Latest / Camp Classics / The First Wives Club (1996)

Transcript

The First Wives Club (1996) · Camp Classics

• 0:00
  I wouldn't know what else is on the Costa Coffee movie, Paul.
• 0:04
  Get away from her, you bitch. Classic.
• 0:09
  He was in the Amazon with my mom when she was researching spiders
• 0:12
  right before she died. No, I.
• 0:17
  Thought you become a prostitute or a dog at it.
• 0:22
  I used to love doggy chow. I used.
• 0:25
  To love doggy chow too. I'm your favorite pelvic
• 0:29
  Princess, Crystal. And I am not a drunk.
• 0:35
  I'm baby lame. And welcome to Camp Collapse.
• 0:41
  A thoughtful podcast about stupid movies.
• 0:44
  Baby. It's baby.
• 0:47
  Baby, baby, baby. It's been a whole month since we
• 0:50
  last recorded I. Know can you tell?
• 0:52
  Because it's all gone to shit, hasn't it?
• 0:54
  The tech is not teching. No, but you, you think with
• 0:56
  these kind of things that you've just become like part of life
• 0:59
  now, like a natural thing. No, it isn't, is it?
• 1:03
  No, I think we're getting to that age now where if you put
• 1:05
  something down for too long, you no longer remember how to do it.
• 1:08
  Oh, OK. Well, how apartment then, with
• 1:10
  the film that we're going to be talking about today, about
• 1:12
  getting too old and about things falling apart?
• 1:15
  Yeah, I think we could both use a little freshening up, if you
• 1:18
  know what. I mean fill me up all the way.
• 1:22
  I need it. We'll, we'll.
• 1:24
  Give it to me. We'll get into it.
• 1:26
  But I did wonder actually if if that was just like your life.
• 1:31
  But we'll talk about it. I work out every day.
• 1:35
  I watch my diet and I have not had plastic surgery.
• 1:39
  Well, before we get to this movie, I think just like these
• 1:41
  women, we've got some business to take care.
• 1:43
  Of we have haven't. How have you been, Crystal?
• 1:46
  Yeah, yeah, Been great, been really good, been to Canada, did
• 1:50
  a classic, classic Halloween in my hometown.
• 1:54
  Oh. A classic Halloween What?
• 1:55
  What does that mean? Yeah, I took my niece and nephew
• 1:57
  trick or treating so they're like perfect age.
• 2:00
  And we actually went on to the street that I grew up on, to the
• 2:04
  street that I very first trick or treated on when I was like 5.
• 2:09
  And we we got to trick or treat at my old house and I got to I
• 2:13
  got to do the Jennifer Lopez. I used to live here.
• 2:17
  I. Used to live here.
• 2:18
  And he was like, who are you? And I said Jennifer Lopez.
• 2:23
  And he said. Who's Jennifer Lopez?
• 2:26
  Me. I'm glad she brought it back to
• 2:27
  something a bit interesting because I was sort of snoring
• 2:30
  off there slightly. I was like, you're going to keep
• 2:32
  that in Crystal? It's like we're a bit rusty,
• 2:34
  everyone. Sorry, but that's why you're
• 2:37
  here, to listen to Crystal talking about that.
• 2:41
  I could hear people getting bored with me, but I couldn't
• 2:43
  stop. How are you?
• 2:44
  How was your Halloween? How was?
• 2:46
  Yours good, but I would see Brandy and Monaco in Chicago.
• 2:49
  So that's my boring story. We're just a couple of North
• 2:53
  American gals. Just just hanging out.
• 2:55
  This is where it's got to, you know, life is OK.
• 2:58
  I'm going back on the Monjaro. I've decided just for people,
• 3:02
  the listeners that are following my Monjaro's journey, I'm going
• 3:05
  back on. So there we go.
• 3:07
  Did you stop shooting yourself? I Oh yeah, shit's got regular
• 3:11
  again. It's all great, but also time
• 3:14
  but also eating has just gone off the off the scale.
• 3:18
  I'm just absolutely can't stop eating.
• 3:21
  So I need medicine to stop that. Eventually I'll get the whole
• 3:25
  self-discipline thing, but I feel like because of what
• 3:27
  Trump's done with the taxes of it and stuff, it just meant I
• 3:30
  had to cut too quickly and I wasn't ready to go cold Turkey,
• 3:34
  right? So, you know, it'll be fine.
• 3:36
  I just need a couple more, couple more jobs and they'll be
• 3:38
  fine. And then, you know, I'll just,
• 3:40
  you know, it'll be absolutely fine.
• 3:42
  Give it to me, doctor. Fill me up.
• 3:45
  Do it, Morris. Do it to me.
• 3:47
  Now I need it. Yeah, then why am I doing it?
• 3:51
  Because of public's reaction to me and perception of me.
• 3:55
  And I need to be fitting and gorgeous, otherwise no one wants
• 3:59
  me. You're not getting the roles
• 4:00
  used to do there's a hot young 16 year old taking all your
• 4:08
  parts. There's always someone younger
• 4:10
  and hungrier coming down the stairs after you taking over
• 4:15
  this podcast maybe? Welcome to the podcast,
• 4:19
  Elizabeth Berkeley and first wife Scott.
• 4:21
  Oh my God, that would be amazing.
• 4:23
  That would be sensational. But I, I mean, what?
• 4:26
  Talking to a 16 year old about movies?
• 4:29
  It would be a very different kind of discussion, wouldn't it?
• 4:32
  You'd be like, this is what the 90s were.
• 4:37
  I mean, how? Yeah.
• 4:37
  Where would you even start? I don't know.
• 4:40
  Oh God, I can't think of anything that doesn't make me
• 4:42
  sound incredibly old. But like honestly, what would
• 4:43
  you talk to a 16 year old about? How do you do, fellow kids?
• 4:48
  What are they even? Watching.
• 4:48
  They don't watch movies, do they?
• 4:50
  It's just one. Unless it's like Wicked, maybe?
• 4:53
  Right. Yeah.
• 4:54
  Speaking of things that people watch, this is the most
• 4:57
  important business. Have you seen any of All's Fair?
• 5:01
  Right, I haven't yet because I feel like I need to give myself
• 5:06
  a decent amount of time to just really take this in.
• 5:08
  Have you watched it? I've watched one episode.
• 5:12
  And it's right. So it's it's like the worst
• 5:14
  rated. Yeah, I think it's got more than
• 5:16
  0% on Rotten Tomatoes now, but for a while there it had 0%.
• 5:21
  I don't even know how that's possible.
• 5:22
  That means that no one said anything positive about it in
• 5:25
  any reviews. But hasn't it like, obviously
• 5:29
  the Kardashians being who they are, they've turned it into like
• 5:32
  a marketing machine? And hasn't it been like the
• 5:34
  biggest opening? It's, I'm sure it's hugely.
• 5:39
  Successful. I think it's like broken all of
• 5:40
  the records. So what did you think of it?
• 5:42
  Because I've just seen lots of clips of Kim Kardashian looking
• 5:46
  amazing walking. Around like and and not emoting,
• 5:51
  obviously. When I saw it had 0%, I ran to
• 5:55
  watch. Yeah, like I was very excited.
• 5:58
  I can't think of like a more event style thing than since
• 6:02
  like Madam Web. Like when everyone was like this
• 6:04
  is bad. Unfortunately it's it is.
• 6:06
  I personally am finding it bad in a not that fun way.
• 6:09
  Right. It's just have you ever watched
• 6:13
  Selling Sunset? No.
• 6:16
  It's a lot of slow MO shots of people in like fancy cars and on
• 6:19
  private jets, and then there's like some loose plot that makes
• 6:22
  no sense. There is some really unhinged
• 6:24
  dialogue, which is fun, but even the women kind of delivering it
• 6:29
  don't really. You don't really buy it.
• 6:31
  I don't know. So this is the problem.
• 6:33
  I found it all a bit depressing. To be this is the problem.
• 6:35
  I have really big problems with like current modern day vacuous
• 6:39
  people. But if it's like in the 90s or
• 6:42
  the 80s, then I'll, I'm like absolutely here for it.
• 6:45
  But is it just because it's like another indication of how
• 6:48
  society and our world is like crumbling around us?
• 6:51
  Yeah, yeah, yeah, exactly. That's that's the thing that I
• 6:54
  was so surprised by. It was like, surely we're not
• 6:57
  like aspiring to be billionaires.
• 7:00
  Like, is that what people want to watch private jets?
• 7:04
  Is that really what people want to watch now?
• 7:05
  Like because I don't think that looks well again.
• 7:07
  Or does if it's in the 90s. If it's in the 90s then it's
• 7:10
  very aspirational. So what's like?
• 7:12
  Hence the movie we're talking. About what's like throw, what's
• 7:15
  like throwback aspirational because it's like, can you
• 7:18
  aspire to something that's in the past?
• 7:20
  That's a deep question. Whoa, The limit does not exist.
• 7:25
  Yeah, what? What all's fair feels like.
• 7:27
  You remember this Sex and the City movie?
• 7:30
  One or two. Well, I'd say it's, I'd say
• 7:33
  it's, I'd say it's got the quality of two without any of
• 7:36
  the humor. Wow.
• 7:38
  OK, Yeah. But like all of the trappings of
• 7:40
  like modern luxury. Do you know what I mean?
• 7:44
  Yeah. And Kim Kardashian can't sell
• 7:46
  anything. So unless you're going to really
• 7:48
  enjoy watching her like, act like a brick wall, I don't know.
• 7:51
  Well, there we go. Well, it will.
• 7:53
  It's funny though, because it is linking to the film that we're
• 7:55
  discussing today, isn't it? It's.
• 7:57
  Very much in the legacy. The girl boss.
• 7:59
  The girl boss lineage. Is there a sisterhood in this TV
• 8:04
  series, would you say? Yeah, OK, there is.
• 8:07
  Yeah, I mean, there, it's literally this.
• 8:09
  Like the premise is exactly the same.
• 8:11
  They are three women who help other women get their evil
• 8:16
  husbands. There we go.
• 8:17
  But I mean, we'll get into it as well.
• 8:18
  But like, the the movie we're going to discuss today is such
• 8:21
  an interesting one because it is like, such like a jarring
• 8:24
  concept, isn't it? It's.
• 8:26
  It's about sisterhood, but also about hating women.
• 8:29
  Yeah. Well, we're only sisters with
• 8:33
  women who are our age and class. Yeah, if they're young or
• 8:38
  slutty, we're not. Yeah, we can't.
• 8:40
  We can't like that. Off on trashy backgrounds as
• 8:42
  well and they don't have money or class Yeah.
• 8:44
  Or if they're stupid. If they're stupid, like fucking
• 8:47
  throw them to the wolves. What are we talking about today,
• 8:52
  Crystal? Wait, wait.
• 8:53
  Oh, sorry. It's.
• 8:54
  Still not there. There's more business to cover.
• 8:56
  I'm sorry. Because you're so business
• 8:58
  focused, aren't you? Business, business, business.
• 9:00
  We have to welcome some new gay trion.
• 9:02
  Members. Oh, of course, Yes, yes.
• 9:04
  We've got Lauren, Sarah, Ray, Suzanne, Spencer, Danielle, and
• 9:09
  Ruby. Oh shit, that's a lot of them.
