Latest / The Bechdel Cast / The Fifth Element with Danielle Radford

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The Fifth Element with Danielle Radford · The Bechdel Cast

• 0:00
  Speaker 1: Hi everyone, It's Caitlin and Jamie and you are about
• 0:03
  Speaker 1: to hear our episode that we recorded live November early
• 0:08
  Speaker 1: November about The Fifth Element, a movie directed by Luke
• 0:13
  Speaker 1: Luke a popular request. We've been wanting to do this
• 0:17
  Speaker 1: movie forever. We were thrilled that Daniel Radford could be
• 0:20
  Speaker 1: there with us. We just wanted to say really quick
• 0:23
  Speaker 1: at the top that we were not aware of the
• 0:27
  Speaker 1: many allegations against the director of this movie, and when
• 0:30
  Speaker 1: we recorded that episode, we're now aware of them. Um.
• 0:34
  Speaker 1: So part of it is that a lot of the
• 0:37
  Speaker 1: story broke after we after, and some did before, but
• 0:42
  Speaker 1: the three of us were not aware of any of
• 0:45
  Speaker 1: this at the time this episode was recorded. So um,
• 0:49
  Speaker 1: if you're looking for analysis on that, and unfortunately we
• 0:52
  Speaker 1: didn't know, but if you do a little research, he's
• 0:55
  Speaker 1: basically the Harvey Weinstein of France. Yes, has been accused
• 0:59
  Speaker 1: of a lot of actual misconduct assault and I mean,
• 1:03
  Speaker 1: if we have any French listeners, we would love to
• 1:05
  Speaker 1: hear your take on it. But it seems like the
• 1:08
  Speaker 1: situation is being handled very differently and he is continuing
• 1:11
  Speaker 1: to work a problem boo. So just a little context
• 1:16
  Speaker 1: up top. Sorry to start a downer, but Danielle is amazing.
• 1:21
  Speaker 1: The episode is a blast, so fun and we hope
• 1:25
  Speaker 1: you enjoy it. Yeah. On the delcast, the questions asked
• 1:29
  Speaker 1: if movies have women in them? Are all their discussions
• 1:33
  Speaker 1: just boyfriends and husbands? Did? Do they have individuals and
• 1:36
  Speaker 1: the patriarchy? That the best start changing it with the
• 1:41
  Speaker 1: beck Del cast. Welcome to the backcast, Like, Hi, thanks
• 1:48
  Speaker 1: for so. The movie we're covering today is the Fifth Element?
• 1:53
  Speaker 1: By round applause? Who has seen it? Great? Okay, and
• 2:00
  Speaker 1: there anyone who hasn't. I hadn't, so don't be shy. Yeah,
• 2:05
  Speaker 1: my soul sibling. Yeah, we're talking about the Fifth Element today.
• 2:11
  Speaker 1: I am man, what a ride? What did you know?
• 2:15
  Speaker 1: The future is not female? The future is French, So
• 2:20
  Speaker 1: we've got a French as patriarchy to look forward to
• 2:22
  Speaker 1: according to this movie. Yeah. So we use the Bechtel
• 2:25
  Speaker 1: test as a jumping off point to initiate a larger
• 2:28
  Speaker 1: conversation about the representation and portrayal of women in movies. Uh,
• 2:32
  Speaker 1: and what is the Bechtel test? Well? The Bechtel test
• 2:35
  Speaker 1: is a metric created originally by cartoonist Alison Bechtel that
• 2:40
  Speaker 1: requires a piece of media include two female identifying characters
• 2:45
  Speaker 1: with names for our purposes, who speak about something other
• 2:49
  Speaker 1: than a man to each other for more than two
• 2:52
  Speaker 1: lines of dialogue. You think it would be easy, you
• 2:55
  Speaker 1: would think, and yet this movie doesn't matter. Whoops, oh
• 3:00
  Speaker 1: blew it at the top of the show. So I
• 3:04
  Speaker 1: am so tired of people being like the show is, like,
• 3:08
  Speaker 1: does it pass the Bechtel tis like, obviously no, it doesn't.
