Latest / The Bechdel Cast / Butch Cassidy and the Sundance Kid with Caitlin Gill

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Butch Cassidy and the Sundance Kid with Caitlin Gill · The Bechdel Cast

• 0:00
  Speaker 1: On the Doe Cast, the questions asked if movies have
• 0:03
  Speaker 1: women in them, are all their discussions just boyfriends and husbands,
• 0:07
  Speaker 1: or do they have individualism the patriarchy? Zef and best
• 0:12
  Speaker 1: start changing it with the beck Del Cast. Hi, welcome
• 0:16
  Speaker 1: to the beck Del Cast. My name is Jamie, my
• 0:18
  Speaker 1: name is Caitlin. It's a cowboy episode. Haa. It's gonna
• 0:23
  Speaker 1: be a big fun cowboy. We're gonna be roping them
• 0:26
  Speaker 1: up and throwing them back. That's a phishing metapart. You're
• 0:31
  Speaker 1: gonna last at them and then there's gonna be a
• 0:33
  Speaker 1: hole in them, but we're gonna let them go. We're
• 0:34
  Speaker 1: just sadists and we're just trying to kill a Saturday. Right,
• 0:38
  Speaker 1: that's how fishing works. I agree. I was briefly an
• 0:41
  Speaker 1: intern on a tuna boat. Once an intern on a
• 0:44
  Speaker 1: tuna boat. That's what they said. I was just not
• 0:46
  Speaker 1: being paid to work on a tuna boat for like
• 0:48
  Speaker 1: a week. Right, Wait, what did you have to do?
• 0:51
  Speaker 1: It was with my mom's boyfriend. I mean they would
• 0:53
  Speaker 1: catch the fish in large quantities and I would arrange
• 0:57
  Speaker 1: coolers and later we would eat tuna. It was not
• 1:01
  Speaker 1: you get credit for us an intern on a tuna.
• 1:03
  Speaker 1: But that's the thing is like it was during the summer,
• 1:06
  Speaker 1: and I think that they just said they called me
• 1:08
  Speaker 1: an intern because they had no intention of paying me.
• 1:12
  Speaker 1: And I was like staying with my mom and she's like,
• 1:14
  Speaker 1: I would love for you to get to know him
• 1:16
  Speaker 1: batter and so she's just like intern on his tuna thout.
• 1:20
  Speaker 1: So I did for like it was like made four days.
• 1:23
  Speaker 1: It was a bad week because you get up so early. Yeah,
• 1:26
  Speaker 1: that's and they're all like, what if you were like
• 1:29
  Speaker 1: majoring in tuna fish in college? And then you're like
• 1:31
  Speaker 1: I did, clear it was a fish major. Hey do
• 1:36
  Speaker 1: you know what I studied? What? I have a master's
• 1:38
  Speaker 1: degree in screenwriting from Boston University. Big deal to me.
• 1:41
  Speaker 1: I hate to bring an into this, Okay, Mrs Alfred
• 1:46
  Speaker 1: Molina mentioned er, that's not that has nothing to do
• 1:49
  Speaker 1: with education. That's strictly the director of my lines pointment.
• 1:55
  Speaker 1: You have like my bad signal that compass from pirate
• 1:59
  Speaker 1: to the being that Jack Sparrow has. It just like
• 2:02
  Speaker 1: points your crotch to wherever yea word ving my crotch,
• 2:08
  Speaker 1: and I just hovered to wherever he might be. Anyways,
• 2:11
  Speaker 1: welcome to the Cowboy episode that became the fishing episode
• 2:14
  Speaker 1: that became us arguing for a second. Right, Hey, let's
• 2:17
  Speaker 1: introduce our guests. She is a wonderful comic. You've seen
• 2:21
  Speaker 1: her on Viceland and she runs a very funny show
• 2:24
  Speaker 1: in Los Angeles called crab Apples. Caitlin Gili, CAITLINI Hi, Hi,
• 2:31
  Speaker 1: interstinguishable Caitlin's I know, I'm the resure one. I sound
• 2:34
  Speaker 1: like I lived harder. How funny would it be if
• 2:39
  Speaker 1: we were like doing a Highlander and we can be like,
• 2:41
  Speaker 1: there can be only one. That movie is not great
• 2:44
  Speaker 1: for women either, No, it's it's it's not good. We'd
• 2:46
  Speaker 1: probably be dead just at the starting scene, unable to
• 2:50
  Speaker 1: compete with one another to truly establish dominance, because who
• 2:53
  Speaker 1: will let us in the patriarchy? You know, I just
• 2:56
  Speaker 1: want to even let us on the mountain to climate. Nope, yeah,
• 2:59
  Speaker 1: you don't make it to The Highlander sucks fabulously. I
• 3:02
  Speaker 1: hate that movie. I love to hate it. I'll watch it,
• 3:04
  Speaker 1: no problem, only garbage. It's so great. I only saw
• 3:07
  Speaker 1: it once pretty recently, and I did not care for
• 3:10
  Speaker 1: it at all. I have an incredibly high threshold for garbage.
• 3:13
  Speaker 1: I really love garbage films like passionately love b movies.
• 3:16
  Speaker 1: I think terrible movies great, so much fun. If entertainment
• 3:20
  Speaker 1: is the rubric, then I am fully satisfied to measure
• 3:24
  Speaker 1: it by entertainment value. I love watching terrible movies. I
• 3:27
  Speaker 1: don't think the movie we're going to talk about today
• 3:29
  Speaker 1: is terrible. That does not what's your favorite terrible movie?
• 3:33
  Speaker 1: Oh my god. Well, I'm a big fan of roof
• 3:35
  Speaker 1: tecks and mystery signs suits with thousands, So what kind
• 3:39
  Speaker 1: of terrible? Well that's that you want? Like big budget bad?
• 3:43
  Speaker 1: Or do you want a movie that's barely a movie bad?
• 3:45
  Speaker 1: Or is this like a Mac and me situation? Because
• 3:47
  Speaker 1: oh I just saw one. It's like in Hunt of
• 3:49
  Speaker 1: the Yetti or Searching for the Yetti. It starts meat
• 3:53
  Speaker 1: Loaf for real, you're kidding away kidding, meat Low. You're
• 3:56
  Speaker 1: gonna love this movie. I'm a big loaf head. That's
• 3:59
  Speaker 1: because it's it's it hardly functions. When did it come out? Gosh,
• 4:04
  Speaker 1: I don't know. I want to put it at like
• 4:06
  Speaker 1: a ninety one. It's wild because me Love is an
• 4:08
  Speaker 1: excellent actor. Well, yeah, you know, he really carries the
• 4:11
  Speaker 1: cast in this particular faure. I have to say, not
• 4:14
  Speaker 1: a lot of people doing any heavy lifting. The Loaf
• 4:16
  Speaker 1: really does his job. He has a little assistant he
• 4:18
  Speaker 1: drags around called Blubber, who I swear to God is
• 4:23
  Speaker 1: doing a Bobcat called wait impersonation. I swear to god,
• 4:26
  Speaker 1: I have to ask Bob if they pitched that to him,
• 4:28
  Speaker 1: if they came to him with it, and he was
• 4:30
  Speaker 1: he was like hard passed. And then they just found
• 4:31
  Speaker 1: a guy that was like, I can do one of those,
• 4:34
  Speaker 1: and then they threw him in the movie. It's ridiculous.
• 4:38
  Speaker 1: Oh my god. You can't turn down the Loaf, I
• 4:40
  Speaker 1: mean you can. He was in Spice World, which we
• 4:44
  Speaker 1: did was legitimately one of my favorite films. So fun.
• 4:49
  Speaker 1: I think it is excellent. Part like that. It's not
• 4:51
  Speaker 1: even bad, just goods are great. It's a movie, of course.
• 4:55
  Speaker 1: It's not a great film that you're gonna study from
• 4:57
  Speaker 1: someone's bro It's just a fun It's just well done.
• 5:01
  Speaker 1: It is perfectly executed for what it is. It's the
• 5:03
  Speaker 1: perfect example of a movie that could have only been
• 5:05
  Speaker 1: made in like two very specific months. Oh absolutely, yeah.
• 5:09
  Speaker 1: The window sense. But it's great. It's like the picture
• 5:14
  Speaker 1: of that time It's like a still photograph that perfectly
• 5:17
  Speaker 1: encapsulates a two months span. You're my my favorite. I
• 5:21
  Speaker 1: love a big budget bad movie, and my I Frankenstein
• 5:25
  Speaker 1: is one of my favorite big bad Oh it is
• 5:29
  Speaker 1: it is? I love when a bad movie is so
• 5:31
  Speaker 1: sure it's going to get a sequel. Oh God, I
• 5:34
  Speaker 1: set you right up, Godzilla baby. Yeah. Yeah. Matthew Broderick
• 5:39
  Speaker 1: dinosaur Hunter that is not technically a dinosaur. Forgive me,
• 5:44
  Speaker 1: forgive me, don't don't take now, Jamie in the comments,
• 5:47
  Speaker 1: that was that was other Caitlin's time, Other Caitlin, this
• 5:49
  Speaker 1: is your attack me in the comments, I still I
• 5:53
  Speaker 1: reflected on um the one time that I got targeted
• 5:57
  Speaker 1: by this steam bunks. It's still one of my favorite accomplishments.
• 6:02
  Speaker 1: Not enemies you want to make. They have very complicated
• 6:05
  Speaker 1: mechanizations to come after you. They do, and it's like,
• 6:07
  Speaker 1: is it the past is at the future? We don't
• 6:09
  Speaker 1: know what was that? Is it? Yeah? Is that what
• 6:12
  Speaker 1: that movie was called? That's a fun bast steampunk like
• 6:15
  Speaker 1: come staying on a movie real, It's ridiculous. I love it.
• 6:19
  Speaker 1: I love Garbage, I love Carbagge. I know all the
• 6:21
  Speaker 1: words say that song right, we've sung it or you
• 6:25
  Speaker 1: have ys well done. Yikes, dude, that used to be
• 6:30
  Speaker 1: something I would brag about in nice school for some reason,
• 6:34
  Speaker 1: Just so you know, excuse me, us blues traveler hook.
• 6:38
  Speaker 1: I absolutely know all those weird words in the red part.
• 6:40
  Speaker 1: I definitely looked up on early Internet like be. I
• 6:46
  Speaker 1: endured that to get to the real lyrics of hook.
• 6:49
  Speaker 1: Oh god, this is too honest. Let's get to something
• 6:52
  Speaker 1: that's not about We are talking about the movie, Butch
• 6:56
  Speaker 1: Cassidy and the Sundance Kids not a garbage movie. Caitlin, Yes,
• 7:02
  Speaker 1: when did you foresee it? What's your history? Your relationship
• 7:04
  Speaker 1: with this movie? This was Dad had the remote. It
• 7:08
  Speaker 1: came on to like Turner Classic or something, and he
• 7:10
  Speaker 1: just wouldn't change it. So I endured it as a boring, long,
• 7:14
  Speaker 1: quiet movie with like punctuated exciting things when I was
• 7:19
  Speaker 1: a kid, and then I rented it to try to
• 7:21
  Speaker 1: be cool. I don't know why. I what it really was,
• 7:23
  Speaker 1: just like I think I'm supposed to like this. It
• 7:25
  Speaker 1: was like an angsty teenage I only like old things
• 7:28
  Speaker 1: and I know all the cool ones. I didn't read
• 7:30
  Speaker 1: a book, mind you. This was not me going to
• 7:32
  Speaker 1: the library to pick out a classic. This was very
• 7:34
  Speaker 1: much I can be cool, I can be smart. In
• 7:36
  Speaker 1: two hours, that was my Judy Garland face all over. Yeah,
• 7:40
  Speaker 1: I don't like things that are from now. I like
• 7:43
  Speaker 1: what was massively popular that right, But I watched it
• 7:46
  Speaker 1: again and I don't think at the time I had
• 7:48
  Speaker 1: a very critical eye. I just knew it was good.
• 7:50
  Speaker 1: I'm still struggling with that as like a person in
• 7:53
  Speaker 1: the entertainment business. If I can even say that, uh where,
• 7:58
  Speaker 1: I don't know where to stop a fan and start
• 8:00
  Speaker 1: being a critic or a fellow artist or entertainer. Like
• 8:03
  Speaker 1: it changed this the way you experienced taking media. But
• 8:06
  Speaker 1: I'm glad I saw this at a time when I
• 8:08
  Speaker 1: didn't ever try to look behind the scenes of a movie.
• 8:10
  Speaker 1: I didn't want to know who wrote it. I didn't
• 8:12
  Speaker 1: care about who directed it. It just happened and it
• 8:14
  Speaker 1: worked or it didn't work, And that one worked like
• 8:17
  Speaker 1: it's very captivating environment. I was kind of drawn in
• 8:20
  Speaker 1: that had to be like thirteen or fourteen, so I
• 8:22
  Speaker 1: didn't know why the movie was making me want to
• 8:24
  Speaker 1: have sex with everything. But it definitely did well and
• 8:27
  Speaker 1: still has to do with some homo eroticism between maybe
• 8:35
  Speaker 1: the two most attractive men to have ever been born
• 8:38
  Speaker 1: in existence dressing and not just in their prime, but
• 8:43
  Speaker 1: in prime just just definitively it is prime day. That's
• 8:46
  Speaker 1: when we're recording, and I think that is very fittic
• 8:49
  Speaker 1: prime day day. I'm going to get a slurpy two seconds.
• 8:53
  Speaker 1: This is a terrific afternoon. Yeah, And then I saw
• 8:56
  Speaker 1: it one more time. Sorry, I'm not done with my
• 8:58
  Speaker 1: fan really, I said later on after like reading more
• 9:02
  Speaker 1: about story and film structure and like how movies are
• 9:05
  Speaker 1: made and getting more curious about who makes good stuff
• 9:08
  Speaker 1: and how and looking at it from that lens, it
• 9:11
  Speaker 1: is a It's an exceptional work. I think it's just
• 9:14
  Speaker 1: like it's a film school movie. Of course you watched
• 9:16
  Speaker 1: it like it's one of those. It's just sort of
• 9:19
  Speaker 1: a blueprint for a great way to do things. It
• 9:21
  Speaker 1: breaks some rules, it makes some rules. I think it's
• 9:24
  Speaker 1: really pretty. I just think it's a it would look
• 9:27
  Speaker 1: great if you shot it now, and it's from sixty nine.