• 9:12
  I'm obsessed with Sarah Ray. I know I feel like reading them
• 9:16
  all out it sounds like you're calling like your white trash
• 9:19
  family. Well, yeah, cuz.
• 9:21
  You're like standing on the porch.
• 9:22
  I hear Sarah Ray is this kind of voice.
• 9:24
  Lauren Suzanne Spencer, get inside.
• 9:29
  Where has Sarah Ray? Gone.
• 9:31
  What is she up to right now? Danielle, leave your sister
• 9:34
  alone. Oh, like that?
• 9:35
  No, that kind of. Ruby, stop tormenting the dog.
• 9:42
  Well, welcome all of you. Welcome all of you, and we're so
• 9:46
  happy to have you. Thank you for signing up.
• 9:49
  And we've got some new comments and requests to Nicholas.
• 9:53
  Nicholas says I'm submitting a French musical whodunit set over
• 9:56
  Christmas called Eight Women. Oh no, I do know that film.
• 10:02
  Do you? Yeah.
• 10:03
  I can't really remember it though, but yeah, OK.
• 10:05
  It's got iconic actresses, amazing performances, splendid
• 10:07
  costumes and queer storylines. I don't know, baby.
• 10:09
  Are we ready for our first foreign language film on this
• 10:14
  podcast? We're not quite ready, are we?
• 10:18
  I thought you were going to say we ready for a Christmas movie
• 10:20
  and I know you're going to make us do one in the coming weeks.
• 10:24
  I know it's on the horizon. Let me just give you Danielle's
• 10:27
  comment as well, but I'll circle back to your Christmas comments.
• 10:30
  Danielle says. Love this podcast.
• 10:32
  You both have a magical balance of being very insightful and
• 10:35
  approachable while also wonderfully silly in camp.
• 10:37
  That's nice. That's really kind.
• 10:39
  Yeah, I know it's not a movie, but I would love a special
• 10:42
  episode where you discuss Schitt's Creek, especially
• 10:45
  Moira's character. Thanks for the joy you bring to
• 10:47
  my ears every other week. Now I feel like you don't like
• 10:50
  Schitt's Creek. I've never watched it.
• 10:52
  And you know, you know why I've never watched it?
• 10:54
  Because I'm a petty little bitch.
• 10:56
  Because it's popular and people say it's funny and then I'm
• 10:58
  like, well, I won't find it funny because that's who I am,
• 11:03
  which is a toxic human being. Do you like it?
• 11:06
  I do like it. It's it is funny.
• 11:08
  I didn't finish the series because I got bored and I've got
• 11:11
  no attention span. But I had this with hacks though
• 11:14
  as well. Everybody was banging about
• 11:15
  hacks. I did stick with it and I
• 11:17
  actually really like it now. So it's a.
• 11:20
  Yeah, Hacks is amazing. Yeah.
• 11:21
  I'd be down for doing like sort of TV series.
• 11:24
  I mean it's. A little a little deep dive into
• 11:27
  a season of something. I can see it maybe on the gate
• 11:29
  trion. Yeah, maybe the list is
• 11:31
  currently. Well, that's what I wanted All's
• 11:33
  Fair to be. I wanted to be able to do a Gate
• 11:35
  Trion special on All's Fair, but honestly I just don't.
• 11:38
  I can't face it. Also kind of just fuck you, Kim
• 11:41
  Kardashian. You've got enough going on.
• 11:43
  Like you you, you absolutely don't need this.
• 11:45
  And when I saw that Chris was like executive producer, I was
• 11:49
  like, oh, piss off. What do these people know about
• 11:53
  making dramas or comedies or anything?
• 11:56
  It's like there are so many talented people out there that
• 11:58
  don't have work at the moment. AI is taking over and you know
• 12:01
  that they're going to be down for that kind of shit as well.
• 12:04
  I'm like it. Feels very AI generated the
• 12:08
  entire thing. It's really weird like Ryan
• 12:10
  Murphy, his output is so mid. Well, but like it's I would say
• 12:15
  it's like peak and through. Oh yeah, like like pose.
• 12:20
  Also, I feel like he's he always starts off with stuff and it's
• 12:24
  really good and then it just gets really sacred and really
• 12:26
  quick. Really.
• 12:27
  Yeah, really quickly, just like, well, do you know what?
• 12:29
  I think this is growth for us as human beings because I think
• 12:33
  people might just expect us to just like be wanking all over
• 12:36
  this TV show and actually we're a bit better than that so.
• 12:40
  You know what it reminds me of? It reminds me of that tweet
• 12:43
  where it says someone's like that is clearly rage bait.
• 12:47
  I'm not falling for that. You clearly have a humiliation
• 12:49
  kink and I don't want to be non consensually involved in kink
• 12:52
  shaming you. And I feel like that's what this
• 12:54
  show has been designed to do. It's like to make people mad and
• 12:57
  make people like us make podcasts about how it sucks.
• 13:00
  And you know what we we're not falling for?
• 13:02
  No, how, how dare you. We're rising above it, but
• 13:05
  you're so I mean, we won't go into it.
• 13:06
  That's so interesting. This whole the next phase of
• 13:08
  what like content is about and you're so right, like rage bait
• 13:13
  stuff is the new the new thing, isn't it?
• 13:16
  It's like, yeah, oh, times a grim.
• 13:18
  I think we need to go back to the 90s Crystal.
• 13:21
  Well, that's what we're here to do.
• 13:23
  And before we do that. One more thing, she's on
• 13:25
  business. She won't let me move this
• 13:27
  podcast on. That's all.
• 13:28
  What now? Well, you did mention Christmas
• 13:31
  movies and we appreciate your Christmas suggestions.
• 13:34
  But yes, we do want some more Christmas movie suggestions.
• 13:38
  I've got some for you to ponder. I mean, Batman Returns a
• 13:41
  Christmas movie. You feel like gremlins.
• 13:43
  Yeah, Gremlins is definitely Christmas, isn't it?
• 13:46
  Yeah, gremlins could work. Yeah, what other?
• 13:48
  Camps home alone? That could be quite camp,
• 13:52
  actually. I don't know.
• 13:54
  And I think that's straight camp.
• 13:56
  Oh, is it? That's my feeling.
• 13:57
  Yeah, I know. But we need to investigate
• 13:59
  before you can just say this. You know what I mean?
• 14:02
  So yeah, if you've got any other camp Christmas movie
• 14:05
  suggestions, it doesn't need to be explicitly Christmas.
• 14:08
  Christmas just needs to. Feel.
• 14:09
  What's that Mariah Carey one? Have you seen that TV Lifetime
• 14:12
  movie? No, it's so bad.
• 14:14
  But not again not in a good way. She is her being like, it's with
• 14:19
  Gretchen from Mean Girls. Oh.
• 14:21
  Yeah, and then Mariah plays the Mariah plays her like school
• 14:25
  friend who's now like a teacher or something other thing.
• 14:28
  It's like you're not the same age as Gretchen unless you've
• 14:32
  been failing your class for like 15 years.
• 14:36
  No, that's. Camp yeah, I mean actually maybe
• 14:39
  that is the ultimate camp classic there and then dust done
• 14:41
  and dusted. I know it's over the top, but
• 14:44
  that's how fast if I you've got. Last bit of business, if you're
• 14:46
  listening on Apple Podcasts or Spotify, this would be a great
• 14:50
  time right now for you to give us a five star rating.
• 14:53
  Do it for women of the 90s. It's the 90s bill.
• 14:57
  Downsize. OK, I think we can move along.
• 15:02
  We did. That God we rusty as well.
• 15:05
  Jesus, but. Before we go any further, baby,
• 15:07
  what makes a camp classic? Well, a camp classic is
• 15:10
  something that unlocks queer joy.
• 15:12
  In the words of Megan Fox. I want a wetty.
• 15:17
  I know she doesn't say it like that, but I just really wanted
• 15:19
  to channel it. It needs to be a bit stupid.
• 15:21
  Let's have an ongoing legacy and inform queer pop culture and
• 15:25
  ultimately we are looking for something that is anti
• 15:28
  mainstream with underdog flop vibes that's been reclaimed by
• 15:31
  the queers today. We.
• 15:33
  Are dealing with one of the pinnacles of trios of women.
• 15:36
  You've got Destiny's Child, you've got the Sugar Babes and
• 15:41
  you've got the first Wives. Yes, yes.
• 15:44
  We're here. We're here.
• 15:45
  And welcome to the podcast, Bette Midler, Finally, finally,
• 15:51
  just as Diane. Keaton exits.
• 15:52
  RIP Diane. Keaton yeah, don't say.
• 15:55
  Shit, I know I can't say. This is the problem now, because
• 15:58
  obviously I do feel bad about what happened to Diane Keaton,
• 16:01
  but now I can't. Now I can't say anything
• 16:03
  critical because I'm just going to be an asshole.
• 16:05
  So it's like, oh, she gets a free pass now and there she is.
• 16:10
  She's back. No, no, I'm going to be viewing
• 16:14
  Diane Keats. You know what I'm going to, I'm
• 16:16
  going to remove any negative feelings I had about Diane
• 16:19
  Keaton and I'm going to analyse this film purely on her
• 16:22
  performance and the context of the movie.
• 16:24
  She is the worst. Part of this movie.
• 16:25
  Oh God. So boring.
• 16:32
  Oh, that's so easy. The only one that didn't have a
• 16:35
  big 90s blowout and I'm so sad about it.
• 16:37
  The power of a blowout is incredible.
• 16:41
  There was some big hair in this film.
• 16:44
  There's. Some fantastic hair, I know.
• 16:47
  But could I just really quickly say something I love about the
• 16:50
  90s is how a shortcut on a woman can also be the most hair and
• 16:58
  like the longest. It's like when this hair isn't
• 17:00
  blown out. I reckon it's quite long.
• 17:02
  But all the tonguing and curling, Oh, I love it.
• 17:06
  Kind of it's. Kind of like if Liza got like
• 17:08
  electrocuted. Yes, you know, because I was
• 17:13
  thinking about that, because I was thinking about the the short
• 17:15
  slicked Bob, which also features quite heavily in this movie, The
• 17:19
  sexy therapist. And that was quite like like a
• 17:22
  Lisa Stansfield sort of. Oh.
• 17:24
  Yeah, like a gel curl. Yeah.
• 17:27
  And that's very 90s, but it's also kind of Liza adjacent.
• 17:31
  So basically Liza's all over. It was kind of.
• 17:33
  The glam to go to hairstyle, to have it short though in the 90s
• 17:37
  wasn't it? I remember when, like Ellen, you
• 17:39
  know, when she came up with her sitcom and they were trying to
• 17:41
  firm her up. It was.
• 17:44
  Jenny. McCarthy Like yes.
• 17:47
  Short, really, really oily. Love that we've already been
• 17:51
  derailed by 90s hair. OK, let's get into the context
• 17:57
  of this movie. So it is directed by Hugh
• 17:59
  Wilson, based on a book by Olivia Goldsmith and Robert
• 18:03
  Harling. The third wrote the screenplay.
• 18:05
  There's another southern name, Robert.
• 18:08
  Harling the third. Now Robert Hartling, the third I
• 18:14
  am bringing up specifically because gay.
