49
  Speaker 1: up at his gig. Hi, I'm Gail. Yeah it. Gail
• 1:05:52
  Speaker 1: meets him at the car that just brought them from
• 1:05:54
  Speaker 1: the private plane or whatever to take them into the venue,
• 1:05:57
  Speaker 1: and she goes, hi, I'm Gail. So we're all got
• 1:05:59
  Speaker 1: her name him. She's like, Lady Gaga was like hey,
• 1:06:03
  Speaker 1: and she's like, how is your flight? And then Lady
• 1:06:05
  Speaker 1: Gaga was like, oh, it's great. And then she goes, oh,
• 1:06:07
  Speaker 1: just leave your bags and they're like okay, and then
• 1:06:10
  Speaker 1: she's like, come this way, and then she goes, Wow,
• 1:06:12
  Speaker 1: it's so big here. And then she goes like, oh,
• 1:06:14
  Speaker 1: watch out because something's like coming out and Gail's looking out.
• 1:06:19
  Speaker 1: I love I love Gail. I hope that that actress
• 1:06:23
  Speaker 1: just improvides the name Gail and she's like, you know what,
• 1:06:26
  Speaker 1: we want this movie to pass the test. I've read
• 1:06:28
  Speaker 1: the whole script. She's like, Hi, I'm Gail. Because it's
• 1:06:32
  Speaker 1: not a character that necessarily makes sense to name, but
• 1:06:35
  Speaker 1: she really because we never see that character again. So
• 1:06:40
  Speaker 1: she stands next to Sam Elliott at the concert looking
• 1:06:42
  Speaker 1: board as fuck. Now, the question has been post to
• 1:06:46
  Speaker 1: us if whenever Ali talks to the drag Queens, does
• 1:06:51
  Speaker 1: that pass the Bechdel test? You know, I originally when
• 1:06:54
  Speaker 1: I first saw the movie, in my mind said oh,
• 1:06:56
  Speaker 1: that pass because she was telling to the drag Queens.
• 1:06:58
  Speaker 1: And then I was like, oh wait, but does that count?
• 1:07:01
  Speaker 1: And I don't know, drag queens when they're in drag,
• 1:07:05
  Speaker 1: you know they're using sheet pronouns. You know, they're using
• 1:07:08
  Speaker 1: a lot of like feminized language. But at the end
• 1:07:12
  Speaker 1: of the day, drag queens are men who identify as
• 1:07:16
  Speaker 1: men who do drag. I am tempted to outsource this
• 1:07:21
  Speaker 1: one as well. A tray listeners have better intel than us.
• 1:07:25
  Speaker 1: None of us are drag queens, So probably you do
• 1:07:28
  Speaker 1: let us know for for today, I feel like we're
• 1:07:31
  Speaker 1: saying no that those scenes, but they do happen. If whatever,
• 1:07:36
  Speaker 1: it's a it's a great We're not totally sure for
• 1:07:39
  Speaker 1: sure Gil passes. Yes, Yeah, but also maybe the test
• 1:07:43
  Speaker 1: could be your needs to be updated to be more
• 1:07:46
  Speaker 1: inclusive where it's you know, if two non binary people
• 1:07:49
  Speaker 1: talk to each other, could that pass the Backdel tests?
• 1:07:51
  Speaker 1: Could you know, a gender fluid person and a woman talk,
• 1:07:54
  Speaker 1: could that past? So I think it's worth acknowledging that
• 1:07:57
  Speaker 1: there could be some perhaps dates. Let's call up our
• 1:08:01
  Speaker 1: friend Ali Bechdel. Yeah, there is a few seconds because
• 1:08:05
  Speaker 1: I do think at one point towards the end of
• 1:08:08
  Speaker 1: their interaction, she goes, he's very excited to see you
• 1:08:10
  Speaker 1: or something like that. So it breaks that it breaks
• 1:08:14
  Speaker 1: the test and she goes back. They go back to referencing. Well. Also,
• 1:08:17
  Speaker 1: the whole context is like, hey, you're here to watch
• 1:08:20
  Speaker 1: a man, So if you factor in context, it's a
• 1:08:24
  Speaker 1: little murkier. But but she does talk to one other
• 1:08:28
  Speaker 1: woman who is Dave Chappelle's wife, whose name is never
• 1:08:31
  Speaker 1: ever acknowledged, and I believe the only thing they talked
• 1:08:33
  Speaker 1: about is like, I'll get you a wedding dress to
• 1:08:35
  Speaker 1: marry him, which is I would say. Also, Dave Chappelle
• 1:08:39
  Speaker 1: and his family are the few people of color in
• 1:08:42
  Speaker 1: the whole movie. Otherwise it's a largely white movie. Of
• 1:08:47
  Speaker 1: the four, it certainly does the best. You know, two
• 1:08:50
  Speaker 1: straight white protagonists. That's not pushing much forward, but I
• 1:08:54
  Speaker 1: think compared to other major releases, it does all right.