• 9:30
  Speaker 1: I thought a Hell or High Water. There's a few
• 9:32
  Speaker 1: movies that makes me think of where you can really
• 9:33
  Speaker 1: see its influence. I think you guys talked about you guys.
• 9:36
  Speaker 1: Oh my goodness. Uh, I think y'all talked about right,
• 9:44
  Speaker 1: uh Tolmon Louise already. But there's some obvious parallels that
• 9:48
  Speaker 1: just love it's footprints or it's little fingerprints and films
• 9:51
  Speaker 1: later that I caught. I would like to think that
• 9:54
  Speaker 1: Back to the Future three drew a lot of inspiration from.
• 9:57
  Speaker 1: But to Cassidy and the Sundance Kid, Yes, I agree.
• 10:01
  Speaker 1: I love this movie a lot, although rewatching it through
• 10:05
  Speaker 1: the lens that we critique movies on this podcast, Okay,
• 10:10
  Speaker 1: not so great. We'll get into it. But it's a
• 10:13
  Speaker 1: movie I saw, I think probably for the first time
• 10:15
  Speaker 1: in maybe late high school. My mom was a big
• 10:19
  Speaker 1: fan of this movie. I wonder why, right, how old
• 10:22
  Speaker 1: was your mom in nineteen sixty nine. She was born
• 10:25
  Speaker 1: in fifty four, so she was a man. This is
• 10:28
  Speaker 1: her Titanic. Is her Titanic. She's horny as hell. God damn.
• 10:33
  Speaker 1: She totally went in a one dollar movie theater. Yeah,
• 10:36
  Speaker 1: no kidding, good for Laurie. Shout out to shout out
• 10:40
  Speaker 1: to Laura. But so I saw it and then I
• 10:43
  Speaker 1: and I loved it again. I don't even know if
• 10:46
  Speaker 1: it's a good movie or not. I'm just so horny
• 10:48
  Speaker 1: for Paul Newman and Robert Redford. But I do think
• 10:51
  Speaker 1: it's a good movie. Just the banter between the two
• 10:54
  Speaker 1: of them and their relationship is just really fun to watch.
• 10:58
  Speaker 1: And they're so fun. Yes, everyone in this movie is
• 11:03
  Speaker 1: even though they're everybody's dirty. You can tell they smell bad.
• 11:05
  Speaker 1: And I want to have sex with everyone in every frame,
• 11:08
  Speaker 1: every sex. Yeah I don't. I don't. It wasn't for you.
• 11:13
  Speaker 1: It wasn't for me. I'm not a cowboy gal, and
• 11:15
  Speaker 1: I called a gout. I'm now western gal. I'm not
• 11:17
  Speaker 1: a generally not a a movie movie. Why are we here?
• 11:25
  Speaker 1: I didn't. I watched the whole thing, which compliments which
• 11:30
  Speaker 1: thank you so much. I watched the whole thing. It
• 11:32
  Speaker 1: was long, and there was a lot of anything where
• 11:36
  Speaker 1: there's chasing. I was like, I gotta get up, I
• 11:38
  Speaker 1: gotta I gotta take a lap. I don't know. And
• 11:41
  Speaker 1: because this was my first time seeing it, I don't
• 11:44
  Speaker 1: have any glow around it. And so I was watching
• 11:47
  Speaker 1: it for this podcast. It was like really honed in on,
• 11:51
  Speaker 1: like waiting for the first female character to come on screen,
• 11:54
  Speaker 1: and boy was I waiting for a little bit and
• 11:56
  Speaker 1: then it was like, oh, leader of a whorehouse, cool
• 11:58
  Speaker 1: female character and everyone. I mean, it's fine, it's it's
• 12:02
  Speaker 1: one of those movies that I just know would not
• 12:04
  Speaker 1: be for me at any point. Sure, yeah, I think
• 12:08
  Speaker 1: it's definitely a Western, but it's somebody's era ending while
• 12:11
  Speaker 1: they're living in it, like they're watching the sunset of
• 12:15
  Speaker 1: their kind of heyday and time. They're trying to squeeze
• 12:18
  Speaker 1: the most out of life and they see it escape.
• 12:21
  Speaker 1: Like I mean, it said directly to them twice at
• 12:24
  Speaker 1: the halfway point of the movie. You die at the
• 12:26
  Speaker 1: end of the movie. Die at the end at the
• 12:30
  Speaker 1: you die you pick where I guess I believe it
• 12:35
  Speaker 1: before half, but you die at the end, and they
• 12:39
  Speaker 1: they know, and there's a few points where it suggested
• 12:41
  Speaker 1: they know. And there's something in that that I defind
• 12:43
  Speaker 1: very compelling, regardless whether or not their cowboys, because it's
• 12:46
  Speaker 1: not every Western I love. But like The New True
• 12:49
  Speaker 1: Grit was another film that I would think of for
• 12:52
  Speaker 1: this podcast because again it's not a lot of women,
• 12:54
  Speaker 1: but the women in the film are fascinating and very
• 12:59
  Speaker 1: interesting reflection of the time. Because Edda and Butch castings
• 13:03
  Speaker 1: on his kid is Also, you have to wait a
• 13:05
  Speaker 1: long time to see her. She doesn't have a whole
• 13:07
  Speaker 1: lot of screen time. What a layered and revealing performance.
• 13:10
  Speaker 1: And also what other woman do you right to reflect
• 13:13
  Speaker 1: this time? It be dishonest to suggest that she's a swashbuckling,
• 13:16
  Speaker 1: fun time cow girl. She describes herself as twenty six
• 13:20
  Speaker 1: single school teacher, bottom of the barrel. What a quote. Yeah,
• 13:25
  Speaker 1: that was. It is weird because they do make the
• 13:28
  Speaker 1: most of every line she's given. She doesn't have a
• 13:31
  Speaker 1: lot of lines, but when she speaks, she is amazing.
• 13:35
  Speaker 1: That was inappropriate and I apologize. Also, she is so
• 13:38
  Speaker 1: married to same Elliott and has been for like a
• 13:40
  Speaker 1: gazillion years. He's apparently in this movie. You never see
• 13:44
  Speaker 1: him on screen, but I was watching the credits. He's
• 13:46
  Speaker 1: the other card player at the very beginning, like Sundance,
• 13:50
  Speaker 1: you're cheating, And what a great opening scene. It's like
• 13:53
  Speaker 1: the first one is butcher like in a bank, like
• 13:55
  Speaker 1: what outer the old bank? It was beautiful, people kept
• 13:57
  Speaker 1: Robin and small players to pay for beauty, like you
• 14:00
  Speaker 1: know exactly who he is from the gate. And then
• 14:03
  Speaker 1: as soon as you see Sundance, he's not cheating at
• 14:05
  Speaker 1: cars and winning or was he he wasn't? I think
• 14:09
  Speaker 1: I think he's he just wins and sundance, How good
• 14:14
  Speaker 1: are you? And he's like, but by gun so horny
• 14:19
  Speaker 1: right from that right, oh my god, the color like
• 14:22
  Speaker 1: every it's not only okay. So here's a terrible movie.
• 14:26
  Speaker 1: This is tangential, but I promise I'm gonna get back
• 14:28
  Speaker 1: to where we were. Anybody's seen Samurai Coup. This is
• 14:31
  Speaker 1: a joke from Rift Trexit. I'm kind of stealing, but
• 14:33
  Speaker 1: it is a thousand percent correct that there's a sex
• 14:35
  Speaker 1: scene in Samurai Cup with two physically perfect like a
• 14:38
  Speaker 1: guy who looks like a bodybuilding poster and a woman
• 14:41
  Speaker 1: who looks like a nineties calendar in an auto mechanic shop,
• 14:44
  Speaker 1: and they begin the act of copulation, and it is
• 14:47
  Speaker 1: so absent of any sexuality. Sensuality is a mile and
• 14:51
  Speaker 1: a half away. How you take two beautiful bodies to
• 14:54
  Speaker 1: make them like it would an incompetent or beautifully incompetent
• 14:59
  Speaker 1: filmmaker could to have made that like those two men unsexy.
• 15:03
  Speaker 1: It's possible to shoot Robert Redford and Paul Newman in
• 15:05
  Speaker 1: a way that is unsexy, but they are perfect creatures.
• 15:08
  Speaker 1: That were caught perfectly in this film, and like every step,
• 15:11
  Speaker 1: every time you hear their boots fall every time, like
• 15:15
  Speaker 1: because the stupid eyes, Paul Newman, stupid eyes, dumb, greasy hair.
• 15:20
  Speaker 1: I just it's yeah, he's you can salty they are,
• 15:25
  Speaker 1: and I want to know about it. Yeah, he's stupidly handsome.
• 15:28
  Speaker 1: But but for me, so handsome that I'm like I do.
• 15:32
  Speaker 1: I don't even think I'm horny. I'm just looking. That
• 15:35
  Speaker 1: makes a study almost, Yeah, like I tap out at
• 15:38
  Speaker 1: a certain point of handsome. Understand this like a little
• 15:40
  Speaker 1: bit much, but I will continue to look. But now
• 15:43
  Speaker 1: it feels like a science project. I mean, how handsome
• 15:45
  Speaker 1: they are is borderline inappropriate, like it's not suitable for
• 15:49
  Speaker 1: young eyes. And they're fully clothed the whole time, extremely
• 15:55
  Speaker 1: speaking of their clothes. And then we should also try
• 15:58
  Speaker 1: to pass the test in our conversation and not just hijack.
• 16:07
  Speaker 1: And we didn't. No, no, no, no, not a summary.
• 16:08
  Speaker 1: Okay god no. Yeah. Well, can I just apologize for
• 16:11
  Speaker 1: myself on this podcast about the representation of women in media?
• 16:14
  Speaker 1: I am so sorry I'm occupying this space. You know,
• 16:17
  Speaker 1: we appreciate, we appreciate you coming forward lots of click
• 16:21
  Speaker 1: pay forthcoming about this pretty brave. Yeah, I'll do the
• 16:25
  Speaker 1: recap story. Um, So we meet Butch Cassidy and his
• 16:30
  Speaker 1: partner the sun Dance Kid, and they are bank robbers
• 16:35
  Speaker 1: and that bad boy but they're a good wrestling but
• 16:43
  Speaker 1: which I had to look up. Turns out that is
• 16:45
  Speaker 1: like stealing livestock. That was. So they're bank robbers. They
• 16:50
  Speaker 1: also robbed trains sometimes, and they go to rob the
• 16:55
  Speaker 1: flyer and it belongs to e. H. Harman. So they
• 17:00
  Speaker 1: robbed this train twice and take all the money for
• 17:04
  Speaker 1: There's a little attendant in the train who's so devoted
• 17:08
  Speaker 1: to his job, and you see he would get out
• 17:10
  Speaker 1: of the train, but he's in the employee and he
• 17:13
  Speaker 1: just can't. And that's my type right there. I'm just like,
• 17:16
  Speaker 1: this is this is this is realistically where I would land.
• 17:22
  Speaker 1: I like it's as like because they're too hot. I'm like,
• 17:25
  Speaker 1: this is my speed. I just don't get why he
• 17:27
  Speaker 1: was so loyal to some fucking rich dude. It was
• 17:30
  Speaker 1: annoying to me, But it's the only life he knows.
• 17:32
  Speaker 1: It's just more a more boring version of that. So
• 17:36
  Speaker 1: but and Sundance and his hole in the Wall gang
• 17:39
  Speaker 1: rob this, which is funny. That sounds like a glorial gang. Yeah,
• 17:43
  Speaker 1: apparently I was doing some wikipedia ing and Butch Cassie's
• 17:48
  Speaker 1: actual gang was called the Wild Bunch. They were not
• 17:51
  Speaker 1: called the Home. That's a great name, but that's yeah,
• 17:54
  Speaker 1: I think that's been used elsewhere. Right, But there's a
• 17:56
  Speaker 1: movie called The Wild Bunch, which I have not seen,
• 17:59
  Speaker 1: so I don't know. It is a Western and it's
• 18:01
  Speaker 1: about like cowboys and maybe they're robbers. I'm not sure.
• 18:05
  Speaker 1: I'll go watch that movie and then i'll let everybody know.
• 18:08
  Speaker 1: So anyway, they robbed this train twice and then E. H.
• 18:11
  Speaker 1: Harriman of the Union Pacific Railroad develops a vendetta against
• 18:15
  Speaker 1: Butch and Sundance. So he sends out this team of
• 18:18
  Speaker 1: hired like a guy who's an expert tracker and then
• 18:22
  Speaker 1: a lawman, and they start chasing Butch and Sundance. So
• 18:25
  Speaker 1: they're on on the lamb for a while, and then
• 18:30
  Speaker 1: they meet up with Sundance's girlfriend at a place and
• 18:34
  Speaker 1: they're like, maybe we should go to Bolivia. There's some
• 18:36
  Speaker 1: minds down there. We can steal their payroll. And they
• 18:39
  Speaker 1: go to Bolivia and everything's okay for a while, except
• 18:42
  Speaker 1: that Bolivia, they don't like it, and then um they're stealing.
• 18:46
  Speaker 1: They hate it, right, and then they start robbing banks
• 18:50
  Speaker 1: down there, and then local law enforcement starts to get
• 18:55
  Speaker 1: the Antito's Yankees, so they just they it when and
• 19:00
  Speaker 1: then there's a shootout at the end and they get
• 19:02
  Speaker 1: dead the end or do they very much very much?