• 18:17
  Oh, really? He yeah.
• 18:19
  And I watched this movie. I was like, there is no way a
• 18:21
  gay man wasn't involved in this. Like it just I was like, it has
• 18:25
  to be, it has to be, it has to be.
• 18:26
  And then I saw, I saw I started clicking through people like the
• 18:30
  director isn't gay. Oh, it was written by a woman.
• 18:33
  I mean, that makes sense. But and then I clicked on Robert
• 18:35
  Harling. He did.
• 18:36
  He wrote Steel magnolias gay soap dish gay flash transphobic.
• 18:41
  Yeah, laws of attraction. Which I haven't seen.
• 18:44
  Julianne Moore. Oh, gay, right.
• 18:49
  And he did the sequel to Terms of Endearment.
• 18:52
  Oh, I haven't seen. It but a sequel is gay.
• 18:54
  Yeah. Robert.
• 18:55
  What's his name? Robert Harlan.
• 18:57
  The third Oh, Robert. Harden the third you are getting
• 19:00
  a camp classic stamp of approval from me son.
• 19:03
  I think we need. To get Robert Harling the 3rd on
• 19:05
  the podcast, is he still alive? Yeah, he's.
• 19:07
  In his 70s. Oh my God.
• 19:09
  I'd absolutely. And he lives in like.
• 19:10
  Alabama, I would, absolutely. Love to try and get someone like
• 19:14
  that on yeah oh great but also as well I with him writing it
• 19:20
  there's lots of things about who wrote this and like script
• 19:24
  changes and now was he the person that originally didn't
• 19:27
  want to be credited as a writer no so he.
• 19:30
  He was the original writer and then he left it and then someone
• 19:33
  else came in to do like an uncredited sort of rewrite.
• 19:37
  And then I think they were like, I can't save this is was there a
• 19:41
  depression? And so they were like, don't
• 19:42
  credit me. It's a mess because didn't
• 19:45
  Goldie? Get involved with OH.
• 19:47
  So this is what? I read and she was on a podcast
• 19:49
  recently where she said that she hated the script so much, she
• 19:54
  found the women too shrewish. Oh, and that she really, and she
• 19:59
  thought it was, she gave it to her friend who was a writer and
• 20:03
  she gave it to Kurt. What's his chops?
• 20:06
  And they were like, this could be a career killer.
• 20:09
  So she went in with loads and loads and loads of notes about
• 20:13
  what she needed changing with it.
• 20:14
  It needed punching up. It needs sorting out.
• 20:17
  And they didn't do those notes. And she went back and apparently
• 20:20
  it was like a big thing that she was involved in.
• 20:23
  But she's she's adamant that she was like a major force to how it
• 20:26
  got to where it was. Sure.
• 20:28
  But also when these Hollywood actresses say this or like, I
• 20:31
  know it's like, did you really like, you know, you know, I
• 20:36
  think there's some artistic embellishment as well.
• 20:39
  Sometimes with this thing. There's lots of good.
• 20:40
  Stories as well about about how apparently Bette Midler was a
• 20:43
  real nightmare on set. Did you see this?
• 20:45
  I did, and she apparently said to the director, how is a
• 20:50
  Southern heterosexual with five children capable of directing a
• 20:54
  film about divorced women in New York high society, which I love,
• 20:58
  I mean. It's a valid point, but then as
• 20:59
  well, like it's it's again, it's the framing of these articles
• 21:03
  that we read, isn't it about how people might seem difficult,
• 21:06
  what not? But it was the 90s and these
• 21:08
  were middle-aged women and they, you know, no one at this point
• 21:12
  in their career had really dried up.
• 21:15
  They they'd all come off of the back of relatively big films.
• 21:18
  Like we definitely haven't hit make the the decline of their
• 21:21
  careers yet. So why shouldn't they be, you
• 21:24
  know, opinionated and wanting to kind of absolutely.
• 21:27
  Made but I think. I mean, that's such a valid
• 21:29
  point about the director, isn't it?
• 21:30
  He said he had a really hard time.
• 21:32
  But also as well, another funny thing about this that I heard
• 21:35
  was that Goldie nearly pulled out just before they went into
• 21:39
  shooting. And then there was a head of the
• 21:42
  studio. What was her name again?
• 21:45
  Sherry Lang Singh. And she was like, I will sue
• 21:48
  you, I will take your house. And that was that was from Time
• 21:54
  magazine that that quote was taken from.
• 21:57
  So there we go again. The basis of the basis of the
• 22:00
  film about sisterhood is I will sue you, bitch, and I will take
• 22:04
  your house. I mean, I, I assume you approve
• 22:06
  of that sentiment, Crystal. Yeah.
• 22:09
  Crystal will sue you now very your.
• 22:11
  Energy. Yeah, Get.
• 22:13
  The lawyers on it. I love that the there was also
• 22:16
  supposed to be a woman directing this movie, but she ended up
• 22:19
  leaving to do The Parent Trap. Oh.
• 22:23
  Which? Also features a 90s slicked Bob
• 22:26
  act. Now I think about it.
• 22:28
  But isn't the new mom in The Parent Trap?
• 22:31
  Oh, yeah, yeah, she does. But also was like, oh, my God,
• 22:34
  there's so many connections now. Also, that film stars Lindsay
• 22:39
  Lohan, as we know. Icon.
• 22:41
  I was reading that Bette Midler wanted to sue Lindsay Lohan
• 22:45
  because she messed up a sitcom that she was meant to be doing
• 22:47
  with her. And it all fell apart because of
• 22:50
  Lindsay Lohan and Bette Midler wanted to sue her.
• 22:53
  So there we go. More sewing, more hatred in
• 22:56
  Hollywood. Imagine Batman.
• 22:58
  Midler on screen with Lindsay Lohan.
• 23:00
  I can't. My brain can't compute that
• 23:04
  reality. I mean, I wish it existed.
• 23:07
  I mean. Yeah, I can't imagine Bette
• 23:10
  Midler being in Freaky Friday and being like Cutley Gran.
• 23:15
  She just doesn't give off that energy, does she?
• 23:17
  She's a real firecracker. I love it, though.
• 23:20
  She's she's. A force.
• 23:21
  But yeah, this cast is so stacked in this movie, I'm just
• 23:24
  going to rattle on. Just the women in this movie.
• 23:27
  Bette Midler, Goldie Hawn, Diane Keaton, Stalker Channing, Maggie
• 23:31
  Smith, Sarah Jessica Parker, Elizabeth Berkley, Marcia Gay
• 23:35
  Harden, Heather Locklear. You've got a cameo from Ivana
• 23:38
  Trump and from Gloria Steinem. And Sally Field was nearly,
• 23:43
  nearly in it in the Diane Keaton role.
• 23:45
  Jessica Land was nearly in it in the Goldie Hawn role.
• 23:47
  I mean the girl. Did you say Maggie Smith as well
• 23:51
  in that list? Yeah.
• 23:52
  Oh, yeah. I've missed that.
• 23:53
  But yeah, I think it's because I was drowning in the other names
• 23:56
  you were throwing in. That is, like, incredible.
• 23:58
  That game must have been responsible for some of that.
• 24:01
  Yeah. I reckon when he was writing it,
• 24:03
  he was like, heavier. Heather Locklear comes in with a
• 24:07
  big blowout. She's the one.
• 24:09
  Her hair is so blown out. That is the most blown out hair
• 24:12
  I've ever seen. So.
• 24:14
  Good, she looks so good. I mean the.
• 24:16
  Cast is wet dream worthy, isn't it?
• 24:18
  Yeah. Well, gay, gay wet dream because
• 24:21
  it's like, like no one's we're not wanking over them for sexual
• 24:24
  pleasure, but you know, no. Yeah, Heather Locklear in her
• 24:28
  cameo is kind of giving, like, respectable barbed wire.
• 24:33
  It's like that level of hair, you know?
• 24:36
  Yes, Oh my God. Not a track inside.
• 24:40
  Not a track inside, no. Hey, I know we need to talk
• 24:44
  about this movie, but is Sarah Jessica Parker wearing a wig in
• 24:47
  this movie? Wig.
• 24:48
  Did you just? Say wag yes.
• 24:49
  Oh, oh, do I need to stop and watch?
• 24:53
  Because in my extensive notes I haven't written down wig for
• 24:56
  Jessica Barker. So Jessica Barker.
• 24:58
  So me and my husband were very convinced it was wiggy.
• 25:01
  And then I've just watched a clip and I'm now I'm not
• 25:03
  actually convinced. I think she just does have a lot
• 25:05
  of hair, right? And so if you straightened it
• 25:07
  and blow blew it out, it could really give wig.
• 25:10
  But it's just, it's that. 90s Jennifer Aniston layering as
• 25:15
  well. The layers add volume to it.
• 25:17
  But yeah. But I mean, what a cost.
• 25:20
  Literally sensational. And yeah, Was this a hit?
• 25:25
  I can't remember. Was this film a hit?
• 25:26
  Yes, So. Thank you for that segue.
• 25:29
  So the movie had a medium budget of $26 million and it ended up
• 25:33
  taking 181,000,000 worldwide. So it was a huge surprise hit.
• 25:39
  Can I just? Pause you really quickly on that
• 25:42
  $26 million. This is how fucked up Hollywood
• 25:45
  is because that alone shouldn't really be able to cover the
• 25:50
  caliber of cost that you have. Yeah, I wonder what they were
• 25:53
  getting paid. I mean very good.
• 25:55
  Question I mean people clearly wouldn't weren't getting a meal
• 25:58
  then like Mackie Smith, what would she have got like a couple
• 26:01
  of 100 grands like I wonder if. They were on What's it called
• 26:06
  when you get like a share of box office profits, OK.
• 26:11
  Yeah, I don't know if that was really a.
• 26:12
  Thing in the 90s though, actually, I mean, that's what
• 26:14
  they all do now. But it was.
• 26:15
  It was. A big hit, wasn't it?
• 26:16
  But yeah, the studios, because there's been, you know, talks
• 26:19
  and talks of sequels for years and years and years.
• 26:21
  And Bette Midler was on watch What happened Live recently, and
• 26:25
  she just said that all of them campaigned as a collective,
• 26:29
  intelligent individually, got producers on board.
• 26:31
  And apparently Paramount just saw it as a fluke and they've
• 26:34
  just never seen it having any legs so.
• 26:38
  So and you think how many? Films have like remade, etc.
• 26:42
  And I know this has had like ATV series that was remade.
• 26:45
  Oh really? Yeah.
• 26:46
  Like about five years ago. It was like a shitty TV series,
• 26:49
  but it did nothing. Well, I'm.
• 26:52
  I think I am actually glad it doesn't have a sequel and that
• 26:56
  it didn't get a reboot because I think it I could just imagine
• 26:59
  where the girl boss of it all would go and I don't think it
• 27:02
  would go to anywhere like good. Also Sarah.
• 27:05
  Jessica Parker's kind of took the baton, didn't she?
• 27:07
  And it basically made Sex in the City.
• 27:09
  It's it's it's a version of Sex in the City if ever I've seen
• 27:13
  one before, Yeah. Yeah, for sure.
• 27:15
  Just back to the box office. This movie was the 11th biggest
• 27:19
  movie of the year in 96. The three biggest were
• 27:22
  Independence Day, Twister and Mission Impossible.