• 3:11
  Speaker 1: Ever if you're listening for seventy minutes to be like,
• 3:19
  Speaker 1: grow up, that's you know, it's a what I what
• 3:24
  Speaker 1: I What I've tried to say is I'm sorry, I've
• 3:27
  Speaker 1: had half of Mike's Hard and I'm fucked up? Uh?
• 3:32
  Speaker 1: Is that it is a jumping off point for discussion.
• 3:35
  Speaker 1: It is not by any means. There are some movies
• 3:39
  Speaker 1: we've done that passed the Bechtel test by two female
• 3:42
  Speaker 1: identifying characters telling each other to kill themselves. So you know,
• 3:46
  Speaker 1: it is not a metric of being a feminist icon
• 3:49
  Speaker 1: by any means. No, no, no, no, no, And tonight
• 3:52
  Speaker 1: to join us in our discussion. We've got a wonderful guest.
• 3:56
  Speaker 1: You know, we're from screen junkies and tights and fights.
• 4:00
  Speaker 1: It's Danielle Radford, Hi, well I did it. Also, I
• 4:09
  Speaker 1: should have brought my purse, because like, I don't sit
• 4:12
  Speaker 1: like a lady, and that's never more evident when I
• 4:16
  Speaker 1: don't just have my purse here to save me from showing. Well,
• 4:20
  Speaker 1: let's redefine how sitting like a lady? Okay, I sound
• 4:25
  Speaker 1: like a person who doesn't care if you see her vagina. Right,
• 4:30
  Speaker 1: So maybe not like a lady, but just like a
• 4:32
  Speaker 1: human who doesn't want to be arrested. Okay, I only
• 4:36
  Speaker 1: wear skirts and I don't cross my legs up, guys,
• 4:40
  Speaker 1: an icon in your right, I am the Jaden Smith. Okay,
• 4:48
  Speaker 1: so we're talking about the fifth element. Danielle, what is
• 4:51
  Speaker 1: your history your relationship with the movie. So, this is
• 4:56
  Speaker 1: one of my favorite movies. Um So, I will prefaces
• 5:00
  Speaker 1: by saying I love things that are bad. I do
• 5:04
  Speaker 1: not think this movie is bad. I think this movie
• 5:05
  Speaker 1: is great, and I think that it doesn't pass my
• 5:07
  Speaker 1: bad test, but it does come really goddamn close. Just
• 5:12
  Speaker 1: like everyone. Oh so, I have a really specific test
• 5:15
  Speaker 1: for what makes a good bad movie. First of all,
• 5:17
  Speaker 1: obviously it has to be bad. That's the first thing,
• 5:20
  Speaker 1: of course, obviously. Um Secondly, it has to be sincere.
• 5:24
  Speaker 1: It can't be like Snakes on the Plane, where they're like, oh,
• 5:27
  Speaker 1: we're gonna make a bad movie. It's like, no, the
• 5:30
  Speaker 1: people making it, even if it's intentionally campy, the people
• 5:33
  Speaker 1: making it have to care about what they are doing.
• 5:36
  Speaker 1: That there's a reason why Black Dynamite, while it is
• 5:39
  Speaker 1: obviously meant to be this like Pastiche, is also still
• 5:43
  Speaker 1: a really fun bad movie and not just like a
• 5:47
  Speaker 1: cynical we tried to make a bad movie. Um. And Third,
• 5:51
  Speaker 1: you've got to have spectacle. There has to be spectacle
• 5:54
  Speaker 1: of some kind, whether it's like you know, in the
• 5:57
  Speaker 1: case of show Girls, it's all of the dancing, or
• 6:00
  Speaker 1: whether it's a sci fi movie and there is good
• 6:02
  Speaker 1: or bad c g I or makeup or characters, or
• 6:06
  Speaker 1: whether you just have Tommy was So, which is spectacle
• 6:09
  Speaker 1: on his own. What's your favorite bad movie? Oh, gosh,
• 6:13
  Speaker 1: um the Last Dragon. Oh I've never seen that one.