• 19:07
  Speaker 1: But we know, we know, So that's the story. Our
• 19:11
  Speaker 1: main female character is at a place, as we already
• 19:15
  Speaker 1: hinted at, doesn't have a ton of screen time. Horses
• 19:18
  Speaker 1: running in the distance have significantly more screen time than
• 19:21
  Speaker 1: the primary female character. The I was taking notes in
• 19:25
  Speaker 1: real time of like how I was viewing at a
• 19:28
  Speaker 1: and here's a little okay. First, I like that she's
• 19:32
  Speaker 1: friends with them. That was not number one. Thot number two,
• 19:35
  Speaker 1: I don't know, maybe this is dynamic. She seems nice
• 19:38
  Speaker 1: and fun. Thought number three all caps, I have been
• 19:43
  Speaker 1: tricked at a place is a guy's gal. I was
• 19:46
  Speaker 1: almost tricked. I won't be tricked again. She's a guy's gal,
• 19:50
  Speaker 1: and and it connected with me as like, uh fuck,
• 19:54
  Speaker 1: that's what I wanted to be in high school. And
• 19:56
  Speaker 1: I'm piste off when she's like hanging out with Butch
• 19:59
  Speaker 1: and they're having so much freaking fun, and she's like,
• 20:01
  Speaker 1: you know, on his horse, like this is so much
• 20:04
  Speaker 1: fun for me, and you know, it's like I like
• 20:06
  Speaker 1: that they're friends, but they're man. I hate the guy's
• 20:10
  Speaker 1: gal of you know, she'll do whatever the guys do
• 20:12
  Speaker 1: because she's she's fun, she's you know, she's just like them.
• 20:15
  Speaker 1: She can hang you know, and like that whole God,
• 20:19
  Speaker 1: it's just it. I find it very frustrating and it's
• 20:22
  Speaker 1: not so agree just because she is not given a
• 20:25
  Speaker 1: ton to do. And then later when they go to Bolivia,
• 20:27
  Speaker 1: she has her role and she is playing the teacher
• 20:30
  Speaker 1: and she's trying to keep them motivated and all this stuff.
• 20:32
  Speaker 1: But that scene with her in but and then that
• 20:34
  Speaker 1: ends with like do you think that we would have
• 20:37
  Speaker 1: ended up together if I hadn't met Sundance first? I'm
• 20:40
  Speaker 1: just like, fuck you, Like you don't have to. I mean,
• 20:43
  Speaker 1: they are the hottest man in the world, but you don't,
• 20:46
  Speaker 1: come on, don't be a guy's gal. Grow up. I
• 20:48
  Speaker 1: really wanted them to be in a three way. That's
• 20:51
  Speaker 1: what was happening. I mean, that's the next line is
• 20:54
  Speaker 1: which we are involved, right but were they like having sex.
• 20:58
  Speaker 1: I don't think it's like you never see who's having
• 21:00
  Speaker 1: sex in this movie, and yet you kind of do.
• 21:03
  Speaker 1: I think that. Butch is like he's the sun. Everybody
• 21:07
  Speaker 1: loves him. He shines on everybody. You could never expect
• 21:10
  Speaker 1: his exclusive attention, and Sundance is this laser who's focused
• 21:15
  Speaker 1: on her. Sun. Danson is in the body house with
• 21:20
  Speaker 1: the ladies of the night, employed keenly in the world's
• 21:22
  Speaker 1: oldest profession, and yet he is not interested in any
• 21:26
  Speaker 1: of the were sold. Uh. Butch indulges adorably and freely,
• 21:31
  Speaker 1: but Sundance goes home. I think everybody's performance, if the
• 21:35
  Speaker 1: movie's tone and the performances carry, everybody's pretty layered, and
• 21:40
  Speaker 1: to me, Eda doesn't have a lot of options. The
• 21:44
  Speaker 1: women that have already kind of slipped it. Slipped is
• 21:47
  Speaker 1: the wrong word. Uh. This is a terrible, shitty time
• 21:49
  Speaker 1: for women in which you couldnot own anything, vote or
• 21:51
  Speaker 1: have jobs, or do anything. So you either had land
• 21:54
  Speaker 1: somehow through inheritance or because you had a man to
• 21:57
  Speaker 1: give it to you, or you found a way to
• 21:59
  Speaker 1: make a live being on your own. And the women
• 22:01
  Speaker 1: who do that on the other side of the line
• 22:03
  Speaker 1: society drew of appropriate have a camaraderie that's displayed in
• 22:06
  Speaker 1: the film. There's a house full of women, there's a
• 22:09
  Speaker 1: woman keeping them safe. Yes, of course that's not the
• 22:12
  Speaker 1: way it fucking should be, but that's part of what happened.
• 22:15
  Speaker 1: There was way for women to have relationships on kind
• 22:18
  Speaker 1: of that side of the line. And Edda is almost there.
• 22:21
  Speaker 1: She's a school teacher with this boyfriend. She has no husband.
• 22:24
  Speaker 1: She's right on this line where women on the other
• 22:26
  Speaker 1: side of the society's line won't talk to her. She's
• 22:28
  Speaker 1: not cool enough to go to the brothel and chill
• 22:30
  Speaker 1: with those ladies, but she is not allowed in the
• 22:32
  Speaker 1: church house. I think she's very lonely. And sure she's
• 22:35
  Speaker 1: lonely because she's bored with who she grew up with.
• 22:38
  Speaker 1: She doesn't want to be with them. She goes to
• 22:40
  Speaker 1: Olivia without them. Uh. I think she's just too I
• 22:44
  Speaker 1: don't know. There's something about her that performance suggests to
• 22:46
  Speaker 1: me that she would never look down on a lady
• 22:48
  Speaker 1: in a brothel, but also she knows that's not her blueprint.
• 22:52
  Speaker 1: She doesn't have. She does rob a bank, and I
• 22:56
  Speaker 1: don't think the ladies in the brothel are going to
• 22:58
  Speaker 1: do that. It's just women doing whatever the luck they
• 23:00
  Speaker 1: can to not die because their husband hit him with
• 23:02
  Speaker 1: a stick. Legally, I think they are all involved with
• 23:06
  Speaker 1: each other. I think they're committed to each other and
• 23:08
  Speaker 1: like they're bonded. I don't know what the languages for it,
• 23:11
  Speaker 1: but they you know, they talked about vacations they've taken
• 23:14
  Speaker 1: in the past together. The little montage moments with the
• 23:17
  Speaker 1: still photographs that kind of flashed by, there's a really
• 23:20
  Speaker 1: kind of sweet series of skills where everybody's having fun
• 23:23
  Speaker 1: and dancing, and then the party's winding down and it's
• 23:25
  Speaker 1: just sundancing Etta dancing and Butch watching. And at first
• 23:28
  Speaker 1: he looks lonely and then he smiles. I think, yeah,
• 23:31
  Speaker 1: oh I did forget without them. Yeah, she wants the
• 23:34
  Speaker 1: exclusive Sunday attention, and Sundance definitely has that laser focus
• 23:39
  Speaker 1: on her. But he's also kind of a like drama
• 23:43
  Speaker 1: queen whiney bitch, Like there's like, come on, he's sexy,
• 23:50
  Speaker 1: he's devoted, uh, and he's very loyal and I think
• 23:52
  Speaker 1: he does love her, but you know, he's no fun
• 23:55
  Speaker 1: without Butcher room. But Butch is gonna be fucking everything
• 23:58
  Speaker 1: and shining on everybody you don't know. Yeah, I really
• 24:00
  Speaker 1: thought that that was an interesting three way portrayalbal relationship
• 24:03
  Speaker 1: on screen. It's kind of rare. I mean, I feel
• 24:06
  Speaker 1: like that would be a controversial relationship to portray how
• 24:09
  Speaker 1: we'd all be talking about the threble on some show
• 24:11
  Speaker 1: or a movie. No, those are interesting points that I
• 24:15
  Speaker 1: didn't think about enough. I was just like, Oh, they're
• 24:19
  Speaker 1: so hot, lucky her to be able to be spending
• 24:22
  Speaker 1: time with them. So let's backtrack a little bit. So
• 24:27
  Speaker 1: the first female characters we see are I think her
• 24:29
  Speaker 1: name is Fanny. She's likes and she gets like, I
• 24:37
  Speaker 1: don't know, a few moments of screen time like hardly anything.
• 24:41
  Speaker 1: You see a whole room full of women, um, but
• 24:43
  Speaker 1: they're not really much. And then we meet so Eda's
• 24:48
  Speaker 1: introduction is fascinating to me because before we know that
• 24:53
  Speaker 1: she and Sundance are involved, he is in a room
• 24:57
  Speaker 1: in the dark watching her undressed. And then she realized
• 25:00
  Speaker 1: as he's there, and she started and he's keep going
• 25:03
  Speaker 1: and then he picks up his gun and points it
• 25:05
  Speaker 1: at her to signal her to keep undressing, which she does,
• 25:09
  Speaker 1: and we as the audience who's never seen this movie before.
• 25:12
  Speaker 1: I think she's in danger. He's a creep, a rapi rapist,
• 25:17
  Speaker 1: and this is gonna be scary. And then she keeps
• 25:20
  Speaker 1: undressing and then he goes over to and kind of
• 25:23
  Speaker 1: starts to pull her clothes the rest of the way off,
• 25:25
  Speaker 1: and she's like, you know what, I wish, I wish
• 25:27
  Speaker 1: that for once you get here on time. And it's like, oh,
• 25:30
  Speaker 1: they know each other. This was like maybe a hot
• 25:35
  Speaker 1: thing for them. Maybe this was like a role playing
• 25:37
  Speaker 1: thing they do. I don't know, but it was like
• 25:41
  Speaker 1: so uncomfortable to watch this happened where he's pointing a
• 25:45
  Speaker 1: gun at her while she's presumably like forced to undress, right,
• 25:52
  Speaker 1: But then it seems like it was like by the end,
• 25:54
  Speaker 1: you're just like, oh, maybe that was like pre planned.
• 25:57
  Speaker 1: We don't know. Maybe maybe like maybe this is like
• 25:59
  Speaker 1: what it what they do. Maybe she was like, next
• 26:01
  Speaker 1: time you come home or I don't know when to
• 26:03
  Speaker 1: expect you sit in the corner in the dark and
• 26:06
  Speaker 1: then point your gun at me and watch me make
• 26:08
  Speaker 1: me undressed. Like maybe that's a game they have. I
• 26:10
  Speaker 1: don't I don't know. I don't want to shame their
• 26:12
  Speaker 1: weird gun set go for it, but it is weird
• 26:18
  Speaker 1: the way it's presented to the audience of like, what
• 26:21
  Speaker 1: a weird place to build tension, And I guess I
• 26:24
  Speaker 1: mean plant a slight seed of doubt of like, oh,
• 26:27
  Speaker 1: day as a good guy or is he Is he
• 26:30
  Speaker 1: about to ripe this lady? Oh, she's his girlfriend and
• 26:33
  Speaker 1: he loves her. Right, well, he's not rape this cool
• 26:35
  Speaker 1: next scene? True, Yeah, Like we've seen him as kind
• 26:39
  Speaker 1: of bad guys. They're charming bad guys, but it's kind
• 26:41
  Speaker 1: of like, oh no, are they much worse bad guys
• 26:44
  Speaker 1: than I thought they were? Uh? And then you know,
• 26:46
  Speaker 1: a little switchery like nope, just this guy loves extra
• 26:51
  Speaker 1: hot and in the monogamous extended role play fantasy right right, Yeah,
• 26:57
  Speaker 1: that scene was a little weird, but I don't know.
• 27:01
  Speaker 1: By the end, I was like, Okay, it wouldn't have
• 27:04
  Speaker 1: been I think, so bad except that all the other
• 27:07
  Speaker 1: scenes after that where she is in them, she is
• 27:11
  Speaker 1: treated so poorly by her boyfriend, Yeah, very mean to her,
• 27:17
  Speaker 1: Like maybe I could forgive that one time where like, yeah,
• 27:20
  Speaker 1: maybe it is like a fantasy role playing thing they
• 27:22
  Speaker 1: have going on, or maybe he's just a controlling asshole,
• 27:26
  Speaker 1: which is what he seems to be, but only to her,
• 27:30
  Speaker 1: Like he and Butcher's will call it maybe a bromance.
• 27:34
  Speaker 1: They have like a fun banter. They're they're in love,
• 27:38
  Speaker 1: are in love, and I love to watch them for
• 27:42
  Speaker 1: great and go for it, but then like leave it
• 27:45
  Speaker 1: a lot, like I don't know there There is another
• 27:49
  Speaker 1: scene right before with eda Um because there's long stretches
• 27:52
  Speaker 1: where we don't see her prior to them going to Oblivia.
• 27:54
  Speaker 1: We meet her, then some cowboys ship and then finally
• 27:57
  Speaker 1: she comes back. But there is this scene and at
• 28:01
  Speaker 1: his house and she's on the porch and she's like
• 28:03
  Speaker 1: visibly upset. This is like what bucks me about this
• 28:06
  Speaker 1: three relationship is she's visibly upset the whole scene in
• 28:09
  Speaker 1: a way that's very clear to us, and no one
• 28:13
  Speaker 1: asks her, hey are you okay? You're you're frowned a lot,
• 28:17
  Speaker 1: and and Butch and Sundance are talking in the kitchen
• 28:19
  Speaker 1: and then they come out to her. And where that
• 28:22
  Speaker 1: scene lands is hey, condor Bolivia with us. But you know,
• 28:26
  Speaker 1: one could argue they don't know how to treat women well,
• 28:29
  Speaker 1: because it seems like no one in this era knew
• 28:32
  Speaker 1: how to and it was not even thought of to
• 28:36
  Speaker 1: ask a woman, Hey, what's up? But that scene was
• 28:39
  Speaker 1: so frustrating for me. It's like, because we it's this
• 28:42
  Speaker 1: long shot of her frowning and then them presumably noticing it.