• 27:25
  So it's like in just, it's just such a different kind of movie.
• 27:28
  And yeah, even Despite that, industry sources said the film
• 27:31
  clicked with an untargeted group of ticket buyers who were
• 27:34
  overlooked as studios poured out special effects and loud action
• 27:37
  films. And yet they were still like,
• 27:38
  it's a fluke. It's like, it's so stupid.
• 27:42
  Believe women. You know.
• 27:45
  How about reviews? So it's got 50% on Rotten
• 27:48
  Tomatoes. I was very surprised by this.
• 27:52
  Very mixed reviews. The critical consensus on Rotten
• 27:56
  Tomatoes says the First Wives Club is headlined by a trio of
• 28:00
  comedic Dynamos, but the script lets them down with tepid
• 28:03
  plodding and a fatal lack of satirical bite.
• 28:08
  We'll get into it. We'll see if we agree.
• 28:10
  In terms of awards, Goldie Hawn won the Blockbuster
• 28:13
  Entertainment award for for best actress.
• 28:16
  Love the 90s? Yeah, and one more bit of trivia
• 28:21
  from Wikipedia. According to a 2023 poll by
• 28:24
  Costa Coffee, the First Wives Club was named by Brits as one
• 28:32
  of the top 10 movies to help them overcome heartbreak and
• 28:35
  move on. And that's why you're.
• 28:37
  Listening to CAP classics for that incredible research.
• 28:41
  Well done the. Costa Coffee movie poll.
• 28:44
  I wouldn't know what else. Is on the Costa Coffee movie
• 28:47
  poll, yeah. What else is in the top 10
• 28:50
  movies to get Overcome Heartbreak?
• 28:52
  And what are the other categories?
• 28:55
  OK should we get to the plot of this movie?
• 28:57
  Yeah OK great. So in 1969 we meet 4 college
• 29:02
  friends, Annie, Brenda, Elise and Cynthia.
• 29:05
  Cynthia gives each of them a matching Pearl necklace and
• 29:07
  makes them promise to always be there.
• 29:09
  And can I just? Say the wigs are they are like
• 29:12
  triple stacked those beehive. I know wig.
• 29:15
  I feel that already. And then we.
• 29:17
  Then we cut to the present day and the four women have lost
• 29:20
  touch and Cynthia, played by Stucker Channing, Well, her
• 29:25
  ex-husband has just married a much younger woman.
• 29:28
  This. Is my notes.
• 29:31
  How old is Channing Tatum? No, because it's Stockard.
• 29:38
  Channing is a confusing one because it's like she jumps all
• 29:42
  over the age universe, doesn't she?
• 29:44
  You see on TV shows and like Grease, she was obviously like
• 29:47
  47 and, like, she's younger here.
• 29:50
  Very confusing, Yeah. She well, I think she's the same
• 29:55
  age as the rest of them. They were all they all turned 50
• 29:57
  on the set, but they're and they said.
• 29:59
  They're playing mid 40s, right? OK, yeah, OK.
• 30:03
  Well, I will say about Stockholm Channing, she's not really in it
• 30:05
  for much, but she is acting the fuck out of that scene, isn't
• 30:09
  she? Oh, she.
• 30:10
  Turns in such a performance slow.
• 30:13
  Deep drag of a cigarette, a mink fur, just like a boozy look.
• 30:18
  I mean, it's literally just like, welcome to the Actors
• 30:21
  Studio with me, Stockholm Channing.
• 30:22
  It's it's incredible. So over the.
• 30:24
  Top. I know that this is a woman on
• 30:28
  the about to commit suicide and she's having a breakdown, but I
• 30:32
  can't say this kind of she makes it look really sexy.
• 30:37
  I mean, you can say this because this is like the fantasy of the
• 30:40
  film, like it is not. I mean, I was thinking this as
• 30:44
  well, like, in the nature of like a comedy from the 90s.
• 30:48
  It is campus. Fuck.
• 30:50
  It is like, yeah. It is weird to have like an
• 30:53
  inciting suicide as the start of a comedy, but because yeah.
• 30:58
  This is a comedy about suicide because it's there and
• 31:01
  especially. Because the rest of the movie
• 31:02
  isn't particularly dark. It's not like a dark comedy,
• 31:05
  especially. It's just like, yeah, this is
• 31:09
  the suicide that makes that kicks everything off.
• 31:12
  OK God, I probably should have put a trigger warning at the top
• 31:18
  of this episode. Well, we've talked about worse,
• 31:20
  I'm sure. Where are we?
• 31:22
  Oh, yes, we've talked about soccer training.
• 31:23
  But she gives she gives her housekeeper her Pearl necklace
• 31:27
  and letters to mail to her three former friends.
• 31:30
  And then she jumps off a building which is or.
• 31:34
  If there was a sequel, maybe she didn't jump because we didn't
• 31:38
  see it. We didn't.
• 31:39
  See it we didn't, so maybe all. That that's what I would have
• 31:42
  done. And if that was, if that was in
• 31:44
  the like 4 years later in like 1999 or whenever it was, that
• 31:50
  would have been great. Imagine Stockard Channing coming
• 31:52
  back and she's been on her travels and she's like, oh,
• 31:56
  little old me, I'm back. Something like that.
• 32:00
  Oh, that would be so good. I'm just trying to think of,
• 32:02
  like, what the plot would be like.
• 32:03
  The she finds the women who have moved on.
• 32:06
  And is there, like, some kind of tension because they're not
• 32:08
  mourning her anymore, maybe, Or who knows?
• 32:11
  Yeah. Sounds great.
• 32:12
  Yeah. OK.
• 32:14
  OK. So then the the other three get
• 32:16
  reunited at Cynthia's funeral in New York City and they go out
• 32:20
  for lunch after the funeral and discover they are all facing
• 32:23
  marital problems similar to those Cynthia had.
• 32:27
  So Annie, played by Dan Keaton, is separated from her
• 32:29
  advertising executive husband Erin, and she's in therapy for
• 32:34
  self esteem issues. She also has a lesbian daughter.
• 32:40
  Lesbian. Yeah, she also.
• 32:43
  Has a lesbian daughter, but she's totally cool with it.
• 32:47
  Lesbians are. Great, nowadays lesbian
• 32:50
  aesthetic is bang on for the year 2025.
• 32:53
  With that one I was like she lives like lots of people I
• 32:56
  know. So true.
• 32:58
  So true. Then we've got Elise Goldie Hawn
• 33:02
  and she is an Oscar winning actress, but she's struggling
• 33:05
  with alcoholism, her fading beauty and career, and a pending
• 33:09
  divorce with Bill, a film producer now involved with a
• 33:12
  young aspiring actress. And this is where we get we get
• 33:16
  the amazing scene of her at the plastic surgery chair asking for
• 33:20
  her lips to be filled. Do it.
• 33:22
  Morris do it to me now. No notes, Yeah.
• 33:27
  Goldie. Hawn is incredible in that
• 33:29
  scene. She's incredible in this.
• 33:30
  Movie. Yeah, well, she's like.
• 33:31
  Off the back of Death Becomes Her, So it's a four years since
• 33:35
  Death becomes her and four years since she was in a movie.
• 33:39
  I love that she went from Death becomes Her to this.
• 33:42
  It's like, not really really. It's not really a jump, is it?
• 33:45
  I know. It's the same.
• 33:46
  It's the same role. It's exactly.
• 33:48
  The same role. She's probably a bit more
• 33:50
  Madeline, to be fair. Yeah, Yeah.
• 33:52
  You're right. Yeah, Great.
• 33:54
  Did you know she actually? Got her lips injected with
• 33:56
  saline, yeah? Yeah, I did read that.
• 33:59
  Yeah, so. That's how they got that effect
• 34:00
  and it didn't work. Which meant that she would never
• 34:02
  touch the knife again, since it that was it, wasn't it?
• 34:06
  Yeah. Oh.
• 34:07
  Right. Sure, Goldie.
• 34:10
  And then we've got Brenda, played by Bette Midler, and she
• 34:13
  is struggling financially after divorcing her husband Morty, who
• 34:18
  runs a successful chain of electronic stores.
• 34:21
  Morty is played by Dan Hada, who is the dad from Clueless.
• 34:26
  Oh yeah, I didn't link that I loved.
• 34:28
  This line from Brenda. He starts working out.
• 34:31
  He grows A mustache. He gets an earring.
• 34:34
  I was like wow, I feel seen. Yeah, I.
• 34:37
  Literally put the same notes with the question.
• 34:39
  Is this you, Crystal? Ah.
• 34:45
  So good. I was like, is there a reveal
• 34:48
  that her husband turned gay? I don't remember that from this
• 34:51
  movie, but no, no, that never that penny never drops.
• 34:56
  Like apparently in the 90s you could work out grow mustache and
• 34:58
  get an earring and not be gay. You know the.
• 35:00
  Good. The good old days.
• 35:02
  Also, I didn't see any of that when I saw him.
• 35:04
  You know, it paints a picture of someone a bit hotter.
• 35:07
  It's like, oh, yeah. But yeah.
• 35:09
  I love this boozy lunch scene. It's fab.
• 35:11
  They're just like again. It's so great.
• 35:14
  It's like, you know, the setting up of what, where they're at in
• 35:17
  their lives. So when they're all doing their
• 35:18
  drinks, I'll have a Virgin Bloody Mary, I have a Bloody
• 35:21
  Mary and I'll have a vodka on the rocks.
• 35:22
  It's just kind of like perfect, perfect.
• 35:25
  Which one are you there? Then in the if you had to be one
• 35:27
  of those three, who would you be?
• 35:29
  I think depending. On the day I'm either vodka on
• 35:31
  the rocks or Virgin Bloody Mary. So I'm just a I'm a creature of
• 35:35
  contradictions, you know? What about you?
• 35:38
  Well, I think I've. Unfortunately got the demeanor
• 35:40
  of Bette Midler in this film. That's actually so true.
• 35:46
  I was like. Oh shit, I can see myself in
• 35:49
  that. And obviously I'd want to be,
• 35:51
  I'd want to see follow up. I'd want to be Goldie Hawn.
• 35:54
  But I was like, no, I think I'm Bette Midler.
• 35:57
  Yeah. And I.
• 35:58
  Think I'm probably Diane Keaton if I'm being honest with myself.
• 36:07
  Oh dear. Annie's.
• 36:08
  Hopeful that she and Aaron will reconcile, especially after a
• 36:11
  romantic dinner and night together.
• 36:14
  Then he stuns her by asking for a divorce and revealing that
• 36:18
  he's been sleeping with their mutual therapist.
• 36:21
  We've already discussed Marcia Gay Harden and her great 90s
• 36:24
  hairstyle. She's fabulous.
• 36:25
  In this fabulous. Yeah, just to shut out.
• 36:28
  Also for the makeup, there's so many like smoky brown eyes and
• 36:31
  like like really like neutral cut creases.
• 36:35
  It's so nice. Bette Midler, for example, It's
• 36:38
  supposed to be frumpy but is in just a full face of drag makeup.
• 36:41
  She's. Beat honey, yeah.