• 6:17
  Speaker 1: Oh it's so good, good, it's good. Yeah, yeah, it's
• 6:23
  Speaker 1: um So. In the eighties, Barry Gordy decided that black
• 6:26
  Speaker 1: folks really like karate, so he decided to make a
• 6:31
  Speaker 1: movie which is not a musical wink wink, but is
• 6:34
  Speaker 1: filled with the music of motown in the eighties, which
• 6:37
  Speaker 1: is most of you know, no one was listening to
• 6:39
  Speaker 1: and there were some but not a whole bunch. And yeah,
• 6:42
  Speaker 1: it started a guy named Tie Mock one name um.
• 6:45
  Speaker 1: And it also started a Prince Protege and X Prince
• 6:48
  Speaker 1: Protegeania and Vanity Good. I want to watch this movie
• 6:51
  Speaker 1: really bad. Our next live show, we'll be covering last
• 6:57
  Speaker 1: bad movie really quick. Um. I have exquisite taste, so
• 7:02
  Speaker 1: I don't like any bad movies. No. Um, probably like
• 7:07
  Speaker 1: Spiceworld or something, So it's not a bad movie. Alan
• 7:12
  Speaker 1: Cummings in it. That doesn't count, right. I have a
• 7:16
  Speaker 1: tie between I Frankenstein and Jobs. The one with Ashton
• 7:22
  Speaker 1: Kutcher and Ashton Kutcher pretending like he's a character actor
• 7:28
  Speaker 1: is spectacle. It is. He was like, here's my nomination, guys,
• 7:37
  Speaker 1: it's me Cher. He's like, I'm a little too handsome,
• 7:41
  Speaker 1: you know, like that's kind of his thing. I'm in
• 7:43
  Speaker 1: a turtle Nick. That is kind of like My favorite
• 7:48
  Speaker 1: kind of bad biopic is when you feel like the
• 7:50
  Speaker 1: lead actor, even though they're technically not as are constantly
• 7:53
  Speaker 1: looking like, you know, this isn't me right, that's just
• 7:57
  Speaker 1: kind of funny. I'm I'm Ashton Kutcher, actual culture. Y'all
• 8:00
  Speaker 1: know I fucked right, Yeah, I don't know how I came.
• 8:04
  Speaker 1: I don't even know how to turn a computer on.
• 8:07
  Speaker 1: It's like, oh cool, okay, So sorry at the fifth element.
• 8:13
  Speaker 1: Sorry to derail this conversation, but so the fifth element.
• 8:17
  Speaker 1: You think it's a good, bad movie. Yes, and it's
• 8:19
  Speaker 1: one of your favorites. It's one of my favorites. It
• 8:21
  Speaker 1: is also one of my oma's favorites, which anytime my
• 8:24
  Speaker 1: Oma loves movie, I know it's bad. So it's awesome, Jamie.
• 8:28
  Speaker 1: What's your history? Uh? Well, as I've been critiqued and
• 8:31
  Speaker 1: praised for I saw it this morning. I have never
• 8:34
  Speaker 1: I had no history of this movie. I wasn't aware
• 8:36
  Speaker 1: it was a movie that was famous so much that
• 8:39
  Speaker 1: I pushed back. It is like, no one's seen that movie.
• 8:42
  Speaker 1: And I was informed that nearly everyone but me has
• 8:45
  Speaker 1: seen that movie and that I'm a dumbass. So I
• 8:48
  Speaker 1: saw it today. Great, but I enjoyed it. That's surprising
• 8:52
  Speaker 1: because it's not your genre. It's no, I'm not normally
• 8:55
  Speaker 1: a sci fi person, but I mean the outfits, the wigs.
• 8:59
  Speaker 1: You feel at any moment in this movie or like
• 9:02
  Speaker 1: someone could break into song given the aesthetic of the
• 9:07
  Speaker 1: movie and the vibe the actors are putting out, there
• 9:11
  Speaker 1: could be a musical number, but they're just simply isn't
• 9:14
  Speaker 1: It was a choice. Also one of my favorites. I
• 9:18
  Speaker 1: saw for the first time, I think in college. I
• 9:20
  Speaker 1: don't know if you know this, but I did go
• 9:22
  Speaker 1: to film school twice. Um, I do have a master's
• 9:26
  Speaker 1: green screenwriting from bost University. I would never bring it up,
• 9:28
  Speaker 1: but I do. Oh wow, no one likes the bits.