• 28:47
  Speaker 1: We come into the middle of like they've probably been
• 28:50
  Speaker 1: there for a couple of hours, and then they come
• 28:52
  Speaker 1: out of there like, hey, frownie, you won't go on
• 28:54
  Speaker 1: vacation with us, And it's just like, funck you there? Well,
• 28:57
  Speaker 1: that seems like this is a real dude, Like he's
• 29:00
  Speaker 1: he's not nice about it. I don't know what I
• 29:01
  Speaker 1: was going for with I don't know where I started
• 29:04
  Speaker 1: or I was trying to finish, but it was something yeah,
• 29:07
  Speaker 1: like I guess you can come with us, but if
• 29:09
  Speaker 1: you get whiny, yeah yeah, he's he's yeah, I want to.
• 29:15
  Speaker 1: Before they had that conversation right when they show up
• 29:18
  Speaker 1: Sundances like do you have enough to feed us? And
• 29:20
  Speaker 1: she's like don't you know that I do? It's like, okay,
• 29:23
  Speaker 1: I'm a good Yeah I have food and it's in
• 29:25
  Speaker 1: the kitchen and I'm there in a barefoot You're a
• 29:28
  Speaker 1: strong and I'm a good I like how that's basically
• 29:33
  Speaker 1: the first thing that he said to her like feed
• 29:35
  Speaker 1: me woman. And also in the same scene where they
• 29:39
  Speaker 1: invite her on vacation, I was like, Okay, they're not
• 29:41
  Speaker 1: going to ask her if she's okay. She seems used
• 29:43
  Speaker 1: to this, and then they're like, go on vacation with us,
• 29:45
  Speaker 1: but the reason we're asking you to come is because
• 29:47
  Speaker 1: we think traveling with a woman will be good cover.
• 29:50
  Speaker 1: It's like, oh, okay, so she's not. They're not like
• 29:54
  Speaker 1: you know, that's like he's maybe I just have a
• 29:57
  Speaker 1: family with too much layered trauma. But I just see
• 29:59
  Speaker 1: it all over with Sundance that like he loves her
• 30:03
  Speaker 1: too much to say it out loud because he knows
• 30:06
  Speaker 1: he's going to die and he knows he can probably
• 30:08
  Speaker 1: like it's him that's gonna get her killed. I think
• 30:11
  Speaker 1: he's afraid of that through the whole movie with us,
• 30:13
  Speaker 1: I guess. But instead of saying like I fear losing you,
• 30:17
  Speaker 1: I feel that it will be my fault if you
• 30:19
  Speaker 1: make this choice because you love me and I love you,
• 30:21
  Speaker 1: and then you end up dying because of my actions.
• 30:24
  Speaker 1: Like he's not going to say that, He's gonna say,
• 30:27
  Speaker 1: come if you want, but I'm not gonna make this easy.
• 30:29
  Speaker 1: I'm not gonna make this an easy choice, right, I mean,
• 30:32
  Speaker 1: and and and it's they're emotionally repressed because their men
• 30:37
  Speaker 1: living in this time, and that makes sense to me.
• 30:40
  Speaker 1: But it's just like that, you know, it's this whole
• 30:42
  Speaker 1: like that's the only way we see him that there
• 30:45
  Speaker 1: is a kind of a tender moment where he's like,
• 30:49
  Speaker 1: don't make a big thing of this, and then there's
• 30:51
  Speaker 1: just like kind of silence between them, and he's like,
• 30:53
  Speaker 1: make a big thing, and then they hug and it's
• 30:55
  Speaker 1: like okay, But I just I kind of wanted maybe
• 30:58
  Speaker 1: more tender moments like that to remind us that he's
• 31:02
  Speaker 1: not just a fucking and yeah, I get it, Like
• 31:04
  Speaker 1: there he's a tough cowboy man. He has this prickly
• 31:08
  Speaker 1: exterior and he's not gonna like be all mushy with
• 31:11
  Speaker 1: how much he loves her and all that stuff. But
• 31:12
  Speaker 1: just yeah, he's like, if you want to go, I
• 31:15
  Speaker 1: won't stop you. But the manute you start to wine
• 31:17
  Speaker 1: or make a nuisance, I don't care where we are,
• 31:19
  Speaker 1: I'm dumping you flat. Like what a horrible thing to say.
• 31:22
  Speaker 1: And yeah, and I know that that's like that's some
• 31:25
  Speaker 1: realism in terms of like that that's more likely than
• 31:29
  Speaker 1: an emotionally honest conversation between a man and woman at
• 31:32
  Speaker 1: this time. But it's just like h and that's fine.
• 31:34
  Speaker 1: But just in terms of like watching it, I was like,
• 31:37
  Speaker 1: I'm I'm sad it wasn't. And then this is this,
• 31:41
  Speaker 1: I believe the same scene where Edda has her monologue.
• 31:46
  Speaker 1: I wrote it down. I'm twenty six and I'm single,
• 31:48
  Speaker 1: and I'm a school teacher and that's the bottom of
• 31:50
  Speaker 1: the pit. The only excitement I've ever known is with
• 31:52
  Speaker 1: me now. So I'll go with you, and I won't wine,
• 31:54
  Speaker 1: and i'll stitch your socks, and i'll care for you
• 31:56
  Speaker 1: when you're wounded, and i'll do anything you ask of
• 31:58
  Speaker 1: me except one thing. I won't watch you die. I'll
• 32:00
  Speaker 1: miss that scene if you don't mind. And that is,
• 32:03
  Speaker 1: I would guess, probably the longest line she has in
• 32:05
  Speaker 1: the movie, and the most kind of like a thesis
• 32:08
  Speaker 1: statement of her character too, which is whenever we see
• 32:13
  Speaker 1: the scene towards the end when she's like, Hey, I
• 32:15
  Speaker 1: think I'm going to go home ahead of you guys
• 32:20
  Speaker 1: have to Yeah, and I actually I do think. I
• 32:23
  Speaker 1: mean back to that scene where it sundances being a
• 32:25
  Speaker 1: jerk about going to Bolivia, Like I think the line
• 32:29
  Speaker 1: that he's not saying, I don't think it's just a
• 32:32
  Speaker 1: prickly exterior. I think this is when you slam the
• 32:35
  Speaker 1: door when you're a teenager your parents because you can't
• 32:37
  Speaker 1: tell them what you're really thinking about, Like I don't know,
• 32:39
  Speaker 1: I'm afraid of boys in my body. Is what you're
• 32:41
  Speaker 1: saying when it's like fuck you, dinner sucks, Like you
• 32:44
  Speaker 1: know you're being a ship because there's things you don't
• 32:47
  Speaker 1: know how to say, there's things you don't know how
• 32:48
  Speaker 1: to process. And I think the performance, I mean, this
• 32:52
  Speaker 1: is a lasting film because I think his performance pushes
• 32:54
  Speaker 1: past some of that prickly exterior. I'm using air quotes
• 32:58
  Speaker 1: thing to show a little bit more of what's actually
• 33:00
  Speaker 1: happening underneath the things he can't say. I think you
• 33:03
  Speaker 1: can see the things he can't say to her. I
• 33:05
  Speaker 1: think the bond between them is not scary or bad,
• 33:09
  Speaker 1: but good, and probably they both know it's rare and unique,
• 33:12
  Speaker 1: like he's not going to find another one of her,
• 33:14
  Speaker 1: she's not going to find another one of him. And
• 33:16
  Speaker 1: that's a love story in like any era, and communication
• 33:20
  Speaker 1: of emotional communication is hard in any era, like there's
• 33:23
  Speaker 1: a two incasion this movie for robots that are like,
• 33:26
  Speaker 1: you know, with a sci fi version of this relationship
• 33:29
  Speaker 1: or whatever. This relationship is replicatable outside of a cowboy
• 33:32
  Speaker 1: prickly exterior movie. If it doesn't carry, if the movie
• 33:35
  Speaker 1: is boring and you're not seeing the lay, like, yeah,
• 33:38
  Speaker 1: it's just a guy being a dick, and you don't
• 33:40
  Speaker 1: really care about his backstory or his trauma. You don't
• 33:42
  Speaker 1: care why he can't be emotionally articulate or mature. Uh.
• 33:46
  Speaker 1: But if you're in it with the characters, if it
• 33:48
  Speaker 1: does suck you in, it's like, just tell her you
• 33:50
  Speaker 1: love her, man, come on right, just say it. It's
• 33:53
  Speaker 1: like a more beautiful moment than it is painful if
• 33:57
  Speaker 1: it's working. If it's not, then like, yeah, that's you
• 34:00
  Speaker 1: don't see the here, the line behind the line, you
• 34:02
  Speaker 1: don't see the emotional layers or whatever. But the scene
• 34:06
  Speaker 1: at the end or closer to the end in Bolivia,
• 34:08
  Speaker 1: when it decides to go, I think that is sweet
• 34:11
  Speaker 1: and different for the time to have two men say
• 34:14
  Speaker 1: to a woman, whatever you want to do, it's what
• 34:17
  Speaker 1: you want. I'm not gonna keep you here. I don't
• 34:19
  Speaker 1: own you leave because it's safe, steak, because you want
• 34:22
  Speaker 1: to stay. There's a place for you, but we're also
• 34:24
  Speaker 1: not going to try to make you. I just thought
• 34:26
  Speaker 1: that was sweet and it was sundance in that scene.
• 34:28
  Speaker 1: It almost seemed like, you know, there was like said,
• 34:31
  Speaker 1: but he was also a little bit relieved that she
• 34:33
  Speaker 1: was because I mean, I think, yeah, yeah, he sent
• 34:37
  Speaker 1: their time was up. It was like only a matter
• 34:39
  Speaker 1: of time before they got dead. And then she's like, yeah,
• 34:43
  Speaker 1: he's probably thinking better that you're not here to watch
• 34:46
  Speaker 1: us die. Yeah that I mean that that was good
• 34:49
  Speaker 1: that she got to be the one to say, hey,
• 34:52
  Speaker 1: I'm leaving, and it seemed understood in the friendship that
• 34:56
  Speaker 1: that was probably how it was always going to go anyways.
• 34:59
  Speaker 1: I just like, just for her, I mean, I feel
• 35:02
  Speaker 1: like at the end of it, it's like an interesting
• 35:03
  Speaker 1: time in her life to reflect on later, where for
• 35:07
  Speaker 1: them it's their life and it's going to and any minute.
• 35:13
  Speaker 1: I wish there were there was at least one moment
• 35:16
  Speaker 1: where she maybe just like stood up for herself a
• 35:19
  Speaker 1: little more, like you can't don't treat me like that,
• 35:22
  Speaker 1: don't talk to me like that something. I mean, maybe
• 35:24
  Speaker 1: that would have made it cheesy and maybe it's not needed,
• 35:28
  Speaker 1: but just because there's another scene when they're in Bolivia,
• 35:31
  Speaker 1: they have just arrived and they realized what a ship
• 35:34
  Speaker 1: hole it is, Sundances complaining about it, and it is like,
• 35:38
  Speaker 1: I'm not sure we're accomplishing as much as we might hear,
• 35:42
  Speaker 1: and then Sundance says, listen, your job is to back
• 35:44
  Speaker 1: me up because you'd starve without me, just like another
• 35:47
  Speaker 1: one of those you're a woman and you suck and
• 35:51
  Speaker 1: you're annoying me. But again, what you're saying probably just
• 35:54
  Speaker 1: you know, he's lashing out because it doesn't like Almas like, right,
• 36:00
  Speaker 1: hang out, I'm sorry there are pigs. And then Butch
• 36:04
  Speaker 1: says something like, oh yeah, he'll feel better when he's
• 36:07
  Speaker 1: robbed a few banks to try to smooth things over.
• 36:10
  Speaker 1: But I don't know. I just wanted it to be,
• 36:12
  Speaker 1: like I like, just a writing perspective. So that's that
• 36:18
  Speaker 1: for me, was like an example of like, oh, here's
• 36:20
  Speaker 1: a woman expressing her opinion as a setup for this
• 36:22
  Speaker 1: funny goof that two guys are going to do. And
• 36:24
  Speaker 1: I know that it goes deeper than that, but just
• 36:25
  Speaker 1: like on the page, it's like a lot of times
• 36:28
  Speaker 1: when at A does express an opinion, it's a setup
• 36:31
  Speaker 1: for Butch to get a good old quip in that
• 36:35
  Speaker 1: I'm also trying hard, like I you know, I brought
• 36:37
  Speaker 1: this movie to the table for a podcast about women
• 36:41
  Speaker 1: in media, and this is an interesting look that has
• 36:43
  Speaker 1: goods and beads, and I see a lot of the goods,
• 36:45
  Speaker 1: and I've decided to buy the story the way that
• 36:48
  Speaker 1: I wanted to be. Uh, but I think that's a
• 36:51
  Speaker 1: way to interpret the movie. But yeah, it's I don't
• 36:54
  Speaker 1: think you're wrong. I mean, there are movies that treat
• 36:57
  Speaker 1: women horribly and have the women characters not stand up
• 37:00
  Speaker 1: for themselves and and I hate them because of that,
• 37:03
  Speaker 1: and yet I still love this movie and this is
• 37:07
  Speaker 1: a good This is an interesting conversation in general because
• 37:10
  Speaker 1: usually it's there aren't as many grays in terms of
• 37:14
  Speaker 1: how women are, especially in a movie from this era.
• 37:17
  Speaker 1: Like usually it's pretty like yeah this sucks, let's let's
• 37:21
  Speaker 1: list it, or like wow, this it's mo wanna and
• 37:23
  Speaker 1: it's like we're inspired, Like there is a lot of
• 37:27
  Speaker 1: gray area here, And there's something to the fact that,
• 37:29
  Speaker 1: like if I watch a movie where women are being
• 37:32
  Speaker 1: portrayed in a way that's fucking ridiculous and terrible. I'm
• 37:35
  Speaker 1: angry on a social level for women, like treat women better?
• 37:39
  Speaker 1: What are you doing to her? And in this film,
• 37:41
  Speaker 1: it's like at a stand up for yourself. It's the
• 37:44
  Speaker 1: character I want to see make that action, which is
• 37:48
  Speaker 1: represents an investment in the film and the story that
• 37:51
  Speaker 1: like you know, it's a bigger social issue. Women should
• 37:54
  Speaker 1: in general speak out for what they want and exhibit
• 37:57
  Speaker 1: leadership and do all that ship because it proves help
• 38:00
  Speaker 1: it did in Bolivia because she does exert a little
• 38:03
  Speaker 1: bit of leadership, just a little bit with teaching Spanish.