• 36:45
  Could I also just say something I love about Bette Midler films
• 36:49
  of this era is in every single film she has to lose weight and
• 36:54
  show off her new sexy hot body. That must be in her contract.
• 36:57
  I swear to God it's in every single fucking film she has a
• 37:01
  makeover. I mean, that's just like the
• 37:03
  rules of feminism, right? Because also she was angry
• 37:06
  because she wanted the part of Elise.
• 37:08
  Yes. So again, it's like, no Goldie.
• 37:12
  Is so perfect for it anyway. Speaking of Elise, she attempts
• 37:16
  to revive her career by taking on a new female leading role,
• 37:19
  only to learn she's been offered the part of the character's
• 37:21
  unattractive mother and that her ex's new girlfriend, Phoebe,
• 37:25
  played by Elizabeth Berkeley, has been cast as the lead.
• 37:28
  Can we talk about Elizabeth Berkeley in this in?
• 37:32
  In in a in a movie of healthy, voluptuous hair, why is her so
• 37:38
  frazzled and dry and it just looks like it's going to break
• 37:42
  at any point? It's the they learned no lessons
• 37:46
  from showgirls. Is her hair still?
• 37:48
  Recovering from the the perm treatments they put on it.
• 37:51
  What do you think? Maybe.
• 37:52
  I mean, it's so funny because she's basically playing Noemi
• 37:55
  Malone in this. I've.
• 37:57
  Got that note as well, yeah. But it's like she's doing it for
• 38:01
  laughs this time. It's so weird to see.
• 38:04
  Well, again I. Just I think we kind of touched
• 38:06
  upon this with something else. Maybe it was like a fantasy
• 38:09
  moment of her being in a different film.
• 38:11
  But yeah, I would love to just like do a, a, a sort of a grid
• 38:16
  of all of Elizabeth Berkley movies and just see if it is
• 38:20
  this like the universe that's been made a Noemie Malone
• 38:23
  universe and it's, and if they are the same thing, because it
• 38:26
  does just feel like Noemie has rocked up.
• 38:29
  Yeah, it's like. When Noemie left Vegas at the
• 38:31
  end of Showgirls to get to become an actress, this is where
• 38:34
  she turned up. She's toned down the.
• 38:37
  Sleazy slutty vibes and now she's going for like.
• 38:41
  She's like, I found myself a film producer.
• 38:43
  Oh my God. Imagine though if she had the
• 38:45
  same dynamic with what's Crystal as she does with the lease
• 38:50
  though. Imagine Goldie Hawn being like
• 38:55
  pseudo villain Lesbo Butch with her.
• 38:59
  Oh. It would actually be so fun to
• 39:02
  cut the audio of Showgirls over scenes from First Wives Club,
• 39:09
  you see? Darling, you are a whore.
• 39:13
  Oh my God, I love it. I love that so much.
• 39:16
  So good. We'll never talk about
• 39:19
  showgirls, but we will get so much mileage out of it.
• 39:21
  Well. We will one day, but we we know
• 39:24
  the answer. Yeah.
• 39:26
  I feel like we need to do about 5.
• 39:28
  It would have to be like A5 parter as well.
• 39:30
  Yeah. I don't think we'd be able to
• 39:31
  see it in one episode, much like this movie with its running time
• 39:35
  of this so far. I know, sorry.
• 39:37
  OK, Speeding along. So Brenda runs into Morty
• 39:41
  splurging on his young and beautiful girlfriend Shelley.
• 39:45
  Sarah Jessica Parker. She's doing excellent work here
• 39:48
  too. She really is great in this
• 39:52
  role. She's.
• 39:53
  So good, it's. It's like the comic timing of it
• 39:57
  is bang on. Yeah, because she's really
• 40:00
  playing a bitch. But it's like likable as well.
• 40:03
  And it's like goofy and looks amazing.
• 40:07
  Like she looks so hot. Yeah, she's.
• 40:10
  One of those, I don't think she gets enough credit for this.
• 40:13
  She really doesn't know how to light up the screen, doesn't
• 40:16
  she? Yeah.
• 40:18
  Yeah, she really does. Like there's something so just
• 40:21
  watchable about her that like, it doesn't really matter what
• 40:25
  she's doing. You're like really, really,
• 40:27
  really engaged, interested, and obviously she's.
• 40:29
  Stunning, but the thing I also like about her is she's not like
• 40:32
  this conventional beauty. Like she's got really striking
• 40:35
  features and she that, but I'm just I say conventional
• 40:39
  Hollywood beauty because I think.
• 40:40
  But but again, there's something about her that just you just
• 40:43
  can't not watch her. Yeah.
• 40:46
  And it's also I feel like she really holds her own against
• 40:49
  Bette Midler, which I think it must be a really hard thing to
• 40:52
  do for any Yeah, any comedian. Yeah, you're so.
• 40:55
  Right. She holds her own against Maggie
• 40:57
  Smith, too. Oh, she really?
• 40:59
  Does. Well done, SJP.
• 41:01
  Well done. Yeah.
• 41:03
  I mean, I love her and Hocus Pocus as well, obviously, but
• 41:05
  this is like she's she's doing something extra special here.
• 41:09
  That's. That's really interesting.
• 41:10
  The timeline. So Hocus Pocus was before this.
• 41:13
  Yes. So obviously that's why she's
• 41:15
  that's why her and Beth are so good.
• 41:17
  Oh yeah, you're right. Yeah, that makes a lot of sense.
• 41:20
  So the women. Are kind of at their lowest, but
• 41:22
  they read Cynthia's letters to them telling them to take care
• 41:25
  of each other and they come together to commiserate and they
• 41:28
  decide to get revenge on their husbands and set up the first
• 41:32
  wives club. I love that.
• 41:34
  Scene where they're reading the letters and Diane Keaton's mom
• 41:37
  is like an on such beautiful stationary.
• 41:39
  I just think that's so funny. That woman has some great lines.
• 41:45
  She's like an. OG Hollywood person as well,
• 41:47
  isn't she? Yeah, yeah.
• 41:49
  She is. There's that line.
• 41:50
  She's like, let me do it. You don't have any feeling for
• 41:53
  pasta. I'm like, that's just such a
• 41:54
  weird, like, specific and great mother line.
• 41:57
  Yeah, yeah. Definitely, definitely like you.
• 42:00
  Really. Get so much information from her
• 42:02
  from Yeah, the stationary comment.
• 42:04
  Annie enlists her daughter Chris the lesbian to get a job at
• 42:08
  Aaron's advertising agencies so they can so that she can act as
• 42:11
  a spy and they recruit her at a lesbian bar.
• 42:15
  Lesbians. Are great nowadays I also really
• 42:18
  love how much she hates her dad in this movie yeah she actually
• 42:22
  just wants to destroy his life yeah I.
• 42:25
  Love the idea of coming out as like an act of vengeance, yeah.
• 42:31
  Like. Timing your reveal that you're a
• 42:33
  lesbian as like when it will cause the most pain and
• 42:37
  suffering to someone and actually.
• 42:39
  The her representation in this is pretty cool for the 90s isn't
• 42:42
  it? Because she's not the butt of
• 42:43
  the joke, she's just kind of like an intelligent heart if
• 42:47
  anything. It's almost like Diane Keaton's
• 42:49
  the butt of the joke because she's like, trying so hard to be
• 42:51
  cool, but she can't really figure it out.
• 42:53
  Yeah. But yeah, like I mean to be the.
• 42:55
  Butt of the joke, you'd have to make me laugh and.
• 42:58
  Yeah. But like, I was watching it and
• 43:00
  I was like, wait, is this, like, is this kind of icky?
• 43:03
  Like, are they kind of making fun of lesbians?
• 43:04
  I was like, no, they're making fun of Diane Keaton not being
• 43:07
  able to deal with it. Yeah.
• 43:08
  But yeah, these women at the lesbian bar, it's very white
• 43:12
  women at brunch. Yeah.
• 43:15
  Well. I find it hard to believe.
• 43:17
  This was one of the only things I found really unbelievable
• 43:20
  about this movie was when Elise was like, I've never been to a
• 43:22
  gay bar. Yeah, like, you're a gay man if
• 43:26
  ever I've seen one. But lesbian bar, exquisite vibes
• 43:30
  moving on up and people, it's going down in there.
• 43:34
  I love when. That shows the other woman a
• 43:37
  photo of Morty and the woman says she's but yes.
• 43:41
  It's such. A good line.
• 43:43
  It's so good. But yeah, just that thing of
• 43:45
  like three straight ladies go to a gay bar and they have a great
• 43:49
  time and they're losing their minds and I'm like, oh, you're
• 43:52
  so annoying. You're taking up so much.
• 43:53
  So yeah, I mean. Oh my God.
• 43:55
  But that's the parallel. Like what do you do in that
• 43:57
  situation? Because they you're so right.
• 43:58
  They are taking up too much space.
• 44:00
  It's like fuck off. But if Goldie Hawn able to come
• 44:04
  in and like dance the way she's doing and she's literally like
• 44:06
  being like Mick Jagger, isn't she like you kind of would let
• 44:10
  it pass. It's just it's a rare occasion
• 44:12
  that straight women could take up that much space and it not be
• 44:14
  annoying, right? In that context, I don't mean to
• 44:17
  straight women taking up space full spot.
• 44:19
  I mean, in a queer venue, absolutely.
• 44:22
  Goldie Hawn can do whatever she wants.
• 44:25
  Then we've got Elise forcefully repossessing the numerous pieces
• 44:28
  of artwork and furniture that she bought.
• 44:30
  Bill, I don't know if you clocked this, but there's a
• 44:32
  poster with Elizabeth Berkeley in the background where she's
• 44:36
  like, could. You see what, half cop and half
• 44:38
  like stripper or prostitute? Yeah, it says.
• 44:41
  Policewoman by day, hooker by night.
• 44:44
  That's in the cinematic universe.
• 44:46
  I want to watch that movie I Oh my God so bad.
• 44:50
  So bad, I want to watch it so bad.
• 44:51
  I actually googled it. I couldn't find out anymore.
• 44:55
  Unfortunately, it does not exist, but it did lead me to a
• 44:58
  movie called Angel, which is about a teenage girl who does
• 45:01
  the same thing. Yeah, yeah, yeah, I've.
• 45:03
  Heard about this film? Yeah.
• 45:05
  Whoa. Whoa, yeah, maybe we're.
• 45:08
  Not ready to quite go there yet, but maybe we should.
• 45:10
  I don't. Yeah, I don't know speaking.
• 45:13
  Of Speaking of just as a side though, and I know that we don't
• 45:16
  laugh about this, but I I love how like they refer to younger
• 45:21
  women in this as literally children.
• 45:24
  She's 12. She's a.
• 45:26
  Preschooler, it's like, wait a second, are these, are these
• 45:30
  people actually children? Because it's like, that's not
• 45:33
  what you would say. I'd very just weird side note,
• 45:36
  yeah. That's a weird thing.
• 45:38
  And then there's a lot of, like, making fun of people for being
• 45:40
  skinny or fat. Oh yeah, there's a.
• 45:42
  Lot of shame. A lot of shame.
• 45:43
  Yeah, apparently the bulimia line that Bette Midler said.
• 45:46
  Well, bulimia certainly paid off to SJP.
• 45:49
  She improvised as well. So there you go.