• 1:08:58
  Speaker 1: Lady got guys Italian. She she why the boiler out
• 1:09:02
  Speaker 1: on the Count. Andrew dice Clay, one of his buddies
• 1:09:05
  Speaker 1: is an older actor, who's that guy. He's a character
• 1:09:08
  Speaker 1: seen a million Yeah, there's a lot of character actors.
• 1:09:11
  Speaker 1: Like I feel like I've seen Gale before, Gil looked familiar.
• 1:09:14
  Speaker 1: I feel like I've seen the woman who takes a
• 1:09:17
  Speaker 1: picture of Bradley Cooper at the gross room. Yes, she's
• 1:09:20
  Speaker 1: also a character actress that I've seen places. I've seen
• 1:09:22
  Speaker 1: her a million players. They're pulling a lot of like
• 1:09:24
  Speaker 1: the like kind of famous that you see guests are
• 1:09:26
  Speaker 1: and everything. Yeah, there's a lot of vaguely faces in
• 1:09:30
  Speaker 1: this movie, including Bradley Cooper's dog, feminist icon, Bradley Cooper's dog,
• 1:09:34
  Speaker 1: which is his real dog, Bradley Cooper's real dog, and
• 1:09:37
  Speaker 1: really doctor basically understanding Bradley cast a lot of people
• 1:09:41
  Speaker 1: he knew, like the drag queens he knew. Those are
• 1:09:43
  Speaker 1: my favorite scenes in the movie. The first thirty minutes.
• 1:09:45
  Speaker 1: It's fun, there's there's comedy, there's jokes, there's drag queens.
• 1:09:49
  Speaker 1: I'm having a great time. And then it starts to
• 1:09:51
  Speaker 1: I could not be less thrilled. Yeah, Ali is like
• 1:09:55
  Speaker 1: neutralized through as a story goes on. I suppose this
• 1:09:59
  Speaker 1: is the time where we give our nipples. Let's right,
• 1:10:03
  Speaker 1: nipple wise, yes, scale one or zero to five on
• 1:10:07
  Speaker 1: basil how truths women? That's right. I'm gonna go with
• 1:10:11
  Speaker 1: a solid two. I suppose where it's a story about
• 1:10:17
  Speaker 1: a woman, but we don't get to know her that well.
• 1:10:21
  Speaker 1: The story is told from a man's perspective, both in
• 1:10:25
  Speaker 1: terms of the Jack main character and the director and
• 1:10:31
  Speaker 1: writers and everything like that. So I think a lot
• 1:10:34
  Speaker 1: of things that could have been that, like the opportunity
• 1:10:37
  Speaker 1: was there for the movie to comment on, like the
• 1:10:40
  Speaker 1: fact that women in entertainment are often held to this
• 1:10:43
  Speaker 1: insane standard of beauty and image that gets touched on
• 1:10:47
  Speaker 1: but doesn't go any further than that. Things like Bradley
• 1:10:51
  Speaker 1: Cooper's characters creepy predatory behavior where she says no, I
• 1:10:55
  Speaker 1: can't come to your gig and he's like, Okay, I'll
• 1:10:57
  Speaker 1: send my driver to pick you up. Um, showed up
• 1:11:03
  Speaker 1: is troubling. Maybe two is too generous because like I
• 1:11:06
  Speaker 1: can't really think of anything that makes me think that
• 1:11:09
  Speaker 1: anything was progressive about this movie. So yeah, I like
• 1:11:17
  Speaker 1: that there's a representation on screen of drag queens. That's awesome. Um.