• 38:05
  Speaker 1: You see how this aspect works. There's some cuping right there.
• 38:08
  Speaker 1: But I know I'm rooting for her, and I know
• 38:11
  Speaker 1: that like part of her leaving is like Sundance is
• 38:14
  Speaker 1: bad for her. Sundance is not only like a shitty boyfriend,
• 38:18
  Speaker 1: but he's gonna get her killed. Like sure, it's amazing,
• 38:21
  Speaker 1: it's different from the rest of your life, and it's
• 38:23
  Speaker 1: fucking Robert Redford or whatever. But like she makes a
• 38:27
  Speaker 1: choice for self preservation in a way that I don't
• 38:31
  Speaker 1: think you see a lot of female characters do, where
• 38:33
  Speaker 1: she's not like ride or Die dumb. I'll get in
• 38:35
  Speaker 1: so many car accidents for you, and I love fasting
• 38:37
  Speaker 1: for your movies, like I love garbage. But I was
• 38:40
  Speaker 1: gonna refer to baby Driver, which I yeah. Where it's
• 38:44
  Speaker 1: like a woman who barely knows this dude is like,
• 38:47
  Speaker 1: I'll follow you into hell and I don't know, but
• 38:51
  Speaker 1: I'll so yeah, that's a good point. I like that
• 38:53
  Speaker 1: She's like, well, I'm probably gonna die if I stay
• 38:56
  Speaker 1: here with you. Guys. I had my excitement, I had
• 38:59
  Speaker 1: my fun. Now it's time to go back to the
• 39:02
  Speaker 1: States and get my PhD. Right. That was another That
• 39:05
  Speaker 1: was another thing that impressed me about at his character
• 39:10
  Speaker 1: because like you're saying, writer or die don like they're
• 39:12
  Speaker 1: in big movies when they decided to take the lady along,
• 39:16
  Speaker 1: you know she's there to serve a couple of purposes,
• 39:19
  Speaker 1: set up a couple of jokes, maybe get one kick
• 39:22
  Speaker 1: in and then get squatted and bounce off a wall, right,
• 39:27
  Speaker 1: and then at the end get a big old kiss
• 39:28
  Speaker 1: and you know that that is how it goes. But
• 39:31
  Speaker 1: also a reference transformer as the you know, whichever whichever
• 39:37
  Speaker 1: one happens to be in whichever movie it's which is
• 39:40
  Speaker 1: a couple of times. So it is interesting to see
• 39:44
  Speaker 1: a woman, you know, who is brought along for the
• 39:47
  Speaker 1: ride to be like, I'm good, this seems dangerous. That
• 39:51
  Speaker 1: was cool and like exerts. I felt like that exerted
• 39:55
  Speaker 1: a realistic amount of power that she would have, because
• 39:58
  Speaker 1: it would have been weird to see, you know, like
• 40:00
  Speaker 1: you were thinking, like guns blazing at a suddenly is
• 40:03
  Speaker 1: like she does so like like she has a little
• 40:06
  Speaker 1: She dresses up like she's one of the boys, like
• 40:09
  Speaker 1: literally one of the boys in there hat, and then
• 40:12
  Speaker 1: they're in the tree. They're in the tree, and she
• 40:13
  Speaker 1: doesn't shoot a person, but she does shoot, uh, And
• 40:16
  Speaker 1: I think that's on purpose, Like I think she could
• 40:18
  Speaker 1: shoot a person if she wanted. I have two thoughts,
• 40:20
  Speaker 1: but this one's coming up faster that Eda. I got
• 40:23
  Speaker 1: a little scared Freedda in the in that second third
• 40:26
  Speaker 1: of the movie where she's in Bolivia, I don't know
• 40:28
  Speaker 1: acts work, uh and starts to maybe she's done this before.
• 40:33
  Speaker 1: We don't know. Maybe she's been robbing banks with them
• 40:35
  Speaker 1: the whole time. But I kind of thought when rewatching,
• 40:38
  Speaker 1: I got a little scared that like, oh man, this
• 40:41
  Speaker 1: is when you have sex in the horror movie or
• 40:44
  Speaker 1: you know what I mean, like, this is the thing
• 40:45
  Speaker 1: you do that gets you killed? And I think you know,
• 40:48
  Speaker 1: as the film progresses, that's not the case. She's that
• 40:51
  Speaker 1: is perfectly permissible moral territory. In the story, it's when
• 40:55
  Speaker 1: Butch and Sunday it's killed the robbers, That's when fate's
• 40:59
  Speaker 1: are sealed and at uh Ed is realizing that there's
• 41:02
  Speaker 1: she can't like, they're never going to get out of this,
• 41:04
  Speaker 1: no matter what side of the point they're on, because
• 41:06
  Speaker 1: she's like, you know, there's other ways to go straight
• 41:09
  Speaker 1: farmers ranchers, and they're just like you can steal cattle.
• 41:14
  Speaker 1: She's like, all right, I better go, Yeah, yeah, I
• 41:18
  Speaker 1: I I do like that the story does not ask
• 41:20
  Speaker 1: her to martyr herself, right because she does. I mean,
• 41:24
  Speaker 1: it's it's not a perfect life, but she does have
• 41:27
  Speaker 1: a life. She has a job, and it's clear that
• 41:30
  Speaker 1: that's not enough. I mean a job, who is that
• 41:33
  Speaker 1: enough for It's independence? But at a cost, right, right?
• 41:37
  Speaker 1: There are other ways in her life to derive purpose,
• 41:39
  Speaker 1: and I think she realizes that enough to not like
• 41:42
  Speaker 1: martyr herself. For like her two fun boyfriends who are
• 41:45
  Speaker 1: who are? She leaves the boys. She leaves the boys
• 41:52
  Speaker 1: like looking at the relationship between the three of them,
• 41:54
  Speaker 1: can you imagine a Fast and the Furious where Letty
• 41:56
  Speaker 1: also loves Paul Walker, whose name I forget in the movie,
• 41:59
  Speaker 1: which should just be Paul Walker. It's another one. It's
• 42:04
  Speaker 1: another one syllable boydom name that you can hell on
• 42:07
  Speaker 1: your knees in the desert. It's not Jake, but it's
• 42:09
  Speaker 1: basically it's sort of God, damn it. I love those movies,
• 42:12
  Speaker 1: so many movies like, yeah, I should know that. I'm
• 42:15
  Speaker 1: meant to say I should know that name, but I
• 42:16
  Speaker 1: don't right now. Uh, We're Letty loves both of them,
• 42:19
  Speaker 1: and they're okay with it, like they all there's nothing
• 42:23
  Speaker 1: they're hiding from each other. It's just I think that's
• 42:26
  Speaker 1: an interesting power to give a woman in a relationship
• 42:29
  Speaker 1: the license to like have emotions beyond laser focus on
• 42:32
  Speaker 1: a man. This film does not pass backtal test by
• 42:35
  Speaker 1: a long mile. I would say that there are essentially
• 42:37
  Speaker 1: only three characters. Like as much as you don't see
• 42:39
  Speaker 1: any of the women in the Brothels the beginning, you
• 42:41
  Speaker 1: don't also don't see any of the Hole in the
• 42:43
  Speaker 1: Wall gang beyond one scene, like ancillary characters have a
• 42:47
  Speaker 1: scene in this movie. It's mostly be character. Yeah, yeah,
• 42:51
  Speaker 1: would Cock twice? I think, yes twice. Yeah, that's my boy.
• 42:56
  Speaker 1: But it's the three of them totally. I just appreciate
• 42:59
  Speaker 1: how much emotional power she had to be able to
• 43:03
  Speaker 1: like she doesn't have to. We don't see her lying
• 43:06
  Speaker 1: to protect sun Dance. We don't see her avoiding Butch
• 43:09
  Speaker 1: because it's just too much like you know, they have
• 43:13
  Speaker 1: that whole montage together on the bicycle. Which speaking of
• 43:16
  Speaker 1: movies that are inspired by Butch casting a Sundance Kid, uh,
• 43:20
  Speaker 1: spider Man too. That was my Alfred will connection for
• 43:26
  Speaker 1: that one. Course parts I would have liked to see
• 43:28
  Speaker 1: Alfred Molina play in this movie Sun Dance Kid. Yes,
• 43:37
  Speaker 1: he's a talent. He can do any of it, he
• 43:39
  Speaker 1: can do it all. No, he would have been a
• 43:40
  Speaker 1: great big character in this movie if only he weren't
• 43:43
  Speaker 1: like whenever like thirteen when this movie came out, right,
• 43:47
  Speaker 1: Yeah he was. He was a little old man. I
• 43:52
  Speaker 1: bet Alfred Molina loves this movie. If he would only
• 43:56
  Speaker 1: tweet back at us, we would know here's the thing,
• 43:59
  Speaker 1: here's this thing. We are going to go on strike
• 44:01
  Speaker 1: at some point until he pays attention. I do not
• 44:04
  Speaker 1: support this strike. Let the record reflect. I am going
• 44:08
  Speaker 1: to leave town. I'm gonna I'm gonna leave your country.
• 44:11
  Speaker 1: I'm gonna go to Bolivia. I'll get a shabbed. I'm
• 44:15
  Speaker 1: gonna get a scab co host. If you're going to
• 44:17
  Speaker 1: leave scab Caitlin and Calin, I'm pitching it now. I'm okay,
• 44:21
  Speaker 1: scab it up, stepping your pick a lot. Sorry, well
• 44:26
  Speaker 1: you'll never hear. Have you seen Angie Tribeca? Yes? Okay, good,
• 44:30
  Speaker 1: That's all I wanted to know. We can leave up.
• 44:31
  Speaker 1: I just wanted to make sure on the record that
• 44:33
  Speaker 1: you have witnessed that Billina performance because I love it
• 44:36
  Speaker 1: so much, so good. Ali for Brillin doesn't He's dying
• 44:39
  Speaker 1: up here right now. He was in feud this year.
• 44:43
  Speaker 1: He was killing it. He's like everybody wants a piece
• 44:47
  Speaker 1: of this man, and who can blame him? He's a beefcake.
• 44:49
  Speaker 1: There's enough to go around. How much more Lena Caitlin
• 44:54
  Speaker 1: will leave? Alright? Wait? I gotta ready not out? Oh really,
• 44:59
  Speaker 1: I have enough a thing to say. Yes. The boat
• 45:03
  Speaker 1: that they traveled to Bolivia on reminds me of Titanic Titanic. Uh, see,
• 45:10
  Speaker 1: we got it in there. We have to always, you know,
• 45:13
  Speaker 1: we have to check in about it. Yeah, Titanic, make
• 45:17
  Speaker 1: sure that we're doing well. But I wanted to make
• 45:20
  Speaker 1: another point about Edda because you could argue that she
• 45:24
  Speaker 1: makes all her decisions based on a man. She goes
• 45:27
  Speaker 1: with them because like she's involved with them, and she
• 45:30
  Speaker 1: has a life there in whatever state there and I
• 45:33
  Speaker 1: don't know whatever you want to say no, because I
• 45:36
  Speaker 1: think Lord Baltimore or no, which sounds like Lord Baltimore
• 45:42
  Speaker 1: every time they say the other guy La Force never
• 45:48
  Speaker 1: leaves Montana. Oh I thought it was I don't remember
• 45:53
  Speaker 1: where the Buffalo role. So yeah, Eda makes this decision
• 45:57
  Speaker 1: based on not really what she wants, what these men
• 46:00
  Speaker 1: want and want for her. But then you could also
• 46:03
  Speaker 1: kind of argue, well, she's like, well this is the
• 46:05
  Speaker 1: only excitement I've ever known. Maybe she's doing it for
• 46:08
  Speaker 1: her own fulfill exactly what. That's another thing about the
• 46:11
  Speaker 1: character that I thought was like, oh, this is a
• 46:13
  Speaker 1: little bit different for for a big movie, is like,
• 46:17
  Speaker 1: her motivation is not cut and dry. I have to
• 46:20
  Speaker 1: do this because my father or my family or like whatever,
• 46:23
  Speaker 1: Like it's she's seeking out she wants something interesting to
• 46:27
  Speaker 1: happen in her life, and she wants companions that are interesting.
• 46:31
  Speaker 1: She just wants, like you know, to not be bored.
• 46:34
  Speaker 1: And that I feel like it's a very realistic motivation
• 46:37
  Speaker 1: that you don't you don't usually see. And and then
• 46:40
  Speaker 1: on the other hand, but in Sundance, their motivations are
• 46:44
  Speaker 1: usually a lot cleaner of like this is what we
• 46:46
  Speaker 1: have to do and this is where we have to
• 46:47
  Speaker 1: go to do it. I don't know, because I think
• 46:50
  Speaker 1: like it's looking at that opening scene with Butch like
• 46:54
  Speaker 1: they don't know where to go next. They know that
• 46:56
  Speaker 1: they can't, like everything's catching up to them and it's
• 46:59
  Speaker 1: beating them. Like we see that happen on the chase scenes,
• 47:02
  Speaker 1: which I love, like the thundering horse noises like as
• 47:05
  Speaker 1: it pulls up that built tension for me. I can
• 47:07
  Speaker 1: also see it not working. But I love the long chases,
• 47:12
  Speaker 1: and part of that is like feeling this sense of
• 47:15
  Speaker 1: them losing, like it's not gonna last. The gravy train
• 47:19
  Speaker 1: is spilling gravy on the tracks and it's gonna show
• 47:21
  Speaker 1: up empty, like they just don't have any more options.
• 47:24
  Speaker 1: Well that and I left out this scene from the recap.
• 47:27
  Speaker 1: But there's the scene where Butch and Sundance go back
• 47:30
  Speaker 1: to the Hole in the Wall gang and another dude
• 47:32
  Speaker 1: has taken over, so Butch fights him. Harvey. I think
• 47:36
  Speaker 1: you can't want Harvey Harvey. It's the guy who plays Jaws.