• 45:53
  Great. There's a few lines like that
• 45:54
  where you're like, I guess if I was going to give this movie
• 45:57
  quite a lot of credit, I would say that it's it's not meant to
• 46:01
  be endorsing that opinion. But I think because those women
• 46:04
  are the heroes of the peace, you are kind of like left thinking
• 46:08
  that is the point of view of the movie.
• 46:10
  Yeah. I don't know.
• 46:11
  It's not great. Anyway.
• 46:12
  Brenda discovers from her Sicilian uncle that he and her
• 46:16
  father helped Morty establish his first store through stolen
• 46:19
  goods. And then there's also a whole
• 46:22
  subplot with gay interior designer Duarto and Elise's
• 46:26
  prominent socialite friend Ganila, played by Maggie Smith,
• 46:30
  Which? She is absolutely fucking
• 46:33
  incredible in this. She's so bang on.
• 46:37
  I know everyone knows she's an incredible actress anyway, but
• 46:40
  like that, I love the dialogue she's got as well because she's
• 46:43
  like, you're going to need a decorator of death.
• 46:46
  And I just think that in itself, I want a decorator of death.
• 46:50
  She's so good. She's just Maggie Smithing so
• 46:53
  hard but with a. Supermodel sort of makeup
• 46:56
  palette. Do you know what I mean?
• 46:57
  Like it's full on 90s. It's like, it's like she's doing
• 47:00
  a Mac campaign. Yeah, you're so.
• 47:02
  Right, she looks great. And again the scene.
• 47:04
  With her and Sarah Jessica Parker, where she's invited her
• 47:07
  over and they're having like dinner together.
• 47:09
  It's just like the pair of them are just like, it's so
• 47:13
  watchable. I was just going to.
• 47:14
  Say, so watchable. Like, that scene just injected
• 47:18
  into my veins. Yeah.
• 47:19
  So they go to town on SJP and manipulate her and Morty into
• 47:23
  leaving their homes that the three women can infiltrate and
• 47:27
  obtain the fraudulent business records.
• 47:30
  Cue the slapstick scene with the three of them on the window
• 47:33
  washer thingy. I said to my husband when we
• 47:36
  were watching it, like, they got onto that.
• 47:38
  I was like, oh, I don't think the slapstick stuff actually
• 47:41
  really works. Like, oh, no, no, I'm not so
• 47:42
  sure. And then then it started and
• 47:44
  they were all screaming. I was like, Nah, it's great.
• 47:48
  I get. Is it just because they are just
• 47:51
  such skilled comics? I think so.
• 47:54
  Like they really. Know how to fucking sell it,
• 47:56
  don't they? Yeah, they're.
• 47:58
  Really, it's just really funny. And then just like.
• 48:00
  A slight campsite note that you can clearly see.
• 48:03
  I mean, what was it with the 90s and getting, like stunt people
• 48:06
  to, like, actually be the same sort of size as you?
• 48:10
  Like, because they're just these big burly men that are like the
• 48:13
  stunt double S Yeah. It's like when they're like
• 48:15
  going down, there's suddenly just like big men with shit wigs
• 48:19
  on. Right.
• 48:21
  Perfect. I love that.
• 48:24
  I also love that bit where the the they're falling and it stops
• 48:29
  and there's a couple having sex and they like shout through the
• 48:32
  window. Elise, you look so good.
• 48:34
  And she's like, what? You look so good.
• 48:36
  She's like, yeah, I just felt so seen.
• 48:43
  Which siding? OH.
• 48:45
  I would definitely pause in my own death scene to take a
• 48:49
  compliment. So Elise sells off all the
• 48:53
  repossessed items to Annie for a dollar, and Annie, in turn,
• 48:57
  auctions the mall off at Christie's, where Shelley is in
• 48:59
  attendance with Duarto and Ganila, and she spends lots of
• 49:03
  Morty's money on all this stuff. Then there's a fight scene where
• 49:09
  the tensions that have been bubbling between the women kind
• 49:11
  of boils over. It's a great fight scene.
• 49:15
  Yeah. And again it's.
• 49:15
  Quite nice. There's a bit of realism there
• 49:17
  isn't. It's like, you know how you can
• 49:19
  just be like nastiest to people that your friends, Yeah, you can
• 49:22
  sort of really dig the screwdriver in.
• 49:25
  So yeah. And it made sense, like the
• 49:27
  three of them have been so different and set up to be so
• 49:29
  different. So it is kind of satisfying to
• 49:32
  see that kind of address, I think even Diane.
• 49:34
  Keating made me laugh in that because she calls Elisa Turkey,
• 49:38
  doesn't she? I love the line.
• 49:43
  You think just because I'm a movie?
• 49:45
  Star I don't have feelings. Well, you're wrong.
• 49:48
  I do have feelings. I'm an actress.
• 49:50
  I am all of them. I think it's.
• 49:52
  Maybe the best line in the movie.
• 49:54
  Yeah, I love it so much. Also just like throwing a Golden
• 49:58
  Globe and then throwing it back. Fantastic.
• 50:01
  Apparently the Oscar in this movie is Goldie Hawn's actual
• 50:04
  Oscar. We also love a slap fight.
• 50:07
  They slap it out and then the girls reconcile and they finish
• 50:12
  enacting their revenge plan. So they kidnap Morty and he buys
• 50:18
  out Erin's former business partners in front of him and
• 50:22
  Elise reveals to Bill that his girlfriends is actually 16.
• 50:28
  Another yeah pedo joke I guess. All three women coerce the men
• 50:34
  into meeting at their club and together they threaten their ex
• 50:36
  husbands into agreeing to fund their justice and using the
• 50:40
  money. The Open a crisis Center for
• 50:42
  women named in honor of Cynthia and located where meetings of
• 50:45
  the First Wives Club used to be held.
• 50:47
  I mean it's. Getting a bit boring now.
• 50:49
  That's what I will say on the rewatch.
• 50:51
  I was like, oh, this bet, yeah. Yeah, thankfully it is quite
• 50:56
  short and there's a big grand opening celebration and Morsi
• 50:59
  has an. Erection does he when he dances
• 51:02
  with bet, you know, they're kind of like, yeah, that's did you
• 51:07
  not pick up on that? No.
• 51:09
  OK, so basically like we're getting to the end of this now
• 51:12
  we're working out what's happening and Morty cuts in with
• 51:16
  bet, who's dancing with the sun and they they're like kind of
• 51:19
  going to each other. Oh, you look good.
• 51:20
  And she's kind of like, yeah, it's annoying.
• 51:22
  You look good. Is she ill in the head?
• 51:24
  Because she's the one that's been saying that he's been
• 51:26
  working out. He's got this.
• 51:27
  Is she saying something we're not?
• 51:29
  But anyway, they're dancing, like having a little close dance
• 51:33
  and then she goes oh, and then looks down and he smiles and
• 51:37
  they carry on dancing. And so basically her losing
• 51:41
  weight has got him hot for her and he wants to bone her.
• 51:45
  So that's what's happening there.
• 51:47
  I'm erect. Why aren't you erect?
• 51:50
  And that's enough for her to take him back.
• 51:52
  Damn right. It is the 90s, yeah.
• 51:55
  He he's the only one that has like us, vague growth arc,
• 51:59
  right? And so they get back together,
• 52:00
  but the other two get left in the ditch.
• 52:03
  What is his? Vague growth art.
• 52:04
  Well, he leaves. Shelley doesn't.
• 52:06
  Yeah, it was he's. Like, yeah, it's, it doesn't
• 52:08
  really leave her. Like she's not into him.
• 52:11
  Like, do you know what I mean? It's not like, yeah, it's not
• 52:13
  like I don't want to be with you, Shelley.
• 52:15
  It's like he still wants her. I well.
• 52:17
  I feel like you get the sense that he recognizes he made a
• 52:19
  mistake, right? Yeah.
• 52:21
  Whereas the other two men will never know that or feel that.
• 52:24
  Yeah. And then you know what they do
• 52:27
  at the end? They all sing You don't own me
• 52:30
  dressed like Hillary Clinton. Yes.
• 52:31
  Now I. Was going to ask you about this
• 52:33
  because you. Yeah.
• 52:34
  Evil. Women in white pants suits,
• 52:37
  Yeah. Do they count?
• 52:38
  Well, are. They evil women because I think
• 52:40
  there is quite a lot of factors that could suggest they are
• 52:42
  quite evil women. They're quite horrible to each
• 52:46
  other and to other women in this movie.
• 52:48
  Yeah, they're they're. Certainly vengeful, but I would
• 52:51
  I think they're like ultimately forces for good as long as the.
• 52:54
  Good. Coincides with the life that
• 52:56
  they see is appropriate, Yeah. As long as you're not a slut or
• 53:02
  too skinny, are we like. And as long as you're.
• 53:04
  White are we? Accessing a film about Karen's
• 53:08
  and as we're seeing it through the eyes of Karen's, it's OK and
• 53:11
  they've just not come against any things that might be
• 53:13
  problematic because they are problematic people and we just
• 53:16
  haven't seen that side of them. You're.
• 53:18
  Absolutely, Absolutely. These women are.
• 53:20
  Yeah, you're right, They are, Karen.
• 53:22
  They're all Karen. So they are.
• 53:24
  Evil women in white pantsuits. Perfect.
• 53:26
  Add them to the list. Oh, there you go, that's first
• 53:30
  wives club. What did you think?
• 53:32
  It's one of those. Movies that I've grown up with.
• 53:35
  So I think it's sort of just embedded in my memory.
• 53:40
  So it's hard for me to kind of like originate.
• 53:42
  I I thought I was just like, as I was watching, I thought all I
• 53:45
  was going to say was I love everything about this movie and
• 53:48
  I don't actually, but I think it's great.
• 53:51
  It's enjoyable in lots of ways, but I think find it too slushy,
• 53:56
  right considering this is meant to be a film about like,
• 53:59
  empowering women. They're so.
• 54:02
  Fucking weak about relationships and about right wanting men.
• 54:07
  And I know they kind of reclaim that a bit, but yeah.
• 54:11
  It's a bit. Fucking basic if you ask me.
• 54:13
  It's very. 90s I mean, the feminism of it all is so 1996.
• 54:19
  It's so white, it's so affluent, it's so male centric still
• 54:25
  somehow. Yeah, you're so right.
• 54:27
  You're so right. I saw something.
• 54:28
  Actually, which is interesting because I don't know whether I
• 54:30
  like this director guy, Hugh Wilson.
• 54:33
  And he was banging on about how he was scared of Bette Midler,
• 54:37
  blah blah, blah. And it's also, but then he also
• 54:39
  said something about how a producer was always on the set,
• 54:42
  like telling him what to do, blah, blah, blah, and how he
• 54:45
  like physically grabbed him, this film producer.
• 54:49
  And then the next day there was security on set and he was like,
• 54:51
  that was all blown out. And it's like, I don't really
• 54:54
  think he should be putting your hands on some no the.
• 54:56
  Directors had loads of accusations of assault.
• 54:59
  Yeah, so. He's fucking messed up.
• 55:02
  He's dead as well. So yeah, no, I don't know.
• 55:05
  I'm sorry about it. We're all gonna die, aren't we?
• 55:09
  RIP Diane Keaton. But.