• 1:11:22
  Speaker 1: So so like like it's a lady. Lady is a
• 1:11:27
  Speaker 1: queer icon. She she has a literal queer I think
• 1:11:30
  Speaker 1: that every with the exception of Janet Gaynor, every woman
• 1:11:34
  Speaker 1: who's ever played this part is a queer icon Streisande
• 1:11:37
  Speaker 1: in Garland. I mean she's in good company and that's
• 1:11:41
  Speaker 1: oh That's one last thing I wanted to say about
• 1:11:42
  Speaker 1: Ali's character that is like a standby of this character
• 1:11:46
  Speaker 1: that makes Lady Gaga such good casting as she's supposed
• 1:11:48
  Speaker 1: to be a character who is considered a little bit
• 1:11:51
  Speaker 1: too old to be becoming famous, and she has an
• 1:11:54
  Speaker 1: unconventional like she's not like a model in terms of like,
• 1:11:58
  Speaker 1: and that's why the nose comment in the whole a
• 1:12:00
  Speaker 1: bit and that's right there. Ye. Yeah, she's supposed to
• 1:12:03
  Speaker 1: be like thirty or thirty one or two or whatever,
• 1:12:05
  Speaker 1: like older older two, but she's thirty two. Okay, here's
• 1:12:11
  Speaker 1: what I'll give the movie two nipples because of the
• 1:12:15
  Speaker 1: scene that's basically an exact replica of a scene from
• 1:12:18
  Speaker 1: Titanic where in a star is born. Allie's behind like backstage.
• 1:12:23
  Speaker 1: He's trying to coax her on stage to be like
• 1:12:25
  Speaker 1: sing your song or else I'll plagiarize it, and she's like, no, Jack, No,
• 1:12:29
  Speaker 1: I couldn't possibly Jack, And that basically happens in Titanic
• 1:12:33
  Speaker 1: between Jack and Rose. The name is even the same
• 1:12:36
  Speaker 1: with Jack. So yeah, two nipples. I will give both
• 1:12:41
  Speaker 1: nipples to Lady Gaga because we see her nips in
• 1:12:45
  Speaker 1: this film. We sure do I'm going to give it
• 1:12:47
  Speaker 1: this version. Uh one and a half. Yeah, I can't
• 1:12:53
  Speaker 1: in good time. It's weird because I am going to
• 1:12:55
  Speaker 1: see it for a third time, but you know I
• 1:12:57
  Speaker 1: contain multitudes as well. I reserve the rie. Uh yeah. No,
• 1:13:02
  Speaker 1: It's like, it is not a story that treats women well.
• 1:13:06
  Speaker 1: It's never treated women well. And and as to this
• 1:13:09
  Speaker 1: version kind of doesn't update it in the way it
• 1:13:11
  Speaker 1: treats its female character really at all, which is a
• 1:13:15
  Speaker 1: bummer because it is two thousand eighteen and there's in
• 1:13:17
  Speaker 1: fact less women involved in the production of this movie
• 1:13:20
  Speaker 1: that have been involved in past versions. So ultimately, I
• 1:13:23
  Speaker 1: think by making the alcoholic character more lovable and making
• 1:13:29
  Speaker 1: the female protagonists taking away her last name, we get
• 1:13:33
  Speaker 1: no acknowledgement of how this toxic relationship is really affecting her.