• 47:39
  Speaker 1: I think in uh in Moonraker, in the James Jo
• 47:44
  Speaker 1: I think it's the same guy. Might not be, but
• 47:46
  Speaker 1: if not, it's like a seven foot tall other guy.
• 47:50
  Speaker 1: That's one of my favorite movies. Harvey Harvey. Yeah, oh yeah,
• 47:53
  Speaker 1: with James Stewart. Yeah, it's over a second. I thought
• 47:57
  Speaker 1: Harvey was milk because Hard and I was taking a
• 48:02
  Speaker 1: milk and I was like, oh, I'm not I haven't
• 48:04
  Speaker 1: seen any of those, both of those Yeah yeah, yeah, yeah,
• 48:10
  Speaker 1: but I know everybody we have nothing. But in that scene,
• 48:15
  Speaker 1: so um, he defeats this Harvey guy, but which kicks
• 48:19
  Speaker 1: him in the crotch and then he's hits yeah. Um,
• 48:23
  Speaker 1: so he remains their leader. And then they're like, well,
• 48:26
  Speaker 1: what's going on? And they're like, oh, we were gonna
• 48:28
  Speaker 1: rub the flyer on the way there and then on
• 48:31
  Speaker 1: the way back, and he's like, haver, we thought of that,
• 48:32
  Speaker 1: and they're like, yeah, well that's exactly what we'll do,
• 48:35
  Speaker 1: like his glory days are over purpose in a bigger
• 48:40
  Speaker 1: way that you don't see a lot I don't know
• 48:43
  Speaker 1: like that. I think that that is both something about
• 48:46
  Speaker 1: the movie that I think is very cool and different
• 48:48
  Speaker 1: and also why it didn't fully work for me just
• 48:52
  Speaker 1: because of my own tastes. Sure, yeah, absolutely, yeah. Well,
• 48:56
  Speaker 1: and then another thing about that is that in a
• 49:00
  Speaker 1: movie like this, especially like a Western where to use
• 49:04
  Speaker 1: the phrase pricking exteriors, there's so many cactus men. There's
• 49:10
  Speaker 1: like you have your like John Waynes, who like rarely
• 49:14
  Speaker 1: showed any sort of vulnerability or was just like I'm
• 49:17
  Speaker 1: a man and I'm a tough man. But in this
• 49:19
  Speaker 1: movie you see like Butch and Sundance being kind of
• 49:22
  Speaker 1: vulnerable with each other. Time I was like, I can't swim.
• 49:24
  Speaker 1: I never learned how to swim. I've never taught a
• 49:26
  Speaker 1: guy before. Like there were feeling the secrets about themselves.
• 49:29
  Speaker 1: It's like kiss, I know, just kiss already, to tell
• 49:33
  Speaker 1: each other in their names and where they're from. And
• 49:36
  Speaker 1: it was just nice to see because a lot of
• 49:39
  Speaker 1: for this genre and for this era, there was just
• 49:41
  Speaker 1: like so much like toxic masculinity that was portrayed, and
• 49:46
  Speaker 1: so it was these guys are sad and they're scared,
• 49:49
  Speaker 1: and they're you know, they know what's coming and they
• 49:52
  Speaker 1: can't stop it. I mean it is a Western, but
• 49:55
  Speaker 1: it really were like it's also a character piece, like
• 49:58
  Speaker 1: about three people who are in inter twined in a
• 50:00
  Speaker 1: time that's on a very fine night line. You know
• 50:03
  Speaker 1: you're not. This movie came out in six interesting to mention,
• 50:07
  Speaker 1: same year as Midnight Cowboy. Oh yeah, yeah, so many
• 50:11
  Speaker 1: Cowboy movies that year, the midnight kind you're a little
• 50:15
  Speaker 1: different people for money. I guess cowboys did that too.
• 50:21
  Speaker 1: Who knows everybody's doing that to We haven't really talked
• 50:29
  Speaker 1: about sex way. Sorry cha, I like that you like
• 50:33
  Speaker 1: every pun? Give them to me hurts so good. There's
• 50:38
  Speaker 1: not a lot of female be characters, but I did
• 50:40
  Speaker 1: want to talk about most of the female be characters
• 50:43
  Speaker 1: that we see are somehow allied with the whorehouse. And
• 50:46
  Speaker 1: there is one scene it is a character with a name.
• 50:50
  Speaker 1: I forget exactly what her name is, but any no, no,
• 50:53
  Speaker 1: it's it's a girl that how am I supposed to
• 50:56
  Speaker 1: give someone the attention she deserves. It's a funny. It's
• 50:59
  Speaker 1: like Ronda or something. It's yeah, it's again using a
• 51:03
  Speaker 1: woman as a punch, like, but what is the one
• 51:08
  Speaker 1: of my there's more than one. That's weird. People are weird.
• 51:15
  Speaker 1: That is the Scottish there's but the yeah, Agnes is
• 51:18
  Speaker 1: like kind of like dry humping. Paul Newman kind of
• 51:22
  Speaker 1: endices the scene where Sundance is like working and you know,
• 51:25
  Speaker 1: Butch is litching around. He's looking out the window and
• 51:28
  Speaker 1: he's like, are we meeting followed? And yeah, they're dry
• 51:30
  Speaker 1: humping on the bed nearby. And then and then Agnes
• 51:33
  Speaker 1: is like like, we know, Butch is not fully paying
• 51:37
  Speaker 1: attention and whatever. It's silly, but you know, like her
• 51:40
  Speaker 1: only lives were like You're the only real man I've
• 51:42
  Speaker 1: ever met. But then you're just like and then she
• 51:45
  Speaker 1: sort of like makes this weird little speech about how
• 51:47
  Speaker 1: she's not like the other girls and he's just not
• 51:50
  Speaker 1: listening to her the whole time, where she's like, you're
• 51:52
  Speaker 1: the only real man I've ever met, and like all
• 51:54
  Speaker 1: the other girls don't understand that about you. And then
• 51:58
  Speaker 1: he's like, wait, Sun is what what's going on? Like
• 52:00
  Speaker 1: it's just completely ignoring her and it is funny to watch,
• 52:06
  Speaker 1: but that is maybe one of the only other lines
• 52:08
  Speaker 1: spoken by a woman in the movie, and it's basically
• 52:11
  Speaker 1: a joke. There's a there's another one, but before I
• 52:13
  Speaker 1: get to that, I love so that scene ends whenever
• 52:16
  Speaker 1: they literally like dive out the windows because Lord Baltimore
• 52:21
  Speaker 1: and Lauren Baltimore, he used his or he cast a
• 52:28
  Speaker 1: fine butch and sundance spell and then he finds them
• 52:31
  Speaker 1: and then so he'd But another scene where a woman's
• 52:39
  Speaker 1: on screen and even has lines, well they goddamn, is
• 52:45
  Speaker 1: that another Titanic. Yeah, that's oh no, wait no, that's
• 52:53
  Speaker 1: Glorious Stewart. Oh yeah, and then it's Glorious Stewart's granddaughter,
• 52:57
  Speaker 1: who Fox Bill Paxton rest in Paradise. It's remember that's
• 53:01
  Speaker 1: like the bit at the beginning where oh, and Bill
• 53:04
  Speaker 1: Paxton says it, well, that was what a rush. I
• 53:14
  Speaker 1: think it's Bill paxton granddaughter, Gloria Stewart. You never said,
• 53:19
  Speaker 1: let's just go watch titan anyway, So a woman there,
• 53:24
  Speaker 1: it's the second time they robbed the flyer and a
• 53:26
  Speaker 1: woman gets off the train and it's like storming towards them.
• 53:29
  Speaker 1: She's like, I'm a grandmother and a female and I've
• 53:31
  Speaker 1: got that liquor enough and I can fight you, and
• 53:37
  Speaker 1: then cut to her being like restrained by sun Dance
• 53:41
  Speaker 1: with his hand over her mouth. And so she doesn't
• 53:44
  Speaker 1: really do a good job of fighting them, but I
• 53:45
  Speaker 1: like that she makes the effort. She gets off this train,
• 53:48
  Speaker 1: She's yells at them, and I was like, you you go, girl.
• 53:52
  Speaker 1: She doesn't get shot. She doesn't on the train. What
• 53:55
  Speaker 1: a bar to set she does not get It's little.
• 53:58
  Speaker 1: It's but that again, that was another thing where I'm like, oh, man,
• 54:02
  Speaker 1: I wish that that wasn't funny, but I'm laughing rights.
• 54:06
  Speaker 1: It is good performances to like, I mean, I've stopped
• 54:10
  Speaker 1: being able to watch. This is just like a movie
• 54:11
  Speaker 1: happening to me. And it's hard not to step back
• 54:14
  Speaker 1: and look at like each scene and like how it
• 54:17
  Speaker 1: was shot and all the choices, and I mean, it's
• 54:20
  Speaker 1: a lot of fun. It's not enough women. The roles
• 54:23
  Speaker 1: for women are real thin, but I think the performances
• 54:27
  Speaker 1: and the writing was strong enough to bring a lot
• 54:29
  Speaker 1: out of what we do get to see from women
• 54:31
  Speaker 1: in this movie. And Katherine ross Man, I feel like
• 54:34
  Speaker 1: I know so much about that character and she has
• 54:37
  Speaker 1: like lines, she does a lot, she does a lot.
• 54:41
  Speaker 1: That's another point I wanted to make a question I
• 54:44
  Speaker 1: wanted to pose, which is, if you take out her character,
• 54:48
  Speaker 1: how different is the movie. I think it would be
• 54:51
  Speaker 1: a bit totally different. But I don't think like story wise,
• 54:54
  Speaker 1: she doesn't do a lot a lot to actually affect
• 54:57
  Speaker 1: the progression of the story. So well, I think her
• 55:01
  Speaker 1: main function, I mean, if we're to end, correct me
• 55:05
  Speaker 1: if I'm wrong, but the main thing that she does
• 55:07
  Speaker 1: in the movie that no one else could do because
• 55:11
  Speaker 1: she shoots that one time, but Budge and Sun has
• 55:13
  Speaker 1: can shoot. They didn't need her to do that. The
• 55:15
  Speaker 1: one thing she can do is teach, and that is
• 55:18
  Speaker 1: something they cannot do, and she has the knowledge to
• 55:20
  Speaker 1: teach them Spanish. But when she tries to do that,
• 55:23
  Speaker 1: they're like, we don't care. So it's like, well, she
• 55:26
  Speaker 1: also rubs the bank in Bolivia in the most the
• 55:29
  Speaker 1: least violent way, Like it's so not violent. So they
• 55:33
  Speaker 1: dress up super fancy sun dance and at a dress
• 55:35
  Speaker 1: up all posh and then walk into a bank. It's
• 55:37
  Speaker 1: a good con she poses as the concerned wife. This
• 55:40
  Speaker 1: is all music. You don't hear any dialogue for this,
• 55:42
  Speaker 1: but you can tell that she is posing. Is like
• 55:44
  Speaker 1: the concerned wife that doesn't want to hut her jewels
• 55:48
  Speaker 1: in an unsafe bank, and the manager overhears and is
• 55:52
  Speaker 1: completely sweet and load buyer brings them down past all
• 55:56
  Speaker 1: the bank employees down to the vault, goes into the
• 55:59
  Speaker 1: safe and opens the safe for them to show them
• 56:01
  Speaker 1: how safe it is. And that's when the gun comes
• 56:03
  Speaker 1: out and he just kind of puts his hands up.
• 56:05
  Speaker 1: She takes all the money out of the safe. Sundyance
• 56:08
  Speaker 1: locks him behind the gates and he reaches out to
• 56:12
  Speaker 1: hand something. I think it's a little jewel that she
• 56:14
  Speaker 1: left behind, Like he reaches through the bars and then
• 56:17
  Speaker 1: smiles and puts his hands back up, and like her
• 56:20
  Speaker 1: laugh when she's leaving is just one of those like
• 56:22
  Speaker 1: it's again, it's just a great scene. Like it's such
• 56:24
  Speaker 1: a fun performance to watch because you know, like she
• 56:28
  Speaker 1: left for some kind of adventure and to be a
• 56:30
  Speaker 1: part of something, and she's like in it. She's totally
• 56:33
  Speaker 1: doing it. I don't think you can take her out
• 56:35
  Speaker 1: of this movie. She's its axis, like they are spinning
• 56:38
  Speaker 1: out trying to figure out where they land, Like she's
• 56:42
  Speaker 1: the gravity that holds them to life. In general, they
• 56:45
  Speaker 1: don't have a lot. They don't love this life like
• 56:48
  Speaker 1: the love and what they enjoy is like when they
• 56:51
  Speaker 1: get to take trips together when they're too you know,
• 56:53
  Speaker 1: it's I think it's a story about three people, and
• 56:56
  Speaker 1: I don't think you can remove any one of the three,
• 56:58
  Speaker 1: even though they do make all the decisions. But men
• 57:01
  Speaker 1: were the only ones allowed to carry money and ship
• 57:03
  Speaker 1: you could be like it was. I don't think it
• 57:05
  Speaker 1: would be accurate to say that she's the one who's
• 57:07
  Speaker 1: going to be the boss, because that's not the three
• 57:10
  Speaker 1: of them anyway, And I don't think that was women
• 57:11
  Speaker 1: at the time. But I can't imagine it without her.
• 57:13
  Speaker 1: Where would Sundance go? You know? When that's like, I
• 57:17
  Speaker 1: I how would which know where he was gonna be? Like?
• 57:20
  Speaker 1: Why would the memories they share matter beyond because it's
• 57:24
  Speaker 1: not like they're just one in the whole in the
• 57:25
  Speaker 1: wall gang, like they're bonded beyond just being buddies. But
• 57:29
  Speaker 1: then that my where that stops for me, as like, well,
• 57:32
  Speaker 1: then is she just there to give the male characters
• 57:36
  Speaker 1: more depth? And like is she there to write? Like
• 57:40
  Speaker 1: I think that's true? Yeah, right, And and so the
• 57:45
  Speaker 1: balance between her providing them with depth and sensitivity and
• 57:50
  Speaker 1: them providing her with that is not you know, I
• 57:53
  Speaker 1: don't think you can take her out, But I don't
• 57:55
  Speaker 1: think that she's I don't think that she's an equal player.