• 9:32
  Speaker 1: Thanks okay, thanks smattering, But yeah, I really enjoyed this
• 9:37
  Speaker 1: movie upon the rewatch, though it felt a little tedious.
• 9:41
  Speaker 1: Uh it's long. I don't remember being over two hours
• 9:44
  Speaker 1: half hours long. You know, it's like two hours and
• 9:47
  Speaker 1: six minutes. No, it's two and a half hours long. Really.
• 9:52
  Speaker 1: I watched it on daily motion dot com Galen, it's
• 9:56
  Speaker 1: two and a half hours up. Oh, you're pirated video names.
• 10:03
  Speaker 1: They're not sponsoring this. I simply didn't want to pay.
• 10:06
  Speaker 1: It's too old. If the movie came out before two five,
• 10:12
  Speaker 1: I won't pay to watch it. It should just be
• 10:13
  Speaker 1: free at that point. It should I'm just like, you
• 10:15
  Speaker 1: know what, you had your chance to get my money.
• 10:17
  Speaker 1: Why are we still paying for Chinatown? I paid for
• 10:22
  Speaker 1: Miss Congeniality recently, and I was furious because no, yeah
• 10:28
  Speaker 1: at daily motion dot com. So there's no excuses because
• 10:32
  Speaker 1: they you apparently watched like an extended cut because it's
• 10:36
  Speaker 1: because if you watch it on daily Motion, they have
• 10:38
  Speaker 1: to slow it down so it tricks the algorithm. So
• 10:41
  Speaker 1: you're probably watch one two hours and thirty six minutes long. Yeah,
• 10:46
  Speaker 1: so you're watching the version where oh we're Rudy rod
• 10:48
  Speaker 1: Is talking like a normal person. Oh no, no, it's
• 10:53
  Speaker 1: twenty extra minutes right there. Well, you know what, because
• 10:57
  Speaker 1: they're not our sponsor. Fuck daily dot com upload better
• 11:02
  Speaker 1: pirated files. Yeah, so it's long and it was a
• 11:07
  Speaker 1: little tedious. There's there's lots to talk about, and I'm
• 11:10
  Speaker 1: excited to do that. So without much further ado, I'll
• 11:15
  Speaker 1: do that recap that we're also fond of. Oh wow,
• 11:22
  Speaker 1: alright we open. It's nineteen fourteen in Egypt. What is
• 11:26
  Speaker 1: this The Mummy starring Brandon Fraser. Literally, yeah, there are
• 11:31
  Speaker 1: a lot of white guy archaeologists. I love how like
• 11:34
  Speaker 1: in any movie that opens like around World War One.
• 11:38
  Speaker 1: Everyone's like colonialism was awesome, right, They're just like looking
• 11:41
  Speaker 1: at all this cool stuff we found that no one's
• 11:43
  Speaker 1: seen before. Yeah, yeah, we stole it, but it was
• 11:46
  Speaker 1: for the greater good. Like it was just horrible. Uh.