• 1:13:38
  Speaker 1: There are only men in her life that's never called
• 1:13:40
  Speaker 1: attention to. It's like, and then there's a lot of
• 1:13:42
  Speaker 1: like false setups, like you were saying, Caitlin, of like
• 1:13:45
  Speaker 1: she mentions that you know, she's like not the perfect
• 1:13:49
  Speaker 1: Western standard of beauty and that's held her back in
• 1:13:51
  Speaker 1: the past, but that's never really commented on, and she
• 1:13:53
  Speaker 1: doesn't seem to mind when they totally change her. And
• 1:13:57
  Speaker 1: and you know, there's a few moments of like, I
• 1:13:58
  Speaker 1: don't know, I don't know, I don't know, but she
• 1:14:00
  Speaker 1: always does it aside from her hair, uh, she always
• 1:14:02
  Speaker 1: goes through the way that we don't know how she
• 1:14:04
  Speaker 1: feels about that, um, and we don't know how she
• 1:14:07
  Speaker 1: feels about her relationship. She refuses to tell us how
• 1:14:10
  Speaker 1: she feels about her relationship with her father. And so
• 1:14:14
  Speaker 1: the character is there. There's like an interesting character there,
• 1:14:18
  Speaker 1: but we just we just don't get at her, which
• 1:14:21
  Speaker 1: is too bad. Uh. So I will see it again
• 1:14:25
  Speaker 1: this week and one a half Nippy give one to
• 1:14:29
  Speaker 1: Lady Gaga, and then I'm gonna give one to um
• 1:14:34
  Speaker 1: Bradley Cooper's dog. Sure, I'm sorry the other half Um
• 1:14:39
  Speaker 1: I would give it to. I would give an honoraryone
• 1:14:42
  Speaker 1: just for the cinematography. I thought it was just very
• 1:14:45
  Speaker 1: well shocked um No streisand asked in this one. But
• 1:14:49
  Speaker 1: you know what, I just really like that kind of
• 1:14:52
  Speaker 1: aesthetic where you when they shoot like music or just
• 1:14:55
  Speaker 1: even concert, that you feel like you're like breathing it,
• 1:14:57
  Speaker 1: like they get all up in his business, which I
• 1:14:59
  Speaker 1: think is an interest choice. Actually, though they don't really
• 1:15:02
  Speaker 1: do it with Lady Gaga as much. They really get
• 1:15:03
  Speaker 1: into like Bradley's like air, like you feel like you're
• 1:15:06
  Speaker 1: like breathing the same areas when he's like playing. That's
• 1:15:10
  Speaker 1: from my film school background, but the real, the real
• 1:15:13
  Speaker 1: I'm really giving it two nips because, like Jamie was saying,
• 1:15:17
  Speaker 1: the whole like male savior vibe of like you needed
• 1:15:20
  Speaker 1: a man to make it was kind of whatever, like
• 1:15:23
  Speaker 1: that's not that interesting of a trope, Like it's kind
• 1:15:25
  Speaker 1: of like, oh okay, Like it would have been interesting
• 1:15:28
  Speaker 1: if I don't know, they real lesbian couple. Who knows,
• 1:15:30
  Speaker 1: like they could have mixed it up in some way,
• 1:15:32
  Speaker 1: so it wasn't just like Bradley Cooper's chance to be
• 1:15:35
  Speaker 1: Bradley Cooper like and everyone kepting like, oh, how great
• 1:15:38
  Speaker 1: he is in the film, Like yeah, but he's a
• 1:15:39
  Speaker 1: great actor, Like we know he's going to be fine,
• 1:15:41
  Speaker 1: Like we know he'll be able to transform himself, like whatever,
• 1:15:44
  Speaker 1: he'll play a d agent next time. It's fine. He
• 1:15:47
  Speaker 1: was a different accent, Like I'm not super moved by that,
• 1:15:50
  Speaker 1: but like I was very impressed with Lady Gaga because
• 1:15:52
  Speaker 1: I've never really seen her act before, Like I didn't
• 1:15:54
  Speaker 1: watch when she was an American horror story or anything
• 1:15:57
  Speaker 1: like that. And I thought it was great that she
• 1:15:59
  Speaker 1: because I know I've read before in the past that
• 1:16:01
  Speaker 1: she really struggled for a very long time, like I
• 1:16:03
  Speaker 1: believe she was raped at nineteen by music industry person
• 1:16:07
  Speaker 1: and so she her whole She's admitted that her whole
• 1:16:10
  Speaker 1: facade of how she would dress up was just like
• 1:16:12
  Speaker 1: her hiding like from the world and like covering up
• 1:16:15
  Speaker 1: and wearing all this makeup and having all these wigs
• 1:16:17
  Speaker 1: and having all this like crazy costumes. Was her distancing
• 1:16:21
  Speaker 1: her real self from like the madness of like you know,
• 1:16:25
  Speaker 1: everyone and people were coming at her. And so I
• 1:16:27
  Speaker 1: thought this was like a very strong role for her
• 1:16:29
  Speaker 1: to be like completely sands makeup, completely sands anything. And
• 1:16:33
  Speaker 1: And while it was, you know, it was acting her
• 1:16:35
  Speaker 1: like growing into this pop star and you kind of
• 1:16:37
  Speaker 1: see it happening. It was like a very interesting growth
• 1:16:40
  Speaker 1: to see within a film that you don't really see.