• 57:58
  Speaker 1: I think you're right, Yeah, Otherwise I don't want to.
• 58:02
  Speaker 1: I don't want to. I don't want to believe that,
• 58:04
  Speaker 1: but I'm filling in. I can spin a web around
• 58:08
  Speaker 1: this movie that suggests yeah, and I want to, so
• 58:11
  Speaker 1: I do. But you're totally right. I mean, I don't know,
• 58:13
  Speaker 1: like we could, like more could have been done to
• 58:16
  Speaker 1: give her a more crucial role or just be like, hey, well,
• 58:19
  Speaker 1: why don't like you were using this method of robbing banks?
• 58:23
  Speaker 1: What if like what if it was her idea to like,
• 58:25
  Speaker 1: let's pose as a married couple and like something like that,
• 58:29
  Speaker 1: Like I don't I just wish that we would have
• 58:31
  Speaker 1: seen some decisions or contributing more to this story, even
• 58:36
  Speaker 1: if they had taken a little interest in Spanish. I
• 58:38
  Speaker 1: was like trying, but he did even yeah, I don't know,
• 58:45
  Speaker 1: he didn't change classic. But I also don't read great,
• 58:49
  Speaker 1: Like it takes them a long time to read a
• 58:51
  Speaker 1: newspaper article and they still have to ask her to
• 58:53
  Speaker 1: say it that out loud for exposition, and also because
• 58:55
  Speaker 1: they can't. They can't, I mean maybe not. Man don't
• 58:58
  Speaker 1: date in the literate has some stake, I mean options
• 59:02
  Speaker 1: did you have. He's handsome, but this was like, you know,
• 59:05
  Speaker 1: we were building houses out of sticks in the Woodcock
• 59:10
  Speaker 1: Woodcock definitely Woodcock. But what if she goes home? Yeah?
• 59:15
  Speaker 1: That was his arms heeled. They both love Flitch and son, Nancy.
• 59:19
  Speaker 1: You remember what Willcox said, listen, if there was my money,
• 59:21
  Speaker 1: there's nobody I'd rather love stealing. Literally, they were both charmed.
• 59:24
  Speaker 1: I love him Woodcock. I hope you would have found
• 59:28
  Speaker 1: each other. I think, yeah, he would be. That's a
• 59:30
  Speaker 1: man who would listen to a woman, you know, and
• 59:32
  Speaker 1: like he was a wood bab man goes down on
• 59:36
  Speaker 1: you for an entire episode of Woodcock was the only
• 59:39
  Speaker 1: man in that town that knew where the clitteress was?
• 59:42
  Speaker 1: For sure? For sure? Like what was the name? Like Woodcock?
• 59:48
  Speaker 1: How could you know? That's just the plot that occurred
• 59:51
  Speaker 1: you on Switchers Glasscock. You look for a man named
• 59:56
  Speaker 1: glass Cock and then just hope he doesn't go too hard.
• 1:00:00
  Speaker 1: Are you're a blade wood Cock too? Guy? That's true fire,
• 1:00:06
  Speaker 1: that's true. I'm gonna make up a name called skin cock,
• 1:00:11
  Speaker 1: and that would be human flesh cock. I am missus
• 1:00:17
  Speaker 1: human flesh cock. Perfect. I'm married into the human flesh cocks. Oh,
• 1:00:22
  Speaker 1: the human flesh cocks in Connecticut. Oh no, we're the
• 1:00:25
  Speaker 1: new Hampshire human flesh cocks. Are you have the Boston
• 1:00:28
  Speaker 1: Dawson's No, the chip actually, and you're just like, I
• 1:00:36
  Speaker 1: know what I was fishing is You're going to go
• 1:00:38
  Speaker 1: down with this ship, aren't you? Ladies? Okay, does anyone
• 1:00:46
  Speaker 1: have any final thoughts about the movie? Thanks for doing
• 1:00:50
  Speaker 1: this one. I know it's weird. I like what you
• 1:00:52
  Speaker 1: said about Gray Area. I think that's I think I
• 1:00:54
  Speaker 1: think that that is what's interesting about talking about this movie. Yeah,
• 1:00:58
  Speaker 1: I love it, but I know that I'm sending a
• 1:01:00
  Speaker 1: light on it and I want to see it from
• 1:01:01
  Speaker 1: a certain perspective. But I think it is a worthy watch.
• 1:01:05
  Speaker 1: And I think if you're curious about a movie, especially
• 1:01:08
  Speaker 1: from a time when from a different time, about a
• 1:01:11
  Speaker 1: different time where women have a little bit more complexity
• 1:01:15
  Speaker 1: or control or are allowed to have a life that's
• 1:01:18
  Speaker 1: different from a cookie cutter, I think this is a
• 1:01:20
  Speaker 1: good exploration of that and it's watching an actress really
• 1:01:24
  Speaker 1: make the most. A different performance would have made this
• 1:01:28
  Speaker 1: character insufferably bad. But her reserve and her face and
• 1:01:34
  Speaker 1: how much sadness and hope and unstaking herself like you
• 1:01:39
  Speaker 1: see her do it. I just think it's her performance
• 1:01:42
  Speaker 1: stands up with In fact, there's something to be said
• 1:01:45
  Speaker 1: for having less on the page and getting just as
• 1:01:47
  Speaker 1: much out of a character as to big name, highly
• 1:01:51
  Speaker 1: paid actors that are given on the screen time in
• 1:01:53
  Speaker 1: your movie. You know, I think you can't take her
• 1:01:55
  Speaker 1: out of that story. But I think that's a lot
• 1:01:57
  Speaker 1: because of what kath Ross brought to the table. Keep
• 1:02:00
  Speaker 1: wearing him saying her name on She's Catherine Ross, another
• 1:02:03
  Speaker 1: one of my middle names. It's weird. Scott, just Scotti.
• 1:02:05
  Speaker 1: People are weird. Wait, you have Caitlin and Caitlin Raskills
• 1:02:10
  Speaker 1: the name on my what Agnes Calbert. It's just a
• 1:02:13
  Speaker 1: bunch of old lady names. Stuff in the Mary name.
• 1:02:15
  Speaker 1: For some reason that has to do with a crest
• 1:02:18
  Speaker 1: with a fucking lion on it. I don't know. Scott's
• 1:02:20
  Speaker 1: a weird crest. Love a good crest. I've just got
• 1:02:26
  Speaker 1: the one, the one crest. Oh, I don't know where
• 1:02:30
  Speaker 1: Irish probably have a crest I wanted. I have two
• 1:02:33
  Speaker 1: final points I would like to late share. One is
• 1:02:37
  Speaker 1: whenever Sundance. Early on in the movie, they get to
• 1:02:40
  Speaker 1: the brothel and Butch is, you know, smooching a lady,
• 1:02:44
  Speaker 1: a prostitute that he has, uh, sex works. I don't
• 1:02:48
  Speaker 1: know what's appropriate. Do you use the term that was
• 1:02:51
  Speaker 1: appropriate at the time, or do you use the term
• 1:02:53
  Speaker 1: that is appropriate now. I want sex works, sex worker,
• 1:02:58
  Speaker 1: sex man. Women in that era hats off, right, so
• 1:03:02
  Speaker 1: they're coodling, but like, sorry, they're cooling, and Sundance he
• 1:03:09
  Speaker 1: stands up and he's like, I'm gonna go find myself
• 1:03:11
  Speaker 1: a woman, and I'm not picky as long as she's smart, pretty,
• 1:03:16
  Speaker 1: pretty sweet and gentle and tender and refined. Anyone just
• 1:03:20
  Speaker 1: find themselves slowly raising their hands as he made that speech.
• 1:03:24
  Speaker 1: But I would just like to point out that the
• 1:03:26
  Speaker 1: first thing he said, it's smart. So I want to
• 1:03:29
  Speaker 1: have sex with the sleeve. I want to get this
• 1:03:32
  Speaker 1: movie erect, and I wanted to be inside my buttet
• 1:03:34
  Speaker 1: I even, I mean, I'll do it as a lady.
• 1:03:36
  Speaker 1: I want to eat this movie out. See that's how
• 1:03:40
  Speaker 1: I feel about Spiderman. Too sure. I want to I
• 1:03:49
  Speaker 1: want to close put the clowns ivy. I'll stop for
• 1:03:54
  Speaker 1: the consequences and get mad, but I'll take about chances.
• 1:04:01
  Speaker 1: The other one I want to make is that while
• 1:04:04
  Speaker 1: you pointed out women of this era that the movie
• 1:04:07
  Speaker 1: is said and couldn't own land or you know, do
• 1:04:11
  Speaker 1: much of anything, voute anything. But you know what else
• 1:04:14
  Speaker 1: you weren't allowed to do Rob Banks, And that's what
• 1:04:18
  Speaker 1: Butch and Sundance do. So I feel like you could
• 1:04:22
  Speaker 1: have written a character where she was, like I don't know,
• 1:04:25
  Speaker 1: just more being a badass or doing things that she
• 1:04:28
  Speaker 1: wasn't that wasn't proper for her to do because the
• 1:04:30
  Speaker 1: guys were okay to do it. So I don't know.
• 1:04:33
  Speaker 1: That's just some food for thought. But who am I
• 1:04:37
  Speaker 1: to say? I feel you Yeah, you're just a dumb lady,
• 1:04:41
  Speaker 1: Just a dumb lady with a small brain. I mean
• 1:04:44
  Speaker 1: I want to Yeah, I want to think of her
• 1:04:46
  Speaker 1: as more than like the board teacher who takes a
• 1:04:49
  Speaker 1: pole dancing class to feel interesting. And no shade on
• 1:04:52
  Speaker 1: you girl, hit that pole. It's a plunk. Class is
• 1:04:55
  Speaker 1: a great workout. You're gonna look great. You just describe
• 1:04:57
  Speaker 1: three of my cousins. Oh, I'm thinking of people that
• 1:05:00
  Speaker 1: I love and care about. But like, there's folks who
• 1:05:04
  Speaker 1: get kind of trapped into a life and wish they
• 1:05:06
  Speaker 1: could have something more exciting. And there's people who are
• 1:05:08
  Speaker 1: perfectly happy and don't want any more excitement. And then
• 1:05:12
  Speaker 1: we all know weirdos who live on the edge all
• 1:05:13
  Speaker 1: the time. And I have never been trapped in any
• 1:05:15
  Speaker 1: kind of normal life. And good for him. Good thinks
• 1:05:19
  Speaker 1: she's one in the middle. I gotta be a little
• 1:05:21
  Speaker 1: I mean, I gotta be a little bit boring. There's
• 1:05:23
  Speaker 1: parts of my life where I'm like, we're going to
• 1:05:24
  Speaker 1: keep this boring as one paper. I am so exciting.
• 1:05:28
  Speaker 1: In reality, I am unwalking netflix cute, I am as sentient.
• 1:05:34
  Speaker 1: I am a couch in motion, sometimes a couch with
• 1:05:39
  Speaker 1: a pulse. Yeah. So we, as we have mentioned, the
• 1:05:43
  Speaker 1: movie does not pass the Bechtel test. There's no close
• 1:05:47
  Speaker 1: calls to discussion, only three characters. Though for real, I
• 1:05:50
  Speaker 1: I keep over like there is a central female character
• 1:05:54
  Speaker 1: that could have been more, but what I would not
• 1:05:57
  Speaker 1: describe her as less than there are I mean there are,
• 1:06:00
  Speaker 1: but it doesn't at least two scenes where it's like, okay,
• 1:06:02
  Speaker 1: we are we're at a brothel, but we are in
• 1:06:04
  Speaker 1: a room full of women. Yeah, give us a give
• 1:06:06
  Speaker 1: us a throwaway. What do you have for dinner? Roast beef?
• 1:06:10
  Speaker 1: And this was my name and Jack? But then why're
• 1:06:15
  Speaker 1: talking about about mine? Is that line? And then and
• 1:06:18
  Speaker 1: then she's like, what's your name again, Jenny? What's yours?
• 1:06:21
  Speaker 1: I'm Susanne? And then the thing is it was every
• 1:06:27
  Speaker 1: time we have to write a becdel scene into a movie,
• 1:06:29
  Speaker 1: it's very boring. Its characters like that have actual character.
• 1:06:35
  Speaker 1: That's that would be great. But this was written by
• 1:06:38
  Speaker 1: William Goldman, who was mentor to Aaron Sorkin, So we
• 1:06:43
  Speaker 1: can watch the long finger of the inability to write
• 1:06:46
  Speaker 1: women who can relate to each other stretch into the
• 1:06:48
  Speaker 1: modern day. Like so many women who do so well
• 1:06:52
  Speaker 1: with being on par with men like A C. J.
• 1:06:54
  Speaker 1: Craig or whatever. But when you when it gets down
• 1:06:56
  Speaker 1: to like two women doing two women things, that is like, uh,
• 1:07:01
  Speaker 1: that's when the girls go to the bathroom together. We
• 1:07:03
  Speaker 1: don't know what they're doing. Huh uh. Aaron does blow
• 1:07:08
  Speaker 1: punches a mirror. Um, I'm writing here, he's dying up
• 1:07:15
  Speaker 1: there man. Well. William Goldman also wrote The Princess Bride
• 1:07:24
  Speaker 1: also fails. Yeah, that's yeah and has definitely Yeah, I
• 1:07:30
  Speaker 1: should listen to that one because I'm sure you said
• 1:07:32
  Speaker 1: all the things that I'm about to say now. I
• 1:07:34
  Speaker 1: do like the cast, but I haven't listened to that one.
• 1:07:36
  Speaker 1: That movie makes me send really scared me when I
• 1:07:38
  Speaker 1: was a kid. So what that was another one that
• 1:07:40
  Speaker 1: I just rack. Man, it's like seven or something when
• 1:07:44
  Speaker 1: that came out in the theater, like, no, you're tearing.