• 11:49
  Speaker 1: And in this movie, they're like looking at some hieroglyphics
• 11:52
  Speaker 1: and they tell of this evil force that's going to
• 11:55
  Speaker 1: show up soon, but there's a weapon against it. The
• 12:00
  Speaker 1: were elements plus a fifth element there. I spent a
• 12:03
  Speaker 1: lot of this movie confused because I forgot that we
• 12:06
  Speaker 1: were talking about elements allah Avatard The Last Airbender and
• 12:10
  Speaker 1: not senses, where I was like, oh, like the movie
• 12:13
  Speaker 1: I turned it on, I was like, oh, taste probably
• 12:18
  Speaker 1: just a wild guess. But they're talking about elements and
• 12:22
  Speaker 1: that I don't know how many for example, earth, fire, wind,
• 12:26
  Speaker 1: and water, air and tastes, so there's actually six and
• 12:32
  Speaker 1: they're wrong. Okay, So those four elements plus taste plus
• 12:36
  Speaker 1: a fifth element will combine to make a weapon that
• 12:39
  Speaker 1: will fight against this impending evil. Uh. And then all
• 12:41
  Speaker 1: these aliens show up and they're like, we're taking these
• 12:44
  Speaker 1: these stones that represent each one of the elements, and
• 12:47
  Speaker 1: we say aliens, but their muppets that there's something the robots,
• 12:52
  Speaker 1: robot aliens they look like sarcopha guy that move. Yeah,
• 12:58
  Speaker 1: and they're like, hey, priests, that's here, make sure you
• 13:01
  Speaker 1: pass up down this information because like the evil stuff
• 13:05
  Speaker 1: is going to come in three hundred years and aliens
• 13:07
  Speaker 1: give so much exposition. They're like, remember three hundred years,
• 13:11
  Speaker 1: only priests could pass down and he's like, I will
• 13:14
  Speaker 1: do that, but it's supposed to be scary also, and
• 13:18
  Speaker 1: only the whitest Yes, yes, and then we got to
• 13:23
  Speaker 1: believe it or not three hundred years later. Okay, so
• 13:30
  Speaker 1: I read on the Wikipedia. Okay, my two favorite websites,
• 13:33
  Speaker 1: daiely motion dot com, Wikipedia dot com. Uh that it's
• 13:37
  Speaker 1: twenty two sixty three, Like it's over so it's not
• 13:42
  Speaker 1: an exact science, I guess, but there's uh yeah, so
• 13:45
  Speaker 1: in the future where the evil had been gathering and
• 13:48
  Speaker 1: it took it three years to get to the point
• 13:51
  Speaker 1: where it was scaring Zeus Tiny, the guy who played
• 13:54
  Speaker 1: the president. Yes, yes, so it's like far in the future,
• 14:00
  Speaker 1: are still patriarchy, but it's French now and and and
• 14:04
  Speaker 1: men wear sexy tank tops. That's the where the vibe
• 14:09
  Speaker 1: of this patriarchy and so this like ominous like planet
• 14:14
  Speaker 1: thing shows up. The President and the military try to
• 14:17
  Speaker 1: destroy it, but every time they do that, it just
• 14:19
  Speaker 1: gets like more evil, so they're like, oh no. And
• 14:22
  Speaker 1: also this was during a period We're having a black president.
• 14:25
  Speaker 1: Seemed very sci fi, right. What was the other was
• 14:29
  Speaker 1: a deep and deep impact another one where it was like,
• 14:32
  Speaker 1: we only get a black president when the world's about
• 14:34
  Speaker 1: to all ship. So then Father Cornelius shows up and
• 14:44
  Speaker 1: he's like, hey, this is the evil thing the priest.
• 14:47
  Speaker 1: It's not the same actor, but it may as well
• 14:49
  Speaker 1: be the same actor who's like, hey, that thing right,
• 14:52
  Speaker 1: except now it's Bilbo Baggins. Oh yeah, yeah, okay. So
• 14:57
  Speaker 1: then we meet Corbin Dallas at Bruce Willis's character to
• 15:01
  Speaker 1: be confused with Corbyn Blue for this, and the audience
• 15:04
  Speaker 1: who are like, wait a second, wait, what's up from
• 15:08
  Speaker 1: He's is this like a d calm Nickelodeon is adcom
• 15:13
  Speaker 1: thing there? Corbyn Blue was in the high School Musical
• 15:17
  Speaker 1: franchise to start, and then he went on to have
• 15:20
  Speaker 1: a successful career. He's great, He's in Beils just the
• 15:23
  Speaker 1: musical in Washington, d C. Right now. So that is
• 15:26
  Speaker 1: something that I found out on purpose. I like to
• 15:31
  Speaker 1: keep up with him. Okay, So Corbyn Dallas. He is
• 15:36
  Speaker 1: a cab driver in New York City. Ever heard of it?