• 1:16:43
  Speaker 1: You never see like someone becomes like sell out so aggressively,
• 1:16:46
  Speaker 1: Like that's rarely that trope is really done in films,
• 1:16:49
  Speaker 1: unless you're like watching films specifically about industries like acting
• 1:16:52
  Speaker 1: or music or whatever. So that was cool to see
• 1:16:55
  Speaker 1: and I really appreciated Gaga's work and I'm glad she
• 1:16:57
  Speaker 1: kept the music as pure to Gaga as it could be,
• 1:17:01
  Speaker 1: like her voice stage, she didn't try and change it
• 1:17:04
  Speaker 1: for anything like that. So when I first heard that,
• 1:17:09
  Speaker 1: I was like, Oh, that's Lady Gaga. Like that's when
• 1:17:11
  Speaker 1: you know it's Gaga when she doesn't try and change
• 1:17:14
  Speaker 1: her voice for anyone and she keeps it how it's
• 1:17:17
  Speaker 1: how it's always been. She's got that very powerful voice,
• 1:17:20
  Speaker 1: and I was moved by her singing. I think she's
• 1:17:23
  Speaker 1: an amazing artist and just a performer who knows what
• 1:17:26
  Speaker 1: she's doing. And yes, I did just watch her Lady
• 1:17:28
  Speaker 1: Gaga documentary and I highly recommend it because she's so
• 1:17:33
  Speaker 1: I don't know, you really see her struggle. She has
• 1:17:35
  Speaker 1: like aggressive like nerve pain that like ruins her everyday life,
• 1:17:38
  Speaker 1: where she'll just be like a complete and total like
• 1:17:41
  Speaker 1: just in a coma of pain and can't move. It's
• 1:17:44
  Speaker 1: like she has to deal with a lot of that
• 1:17:46
  Speaker 1: and it's all like from PTSD of being like raped
• 1:17:48
  Speaker 1: and all the anxiety and trauma from her life that
• 1:17:50
  Speaker 1: her entire body, like spasms and complete pain, and she's
• 1:17:55
  Speaker 1: gotten through a lot of it now, But I don't know.
• 1:17:57
  Speaker 1: She has a very interesting story and I think it
• 1:17:59
  Speaker 1: kind of parallels a lot of this storyline of a
• 1:18:02
  Speaker 1: woman becoming less. So she made herself, you know, by
• 1:18:06
  Speaker 1: herself and not with the help of a man. But
• 1:18:08
  Speaker 1: like there's an interesting juxtaposition of her turning into this person.
• 1:18:12
  Speaker 1: And then you know, I have this hope that Ali
• 1:18:14
  Speaker 1: slowly turns back around and goes back to her original
• 1:18:17
  Speaker 1: like artists, you know self. So I give one nip
• 1:18:21
  Speaker 1: to Lady Gaga and her performance in this film, and
• 1:18:24
  Speaker 1: another nip to Angela from the drag Queen crew, who
• 1:18:28
  Speaker 1: apparently had to be convinced by Lady Gaga to be
• 1:18:31
  Speaker 1: in the film. And I think her character is so
• 1:18:33
  Speaker 1: funny in the beginning, as like this, you know, she's
• 1:18:35
  Speaker 1: just not having it. She's not impressed. She's like, get
• 1:18:37
  Speaker 1: the funk out of here, I have shipped to do.
• 1:18:40
  Speaker 1: She's so funny to the other drag queen who has
• 1:18:42
  Speaker 1: him signed his tits like she he already signed your tits.
• 1:18:45
  Speaker 1: Stop making him sing for you. And the fact that
• 1:18:48
  Speaker 1: she was in the Virgil is we've shared a stage
• 1:18:53
  Speaker 1: with Lady So great anyway, two nips, one honorary for
• 1:18:58
  Speaker 1: the cinematography, which is one more point for Lady Gaga.