• 55:12
  He said he had problems with the film because he thought it was
• 55:16
  too fluffy and he basically his biggest problem with it all was
• 55:20
  who's going to care about these women?
• 55:21
  They have so much money, anything's possible.
• 55:24
  What's the problem right? And I kind.
• 55:26
  Of think there's a valid a better, yeah.
• 55:31
  It's almost. Like, they are role-playing
• 55:35
  lives. It's almost like they have so
• 55:38
  much money that they can just kind of go on this jaunt and
• 55:41
  like do this big revenge plot because ultimately they still
• 55:45
  have money and it doesn't really matter.
• 55:47
  I guess it depends whether or not you accept that, like losing
• 55:51
  a relationship that you had for twenty, 30-40 years, it would
• 55:56
  break you or not. Do you know what I mean?
• 55:58
  And I think this movie. I think.
• 56:01
  This movie basically is saying that might that might fuck you
• 56:04
  up, and I think that is kind of valid.
• 56:06
  I think that is valid. At the same time, I also like
• 56:09
  they are very cry me a river and I don't know.
• 56:11
  I think you have to see this movie in a lens of like, you
• 56:15
  have to take the premise that like a man leaving you is the
• 56:18
  worst thing that could happen to you.
• 56:19
  You have to take that as the starting premise and accept it.
• 56:21
  Yeah. And if you accept it, everything
• 56:23
  else makes sense. If you don't accept that that is
• 56:26
  a thing that would fuck you up, then yeah, the rest of it
• 56:29
  doesn't really follow. Yeah.
• 56:31
  And it and it is that kind of 90s thing of like, yeah, the
• 56:33
  worst thing that could happen to a woman is a man leaving, which
• 56:37
  we hopefully we've moved on a bit from that, but.
• 56:39
  Also, like, actually, yeah, as we're saying this, it's like the
• 56:43
  90s were a very, very, very, very different time for.
• 56:46
  I can't speak for women's experience, but I think it's
• 56:49
  well known about how hard it was for these women in Hollywood.
• 56:53
  Yeah. Like Diane Keaton said, you
• 56:54
  know, I've played the hot girl before.
• 56:57
  And frankly, to even get a role that was this kind of role, I
• 57:01
  was just grateful for the part. Right.
• 57:04
  She just said the roles are dried up.
• 57:06
  Wow. That's depressing.
• 57:08
  OK, so despite all of that, and I agree with you, I think it is
• 57:11
  still obviously incredibly satisfying watching a revenge
• 57:14
  fantasy centered around punishing shitty men.
• 57:18
  And like, if that's the that's the stuff that I love about this
• 57:21
  movie. And I just think it's so
• 57:23
  delicious. I think it's so delicious.
• 57:26
  As I say, I think a lot of like the feminism of it is rooted in
• 57:29
  the 90s. And I think it has, as we've
• 57:31
  talked about it does feel a bit like woman versus woman at times
• 57:34
  as well in a way that I don't think is fantastic.
• 57:37
  But like whenever the movie is focused on like look at this
• 57:40
  woman putting her heel on this douchey man's throat, it's like,
• 57:45
  great, love it. Oh, it's perfect.
• 57:47
  Yeah. How do you feel about, like, the
• 57:49
  younger women sort of having no agency in this film?
• 57:52
  Yeah. I mean I.
• 57:53
  Think if the movie got remade, or you know, if there was the
• 57:57
  2025 version, they'd all team up together, wouldn't they?
• 58:00
  The 2025. Version be Sarah Jessica Parker,
• 58:03
  Elizabeth Berkeley and the lawyer woman Kim Kardashian.
• 58:09
  Yeah, she was. Just coming to do that role, but
• 58:13
  then saying that, but then saying that, I mean, Sarah
• 58:17
  Jessica Parker is so delicious in this.
• 58:19
  And it's like she's she makes that that villain role because
• 58:24
  you see her at the end, don't you, perched on the car and
• 58:26
  she's like, he's like, are you with anyone?
• 58:28
  And she's like, not really. And you know, they're just going
• 58:30
  to go off and fuck, don't you? It's like the Mr. Big origin
• 58:33
  story there, isn't it? Basically Yeah.
• 58:36
  I. Wish we'd gotten a scene
• 58:37
  basically where Elizabeth Berkeley is like, fuck you to
• 58:41
  the douchey guy. And then she's like, because we,
• 58:43
  it's kind of implied that she's now on their side.
• 58:45
  She's in the audience at Lisa's play, isn't she?
• 58:48
  Yeah. And so there's a sense of like,
• 58:50
  there's been a bit of sisterhood forming there that would have
• 58:53
  been. A really smart thing actually,
• 58:55
  if they could have done that with all of the characters and
• 58:58
  not in a way that they're all wearing white suits and they're
• 59:00
  all at the launch and they're all hugging it out, but they all
• 59:02
  do something, you know, it's like a tip off from the the
• 59:06
  therapist kind of going. Oh, by the way, he he did this
• 59:11
  and like, yeah, I'm not sorry, but I owe you this because I was
• 59:14
  your therapist kind of thing that just like an under because
• 59:16
  it's like just because it's the sister doesn't mean everyone has
• 59:19
  to get along at all. But that would have been a
• 59:20
  really nice touch just to have. And then and.
• 59:23
  Then keep Sarah Jessica Parker just as like the bad one.
• 59:26
  Yeah, like you can have one delicious evil character as a
• 59:30
  treat. Totally.
• 59:31
  Yeah, yeah, yeah, definitely so funny I.
• 59:33
  Was like, I'm going to talk, bring all that stuff up and
• 59:36
  baby's going to tell me I'm being too sensitive.
• 59:38
  Well, I just think. I don't think it's, I think the
• 59:41
  problem for me is it's just, it just feels it's so dated and how
• 59:45
  like heteronormative it is and just in the sense of like
• 59:48
  relationships form your life. And The thing is, I do
• 59:50
  understand that and I do understand, I understand how
• 59:55
  breaking up with someone can impact your life, etcetera.
• 59:57
  I just think I think there's such well written, gutsy
• 1:00:01
  characters that I kind of expected more from them.
• 1:00:05
  You. Want a bit more agency although?
• 1:00:07
  Apparently there was a whole character that was dropped from
• 1:00:09
  it because it went over so much. Wasn't there a Goldie?
• 1:00:12
  Hawn had a younger boyfriend in it as well, so.
• 1:00:15
  Yeah, there was 40 minutes of movie that are missing, which I
• 1:00:18
  think is probably for the best. You can see how like the plot
• 1:00:23
  rewrites kind of got a bit in there and messy like that bit
• 1:00:26
  where you said it was this starting to get a bit boring
• 1:00:28
  now. Like when they're like bringing
• 1:00:30
  the men to the office to like fund the thing.
• 1:00:32
  You're like, what is going on? I don't I think this is all
• 1:00:35
  necessary. Like why do they even have an
• 1:00:37
  office and there's already. Oh yeah, for their club.
• 1:00:40
  Like do we need a montage of them decorating their office
• 1:00:44
  like I don't and also it's. Like the way that they're, like
• 1:00:46
  going to see the space. And then we're like, oh, it's
• 1:00:49
  hideous. And it's like, it's huge.
• 1:00:51
  It's prime location in New York, Manhattan.
• 1:00:54
  Yeah. And also because if the if the
• 1:00:57
  shelter that they've opened is in that location, like who's
• 1:01:00
  that going to serve like more side Waspy ladies totally.
• 1:01:06
  It's like what you said about them all bringing them into the
• 1:01:09
  the space to kind of lay out the plan.
• 1:01:11
  They've already kind of done this menacing plan.
• 1:01:14
  It's like you don't need to. It's like I'm going to take all
• 1:01:17
  of your money unless you meet me here and give you the card, and
• 1:01:20
  then it's like I'm going to take all of your money.
• 1:01:22
  It's like, yeah. And in some cases it feels like
• 1:01:24
  it's the third time it's happening, like it's, it is a
• 1:01:28
  bit confusing that way. And I, you know, plot wise, I
• 1:01:31
  think we can, we could dock some points.
• 1:01:33
  It's there for sure, Ivana. Trump.
• 1:01:35
  Yes. Is that yes?
• 1:01:37
  Yes. She is there.
• 1:01:40
  I mean, again, it just kind of sums up the the white feminism,
• 1:01:44
  doesn't it? It's like, just take all his
• 1:01:47
  money darling and then you'll be happy and remember.
• 1:01:52
  What? Don't get mad, get everything.
• 1:01:55
  It's like that is what brought us to All's Fair now streaming
• 1:02:00
  on Disney Plus. Absolutely.
• 1:02:02
  Yeah, yeah, it's responsible for 100%, but she is it.
• 1:02:05
  Is camp to see her and she hates Donald Trump, right?
• 1:02:08
  I guess so. I mean, she's.
• 1:02:11
  Probably she's dead. I can't I.
• 1:02:23
  Wasn't. Expecting that at all.
• 1:02:26
  I mean, one thing I will say is you, you don't watch this movie
• 1:02:29
  and feel that any of the characters, female characters
• 1:02:33
  don't have agency in what they're doing as as as
• 1:02:36
  performers. Do you know what I mean?
• 1:02:38
  Like, and I think there's something really great about
• 1:02:40
  watching just such talented performers.
• 1:02:44
  They all know what they've signed up to do.
• 1:02:45
  They all know what their characters are and they all bang
• 1:02:48
  it out and deliver it on the dot.
• 1:02:49
  I it's interesting. The male characters to me just
• 1:02:52
  sort of merge into one. Like I actually can't see any
• 1:02:55
  difference between Elise and Diane Keaton's partner.
• 1:02:59
  They're just, they look the same.
• 1:03:00
  They kind of behave the same. Totally.
• 1:03:02
  They're. Exactly the same.
• 1:03:03
  Yeah. They would have benefited the
• 1:03:04
  movie to differentiate them a little bit more and, like, make
• 1:03:06
  one a bit sleazy or Hollywoody. But yeah, you're so right.
• 1:03:10
  I love that the men are just very in the back seat.
• 1:03:13
  It's like they're kind of the window dressing to let these
• 1:03:16
  women just shine. Yeah.
• 1:03:19
  I love watching Bette Midler's face.
• 1:03:21
  Like, it's just she's just such a ham in the best way.
• 1:03:26
  And like, Goldie Hawn is such a ham in such a different way.
• 1:03:29
  And Diane? They're all ham, yeah.
• 1:03:31
  Yeah, watching them all bounce off each other, it's it's just
• 1:03:35
  so great. It's so great.
• 1:03:36
  Bette Midler is. So aggressive, Yeah.
• 1:03:38
  Like there's always such an aggressive, like, energy to her
• 1:03:42
  performances. And I always find it really,
• 1:03:44
  really funny. Yeah.
• 1:03:45
  And I get the impression they actually got along as well.
• 1:03:47
  Like, obviously, obviously in like all the press at the time,
• 1:03:51
  they were kind of like, oh, we love each other and that's this
• 1:03:53
  real. But I do get the they seem no
• 1:03:56
  one seems to be like outdoing each other, but it seems to be
• 1:03:59
  like that kind of friendly competition.