• 1:07:46
  Speaker 1: I didn't like. Also Robin Hood Princess Thieves anyway, now
• 1:07:49
  Speaker 1: we're going so I saw those a way too. Really,
• 1:07:52
  Speaker 1: let's uh, Antonio Bender Zoro was the first movie that
• 1:07:54
  Speaker 1: really scared me. That's a good one. I also got
• 1:07:56
  Speaker 1: scared and Crocodile Dundee. So don't use me as a judge.
• 1:07:59
  Speaker 1: Lots of scary summer movies are talking about right now.
• 1:08:03
  Speaker 1: Halloween specials. That's real. That's real. Let's get back on
• 1:08:08
  Speaker 1: track and right to the movie with our nipple scale,
• 1:08:12
  Speaker 1: our scale of zero to five nipples, where we rate
• 1:08:14
  Speaker 1: the movie based on its portrayal of women. I'm going
• 1:08:18
  Speaker 1: to give it a god. You brought up some interesting
• 1:08:22
  Speaker 1: points that because I was gonna give it like a
• 1:08:24
  Speaker 1: one nipple, and then I was like, well, you know,
• 1:08:27
  Speaker 1: she does have a tiny smidge of agency whereby she's like,
• 1:08:32
  Speaker 1: I'm making this choice because I want excitement. But I
• 1:08:35
  Speaker 1: just it's so frustrating to see her treated so poorly
• 1:08:40
  Speaker 1: by her boyfriend. And even though there's subtext to the
• 1:08:45
  Speaker 1: things he's saying, he's still rarely, if ever, actually comes
• 1:08:49
  Speaker 1: out and says like I love you, I cherish you,
• 1:08:51
  Speaker 1: I appreciate you. So it's frustrating to just see her
• 1:08:55
  Speaker 1: constantly be treated poorly by the man who's supposed to
• 1:08:58
  Speaker 1: love her. So I'm gonna stick with I'm gonna stick
• 1:09:03
  Speaker 1: with the one. As much as I really liked this movie,
• 1:09:05
  Speaker 1: I just there could have it just could have been better.
• 1:09:09
  Speaker 1: Who are you given the nipple to the nipple belongs?
• 1:09:12
  Speaker 1: Oh maybe I should give it two nipples, just so
• 1:09:16
  Speaker 1: Paul Newman can have one and Robert Redford you can
• 1:09:19
  Speaker 1: have one, can touch and then Okay, here's here's what
• 1:09:22
  Speaker 1: it is. It's one nipple, but it's a hybrid between
• 1:09:27
  Speaker 1: Paul Newman and Robert Redfern. Do kind of want that?
• 1:09:30
  Speaker 1: I didn't know it did, But I've got one. Half
• 1:09:32
  Speaker 1: is scare. It's like Harrier. Yeah, but we'll have to
• 1:09:38
  Speaker 1: watch other movies to find out. I'm pretty sure cool
• 1:09:42
  Speaker 1: named Luke Rus. It reveals a lot about Paul Newman's flipples.
• 1:09:45
  Speaker 1: Oh yeah, you do you see his after he eats
• 1:09:48
  Speaker 1: all the eggs. He's shirtless and he's like he's got
• 1:09:50
  Speaker 1: that bulging stomach. But anyway, it's a hybrid between the
• 1:09:54
  Speaker 1: two of their nipples, and it's the most perfect nipple
• 1:09:57
  Speaker 1: to have ever raised the planet Earth, the most perfect
• 1:10:01
  Speaker 1: nipple to never drip a drop. Men can lact it?
• 1:10:07
  Speaker 1: You don't, really? I think so. I have a lot
• 1:10:09
  Speaker 1: to learn. I only know. The only thing I know
• 1:10:12
  Speaker 1: about nipples is that cats have eight of them. This
• 1:10:16
  Speaker 1: has been cat facts with Caitlin. Can men lactate? My
• 1:10:22
  Speaker 1: web search turns something up for can man lactate? Strange
• 1:10:26
  Speaker 1: for true males can lactate? The Scientific American. That's incredible
• 1:10:31
  Speaker 1: source to get me one of those. I want to
• 1:10:33
  Speaker 1: milk my boyfriend? What do you thinks in the middle
• 1:10:35
  Speaker 1: of Newmanos? What do you think is in those salad
• 1:10:39
  Speaker 1: dressing bottles? Milk of Newman? Yes? Okay? Who else wants
• 1:10:48
  Speaker 1: to rate the movie? I'll give it a one and
• 1:10:51
  Speaker 1: a half because Caitlyn, you sold me on a lot
• 1:10:54
  Speaker 1: of points about edit that I had, which can throw
• 1:10:58
  Speaker 1: up there Caitlin and mother, But there was a lot
• 1:11:03
  Speaker 1: that I hadn't thought about that sort of made me
• 1:11:05
  Speaker 1: think of edit in a different way. And then the
• 1:11:07
  Speaker 1: rest of the nipples are just like, this is not
• 1:11:10
  Speaker 1: a women's story. There's not a lot of women included
• 1:11:13
  Speaker 1: in it. Which happens, get it especially happens a lot.
• 1:11:17
  Speaker 1: But as usual, all the b character women we see,
• 1:11:21
  Speaker 1: we could have gotten way more interesting, better mileage out
• 1:11:24
  Speaker 1: of and that is, you know, failed to do so.
• 1:11:26
  Speaker 1: And when women are there, they're either there is a
• 1:11:29
  Speaker 1: a joke or be to deliver some exposition. Yeah, every
• 1:11:33
  Speaker 1: line that Fanny has the one woman who is not
• 1:11:36
  Speaker 1: fucked is to give information to Butch or Sundance, so
• 1:11:42
  Speaker 1: that you know, not something we've never encountered. When I
• 1:11:45
  Speaker 1: have nipples, I'm given I'm giving him the woodcock like
• 1:11:48
  Speaker 1: a cock. Yeah, he mean human flash cock for shore
• 1:11:53
  Speaker 1: line teams. He wakes up every morning bulging and has
• 1:12:00
  Speaker 1: to like Pump, never has to go to the story
• 1:12:03
  Speaker 1: to eat cereal. He just shakes himself around. Oh, it's
• 1:12:12
  Speaker 1: a great actor whose name I forget, but it's in A.
• 1:12:13
  Speaker 1: He's in a million things. Yeah. Oh, he's so funny.
• 1:12:16
  Speaker 1: He's I feel like he's in Blazing Saddles too. I'm
• 1:12:19
  Speaker 1: not gonna get that name, but I will tell you
• 1:12:21
  Speaker 1: that I would give it three nipples um less than
• 1:12:23
  Speaker 1: what I want, because when I look at it the
• 1:12:25
  Speaker 1: way I want to not acknowledging all the very accurate
• 1:12:29
  Speaker 1: things you've said about like the structure of the film
• 1:12:32
  Speaker 1: and what role women serve in the narrative of the film.
• 1:12:35
  Speaker 1: I appreciate that they're not doing lip service to like
• 1:12:38
  Speaker 1: there's no easy lady in this movie. There's no lady
• 1:12:40
  Speaker 1: that's like shows that this era was like fun or excited.
• 1:12:45
  Speaker 1: It all looks pretty bleak for women, but there is
• 1:12:48
  Speaker 1: a lot more we could have done with those characters.
• 1:12:50
  Speaker 1: I just think that at A is a very interesting
• 1:12:52
  Speaker 1: look at I don't know what it was like to
• 1:12:54
  Speaker 1: be a woman in that time, and also sort of
• 1:12:56
  Speaker 1: a timeless look at what it's like to be in
• 1:12:58
  Speaker 1: love with complicated people and what love looks like and
• 1:13:02
  Speaker 1: how many weird shapes and forms it takes. And it's
• 1:13:05
  Speaker 1: an interesting look. She's an amazing character and we've talked
• 1:13:08
  Speaker 1: a lot about for a movie with like that deserves
• 1:13:11
  Speaker 1: one nipple. There's a lot to say about the women
• 1:13:13
  Speaker 1: in this movie and what's going on with him. I'm
• 1:13:15
  Speaker 1: gonna give it three and I will hand them out
• 1:13:17
  Speaker 1: to the three in the triad. So everybody has a nipple,
• 1:13:19
  Speaker 1: like a single nip. That woman who's like, I'm a
• 1:13:24
  Speaker 1: grandmother and a female and I know my rights. I
• 1:13:26
  Speaker 1: just want to know what rights she thinks. She exactly right. Yeah,
• 1:13:29
  Speaker 1: you have the right to yell at a man, that's essentially,
• 1:13:32
  Speaker 1: and he has a legal right to hit you. So
• 1:13:35
  Speaker 1: let's not forget his rights because they are longer. I
• 1:13:41
  Speaker 1: will say that I think there are women in movies
• 1:13:44
  Speaker 1: that have a lot more screen time, a lot more lines,
• 1:13:46
  Speaker 1: and a lot more kind of to do, even with
• 1:13:48
  Speaker 1: a plot, that are a far worse portrayal of women
• 1:13:51
  Speaker 1: and femininity. Like I think her screen time is not
• 1:13:54
  Speaker 1: points against her. Yeah, I would agree with that for sure.
• 1:13:57
  Speaker 1: I'm defending it like good, it's good change. I think
• 1:14:03
  Speaker 1: my hybrid nipple counts for two nipples, So yeah, let's
• 1:14:07
  Speaker 1: go with that. I don't need to twist anybody's arm.
• 1:14:09
  Speaker 1: You're right, Well, Caitlin Gil thank you so much for
• 1:14:12
  Speaker 1: being here. This was a treasure. Thank you. I'm gonna
• 1:14:16
  Speaker 1: go get It's seven eleven, guys, I'm gonna go get time.
• 1:14:22
  Speaker 1: It's like what you said about going down on the movie.
• 1:14:24
  Speaker 1: Hell yeah, I want to eat this movie and it's
• 1:14:28
  Speaker 1: going to sound. I want to pour it like it's cool,
• 1:14:30
  Speaker 1: like like warm, not hot. I want to pour like
• 1:14:33
  Speaker 1: movie butter on it, you know, movie popcorn butter. And
• 1:14:35
  Speaker 1: I want to eat that movie's box. Okay, good break good.
• 1:14:38
  Speaker 1: That movie would be so lucky. Hey, I mean ask
• 1:14:42
  Speaker 1: my girlfriend. That was gross. Where can people find you
• 1:14:47
  Speaker 1: on God? He can find me at robot Caitlin on
• 1:14:49
  Speaker 1: Twitter at Caitlin on Instagram. Uh and also Upcoming performances include,
• 1:14:55
  Speaker 1: but are not limited to, uh the uh what is
• 1:14:59
  Speaker 1: the name of that guy? Damn festival. I'm doing pagathon.
• 1:15:02
  Speaker 1: Thank you you think I know, But I'm a woman
• 1:15:05
  Speaker 1: in my brains Soft Pickathon in Portland August five, and
• 1:15:10
  Speaker 1: then uh later in August I'll be a number for
• 1:15:12
  Speaker 1: the High Plants Comedy Festival. And I'm excited about both
• 1:15:14
  Speaker 1: of us. You can find us on the web as well. Hey,
• 1:15:18
  Speaker 1: I've got i realized I've got some dates coming out
• 1:15:21
  Speaker 1: in early August two. Please, yeah, you wanna? Hey, you
• 1:15:24
  Speaker 1: live in Fort Wayne, Indiana? Do you interesting choice? You
• 1:15:29
  Speaker 1: can see me at Let's Fest on August fourth and fifth.
• 1:15:34
  Speaker 1: I'll be out there and I'm going I'm going to Detroit,
• 1:15:37
  Speaker 1: going to far going North Dakota, going up to Winnipeg.
• 1:15:40
  Speaker 1: At some point, I don't have the it in front
• 1:15:43
  Speaker 1: of me because my calendar makes no sense and is
• 1:15:46
  Speaker 1: mostly typos. But you weren' going to write it down anyway,
• 1:15:48
  Speaker 1: so you go find it on crying out loud. You
• 1:15:50
  Speaker 1: figure it out. I don't know coming to Fort Wayne.
• 1:15:53
  Speaker 1: That's the only place I know I can remember. Hey,
• 1:15:56
  Speaker 1: and we are doing a live episode of the Bechtel
• 1:15:59
  Speaker 1: Cast Yeah for the cinder Block Comedy Festival on September nine,
• 1:16:04
  Speaker 1: So you can see us live there if you live
• 1:16:06
  Speaker 1: in Brooklyn or somewhere nearby, and you can follow us
• 1:16:09
  Speaker 1: at Pactol Cast on Twitter and on Instagram. And if
• 1:16:12
  Speaker 1: you like us and you want to see us struggle
• 1:16:15
  Speaker 1: financially less it's like they love to see us financially.
• 1:16:21
  Speaker 1: But if you don't love that and you want to
• 1:16:23
  Speaker 1: give us some money, we have a PayPal account, and
• 1:16:26
  Speaker 1: I know that paypals and evil corporation and it funds
• 1:16:29
  Speaker 1: Trump and oh honey, what isn't right? I gotta live.
• 1:16:33
  Speaker 1: You can write us a check and send it to
• 1:16:35
  Speaker 1: me by mail if you don't want to go through PayPal,
• 1:16:38
  Speaker 1: but but your checks are coming from a bank, that's
• 1:16:40
  Speaker 1: just you know, there's no winning. We need money right now.
• 1:16:44
  Speaker 1: Whatever is the easiest way to give us your money,
• 1:16:46
  Speaker 1: use it. I want to. But we do have a
• 1:16:48
  Speaker 1: PayPal account. So if you go to PayPal dot me,
• 1:16:51
  Speaker 1: slash Pacto cast, if you like our podcast and you
• 1:16:53
  Speaker 1: want to just throw us a few dollars, we'd appreciate it.
• 1:16:55
  Speaker 1: That would be super. Otherwise, give up, because that's a
• 1:17:00
  Speaker 1: cow boy thing to say. H