• 1:19:02
  Speaker 1: As of today, she wrote a long op ed about
• 1:19:07
  Speaker 1: suicide and it doesn't directly say it's because of how
• 1:19:10
  Speaker 1: it's portrayed in the movie. But did a great job, so,
• 1:19:15
  Speaker 1: you know, cleaning up a little bit of Coope's mess. Maybe.
• 1:19:18
  Speaker 1: So she's she's just the greatest. She's an ally got
• 1:19:22
  Speaker 1: to us all alive the ally. Yeah. Well, Anna, thanks
• 1:19:26
  Speaker 1: so much for being here. Thank you so much for
• 1:19:28
  Speaker 1: having me. This was so fun. Yeah. I've had a
• 1:19:31
  Speaker 1: great time singing and dancing choreography. Yeah yeah. Where can
• 1:19:38
  Speaker 1: people find you online? What would you like to plug?
• 1:19:40
  Speaker 1: You can listen to my podcast with Shrine Units, who
• 1:19:42
  Speaker 1: did the Latin episode of this show, Ethnically Ambiguous. We're
• 1:19:46
  Speaker 1: on the House Stuff Works network. You can find us
• 1:19:47
  Speaker 1: on iTunes and whatever. I'm a producer at House to
• 1:19:50
  Speaker 1: Work So I also produced the daily site Guys, which
• 1:19:52
  Speaker 1: the Day Yes News and Sorry that song you know
• 1:19:59
  Speaker 1: Jamie Klin have both been on it um. I also
• 1:20:02
  Speaker 1: produce Couples Therapy. It's a really cool new show. That
• 1:20:04
  Speaker 1: I recommend checking out, hosted by naomiic Perrigan and Andy Beckerman.
• 1:20:10
  Speaker 1: And then I also host an independent podcast called Will
• 1:20:13
  Speaker 1: You Accept This Rose. It's about the Bachelor franchise and
• 1:20:15
  Speaker 1: it's hosted by Arden Marine and it's really fun time
• 1:20:18
  Speaker 1: and we hang out with batched peeps. And yeah, you
• 1:20:21
  Speaker 1: can find me on Twitter at Anna hosting A A
• 1:20:24
  Speaker 1: N N A H O S S and I E H.
• 1:20:28
  Speaker 1: You can follow us on social media at becktel Cast.
• 1:20:30
  Speaker 1: You can got our website becktel cast dot com. There
• 1:20:32
  Speaker 1: we have our merch store where you can get all
• 1:20:34
  Speaker 1: kinds of wonderful goodies design check them out. Strong female Protagonist,
• 1:20:40
  Speaker 1: feminist icon, Beetle Juice Team dry Scab and we've sold one.
• 1:20:47
  Speaker 1: We have sold one that's upsetting. Also, I mean, yeah,
• 1:20:50
  Speaker 1: keep buying our stuff. Also, go to our patron ak
• 1:20:53
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• 1:20:55
  Speaker 1: It gets you to bonus episodes every single month. Also,
• 1:21:00
  Speaker 1: we have some live shows coming November three, Philadelphia at
• 1:21:07
  Speaker 1: the Good Good Comedy Theater. We have November four star
• 1:21:14
  Speaker 1: dates November four in Washington, d C. Toward As of
• 1:21:20
  Speaker 1: this recording, the venue has not been confirmed but keep
• 1:21:23
  Speaker 1: John look out for that into the ground for the
• 1:21:26
  Speaker 1: star dates November five, New York City as a part
• 1:21:29
  Speaker 1: of the New York Comedy Festivals at Baby's all right
• 1:21:35
  Speaker 1: in Brooklyn, New York. More like tours. All right, so
• 1:21:39
  Speaker 1: we're on the door, so go to back to Castle Colm.
• 1:21:43
  Speaker 1: Our live appearances tab will have ticket links to all
• 1:21:45
  Speaker 1: of those shows. So he's hoped to see you there
• 1:21:49
  Speaker 1: are tour otherwise, thanks for listening to what's all this
• 1:21:56
  Speaker 1: butt do? When he on the counter. I just wanted
• 1:22:00
  Speaker 1: to get one more though here Jim, yeah, here look
• 1:22:05
  Speaker 1: at Thanks so much. Okay, bye God