• 1:04:01
  And I bet and that's what it was like because they were all top
• 1:04:03
  of their game. And I bet it was like, fuck,
• 1:04:05
  she's really bringing it. So I need to bring it as well.
• 1:04:08
  And that kind of like we're all gonna, we need to keep on top,
• 1:04:11
  elevate each. Other sort of, yeah, Apparently
• 1:04:14
  the closing scene where they sing You Don't Own Me.
• 1:04:16
  They only did it once. They did it in one take and they
• 1:04:20
  used that in the final cut. And so and they look like
• 1:04:22
  they're having fun and they like each other.
• 1:04:24
  Yeah. So that's really nice.
• 1:04:26
  That's really. Nice.
• 1:04:27
  Just makes me laugh at that. I'd love that to be the last
• 1:04:29
  thing we say. I was, to be honest with you,
• 1:04:34
  like I watched it. It went down super easy, super
• 1:04:37
  smooth. I laughed a lot.
• 1:04:38
  I hadn't seen it in about 10 years, so I forgot a lot of the
• 1:04:41
  jokes and like, I really, really, really enjoyed it.
• 1:04:44
  And then I thought to myself, what?
• 1:04:46
  What the fuck am I going to say about this movie?
• 1:04:48
  Because it's almost like there isn't a lot of meat to get into,
• 1:04:51
  but it's it's still just so delicious to watch.
• 1:04:56
  To mix some metaphors there. I don't know.
• 1:04:58
  Yeah, there. Isn't a lot to say about it.
• 1:05:00
  I mean, it's dated feminism, but I think, yeah, that's clear and
• 1:05:04
  I don't think it hides that at all, but yeah, but other than
• 1:05:08
  that. But again, it, I think, I think
• 1:05:11
  I just started getting bored near the end and it's because
• 1:05:14
  I've seen this film 1000 times and I just was like, this is
• 1:05:17
  getting so mushy. But then you can't discredit the
• 1:05:19
  rest of it. Like it is so great and it's so
• 1:05:22
  stacked. It's visually beautiful.
• 1:05:25
  It's kind of what I want. If I'm seeing like a film in the
• 1:05:27
  90s and I'm seeing New York, it's kind of the New York I kind
• 1:05:30
  of want to see and, and have a little access window through
• 1:05:33
  because, you know, realistically, none of us get
• 1:05:36
  that access to like high society like that.
• 1:05:38
  And it's done in such a silly way.
• 1:05:40
  And it's just like all of the actors are just chewing up the
• 1:05:43
  scenery in such a clever, fun way.
• 1:05:46
  Yeah, just in terms. Of like the visuals.
• 1:05:48
  I turned this movie on immediately after watching All's
• 1:05:51
  fair. I know I keep talking about it,
• 1:05:53
  but like the difference in the kind of color saturation and
• 1:05:56
  like the HD Ness of that show versus and then you go and like
• 1:06:00
  watching this feels like wrapping yourself in a fleece.
• 1:06:03
  It just feels like so cozy and nice.
• 1:06:06
  And you're like, oh, I like, I like when things are a little
• 1:06:08
  grainy and like I feel like I'm watching a movie, not like an HD
• 1:06:13
  car commercial. It's just aesthetically it's
• 1:06:15
  very pleasing to me. Yeah, totally.
• 1:06:18
  Totally, I think we. Rate it.
• 1:06:20
  Yeah. So we need to.
• 1:06:21
  Give it one to 10 Merrells for the quality and one to 10 Lizas
• 1:06:26
  for the camp factor. It's hard to do.
• 1:06:29
  Merrills with this, isn't it? Yeah, Merrills referenced in it,
• 1:06:32
  isn't she? Yes, Merrill.
• 1:06:34
  Is I was just going to say Merrill is reference.
• 1:06:35
  And did you know that Jennifer Lawrence quoted this movie when
• 1:06:39
  she won her Golden Globe beating Merrill?
• 1:06:42
  She said. I beat Merrill and everyone was
• 1:06:44
  like, oh, that's so rude, so disrespectful.
• 1:06:46
  I know I love that, but also that a lot of credit to Jennifer
• 1:06:49
  Lawrence that that's what she's quoting.
• 1:06:51
  I'm like suddenly I've got a lot of respect for you and also it's
• 1:06:54
  this film's been referenced lows because Ariana Grande did a
• 1:06:57
  performance to it, didn't she? Thank you.
• 1:06:59
  Next she did. So it has had that like ongoing.
• 1:07:02
  Legacy, if you will, it has got that.
• 1:07:04
  Ongoing legacy, but and also as well, I just think it's like we
• 1:07:08
  really should celebrate movie stars like Bette Midler, Goldie
• 1:07:12
  Hawn and Diane Keaton because they are one of ones they're
• 1:07:15
  like they really did stamp. You know, I'm not a fan of Diane
• 1:07:19
  Keaton and in case anyone but she like she stamped her brand
• 1:07:23
  of comedy and has her acting, didn't she?
• 1:07:25
  I just think I haven't seen. Any hall?
• 1:07:28
  No, I haven't and now I guess I won't because it's Woody Allen,
• 1:07:31
  but but as as a. Film OK, but right so it's hard.
• 1:07:34
  It's hard for me because I think they are all give pitch perfect
• 1:07:38
  performances like flawless. Yeah, I think the cast is really
• 1:07:42
  spectacular. I think it's shot well.
• 1:07:45
  I just think the writing gets a bit sloppy near the end.
• 1:07:48
  Yeah, yeah. I think so too, like the plot
• 1:07:51
  loosey goosey, but like it is so uplifted by the performances and
• 1:07:57
  the and the comedy and the like. Some of the jokes are just so
• 1:08:01
  good. Yeah.
• 1:08:02
  I think it's maybe, I don't know, like if I'm grading it as
• 1:08:05
  a comedy for Merrills, Like, I don't think comedies get a lot
• 1:08:10
  better than this, to be honest with you.
• 1:08:12
  Like, I think it's probably in the 8:00-ish range for me.
• 1:08:16
  Yeah. I.
• 1:08:17
  Agree. Because I really, really the
• 1:08:20
  only things that would change is the plot slightly.
• 1:08:22
  And that's because it's 30 years old.
• 1:08:24
  Yeah. So it's like, and you know that
• 1:08:27
  if, if they even if they were to make it now, that stuff would be
• 1:08:31
  tightened up a bit. So yeah, I'm gonna give it an 8.
• 1:08:34
  Gonna give it an 8. Great.
• 1:08:36
  Groundbreaking. OK, And what about Liza's?
• 1:08:39
  The camp factor? Is it?
• 1:08:41
  Yes, it's 10, isn't it? Or is it annoying?
• 1:08:44
  I think. I don't know, there's something
• 1:08:47
  I don't want to be a. Whore to the 10 For some reason
• 1:08:49
  I'm going to say nine. Yeah, there's.
• 1:08:51
  Something holding me back ever so slightly and I don't know
• 1:08:54
  what it is because Elizabeth. Berkeley is there, I think.
• 1:08:58
  Maggie Smith. Is there SJP?
• 1:09:00
  Is there? Is it?
• 1:09:02
  Is it because it's the thing holding me back that it's like
• 1:09:04
  kind of mainstream? And so the queer joy is like, it
• 1:09:10
  feels a little bit like worshipping straight white
• 1:09:14
  culture instead of like any subversion.
• 1:09:17
  There's no. Subserve subversion to this
• 1:09:19
  movie. There's zero.
• 1:09:21
  Well, the subversion. Is standing up to like,
• 1:09:24
  patriarchy and like the 90s version of that?
• 1:09:27
  Well, yeah, OK. That's kind of a huge but I
• 1:09:33
  mean, it's, it's just glossy, isn't it?
• 1:09:35
  It's glossy. It's well made, but it I mean,
• 1:09:38
  still 9 out of 10, I think is spectacular.
• 1:09:40
  But I think do you know what? I'm going to bring it.
• 1:09:42
  We've we've said this more than once on the podcast.
• 1:09:45
  Sometimes camp is a feeling and it's not getting it.
• 1:09:49
  It's not giving me perfection that say something like Lindsay
• 1:09:54
  Lohan in I know who killed me is giving me, but why does?
• 1:09:58
  Death becomes her get your get your 10 and this doesn't What's
• 1:10:01
  the difference becomes a get a. 10 for me.
• 1:10:04
  Must yeah it. Must have, I think this because
• 1:10:08
  there's a darkness to death becomes and there's a bit more
• 1:10:12
  of a satirical bite. Yeah, yeah.
• 1:10:15
  And this doesn't quite, you know, like at least gets over
• 1:10:20
  her alcoholism very quickly, which is camping itself, though.
• 1:10:22
  That is quite. Yeah.
• 1:10:26
  And it's like, and now I'm not wearing makeup and I'm doing a
• 1:10:28
  play. It's like, you don't want to do
• 1:10:29
  that. No, it's, it's a nine for me.
• 1:10:32
  It's I love it. And it's it's one of those films
• 1:10:34
  that has shaped who I am as a person in lots of ways.
• 1:10:37
  But I think it's just a little bit too mainstream glossy for me
• 1:10:42
  to not to not get the final point.
• 1:10:43
  It's a little. Too cost a coffee Yes just ever
• 1:10:48
  so slightly and like it's yeah you're right it's a nine well.
• 1:10:52
  Done. I mean, yeah.
• 1:10:53
  And like 8 out of 10 for the quality of Merrill's as well is
• 1:10:57
  brilliant. Yeah, I love it.
• 1:10:59
  Incredibly high scoring movie and we're getting.
• 1:11:01
  With this age now, we're getting to the point where there are
• 1:11:03
  going to be lots of people that actually don't know what this
• 1:11:05
  movie is. So I hope if you haven't seen
• 1:11:08
  this movie, you, you check it out because it's, I mean, why
• 1:11:11
  are you listening to this podcast if you haven't bloody
• 1:11:13
  seen, there's no. Way anyone listening to this
• 1:11:16
  podcast has not seen First Wives Club Costa Coffee Top ten movie.
• 1:11:20
  Yes, everyone has seen this movie.
• 1:11:24
  Well there we go. That was fun.
• 1:11:26
  I really like shocking about it. I did too.
• 1:11:33
  And there we go guys, it's time for me to get in bed.
• 1:11:36
  This has been fun. As a reminder, drop us Adm or
• 1:11:39
  leave a review and let us know what you think.
• 1:11:42
  We should cover for a Christmas movie for this holiday season
• 1:11:46
  and I guess we'll be back in two more weeks with another camp
• 1:11:50
  classic. I'm trying to find a.
• 1:11:52
  Quote to go out on Should we just go out on doormat?
• 1:11:55
  Lesbian doormat. Lesbian.
• 1:11:59
  I. Always go out on doormat
• 1:12:01
  lesbian. Bye.
• 1:12:05
  Bye. Get away from her, you bitch.
• 1:12:10
  Classic he was. In the Amazon with my mom when
• 1:12:14
  she was. Researching spiders right before
• 1:12:16
  she died? No, I thought you could not.
• 1:12:23
  Prostitute your target. I used to love doggy chow.
• 1:12:28
  I used to love doggy chow too. Could you do I'm not a drunk
• 1:12:32
  again, but just a bit further away from the.
• 1:12:36
  Sorry.