• 15:40
  Speaker 1: And its future? So air cars. Yeah, he's ex military,
• 15:46
  Speaker 1: because Bruce Willis can't play someone who's not either a
• 15:50
  Speaker 1: cop or in the military. Uh. He's a tough guy,
• 15:54
  Speaker 1: but he's got a cat to um. Now would be
• 15:57
  Speaker 1: a good time to bring up the fact that cats
• 16:01
  Speaker 1: do have eight nipples and uh, that's cat facts with Caitlin, okay. Uh.
• 16:07
  Speaker 1: And the whole his whole thing is he's looking for
• 16:08
  Speaker 1: the perfect woman. The word perfect is invoked so many
• 16:13
  Speaker 1: times in reference to like, you know, five nine blue eyes,
• 16:18
  Speaker 1: good skin, perfect and you're like, it's so many times
• 16:24
  Speaker 1: the word perfect is used in reference to someone who
• 16:26
  Speaker 1: is being exploited by the governments. I'm a weapon from there,
• 16:34
  Speaker 1: it's bad. Okay. So then the Mondo shoot shoeing. Those
• 16:39
  Speaker 1: are the aliens from the beginning of the movie. Literally
• 16:44
  Speaker 1: every alien in every universe sounds like someone who was
• 16:47
  Speaker 1: pretending like they know how to speak Japanese. But it's fine. Yeah,
• 16:54
  Speaker 1: so they show up, They're like, we're here to help.
• 16:56
  Speaker 1: We've got those stones. But then the stones. The stones
• 17:01
  Speaker 1: bother me. It is like what if we had five
• 17:03
  Speaker 1: Chekhov's guns, like the Holy Like the whole plot use
• 17:08
  Speaker 1: of the stones is like every at some point in
• 17:11
  Speaker 1: the middle of the movie, all of a sudden, it's
• 17:13
  Speaker 1: all about the stones, and every main character, every other
• 17:17
  Speaker 1: line to be like the stones. Where are the stones? Okay,
• 17:21
  Speaker 1: so they're like here, we're here to help. But the
• 17:24
  Speaker 1: their ship crashes because some bad aliens show up and
• 17:27
  Speaker 1: shoot it down. But there's a lone survivor, a k
• 17:31
  Speaker 1: It's like, she's a hand. Yeah, it's a hand which
• 17:34
  Speaker 1: is comprised of like very highly advanced genetic material. Um.
• 17:39
  Speaker 1: So some engineers show up, some perverts in New York
• 17:43
  Speaker 1: bring her back to life. No women in stem in
• 17:46
  Speaker 1: in that No, just perverts and stuff bring her back
• 17:50
  Speaker 1: to life. And it turns out she's a sexy lady
• 17:53
  Speaker 1: parentheses a nude. Yes, and they're like, oh god, she's perfect.
• 18:00
  Speaker 1: And then the word perfect is invoked no less than
• 18:02
  Speaker 1: four times in that scene. Yes, and then like put
• 18:05
  Speaker 1: bandages on her, and then the bandages form a sexy leotard.
• 18:11
  Speaker 1: That's how bandages work. No, the bandages in the future
• 18:15
  Speaker 1: not only are not used to protect against injury that
• 18:19
  Speaker 1: doesn't exist. Um, they also just magically form around your
• 18:23
  Speaker 1: body and snap off and never come around your little butt.
• 18:27
  Speaker 1: And then there I was like, oh, these are bandages
• 18:29
  Speaker 1: that like follow the Instagram policy. Is how conveniens in
• 18:36
  Speaker 1: they're like bondages like and then she was strapped the
• 18:39
  Speaker 1: bed and then when she got up, it was like,
• 18:42
  Speaker 1: I guess you were sexy or more perfect when you
• 18:45
  Speaker 1: were strapped with this bed. And then they become like her,
• 18:48
  Speaker 1: and then they're like, I guess we better become a
• 18:50
  Speaker 1: leotard that will become you know, the choice of like
• 18:54
  Speaker 1: the girl who's unlike the other girls at all college
• 18:57
  Speaker 1: Halloween parties until Kingdom fucking come. So then she escapes
• 19:03
  Speaker 1: from this lab and she ends up in the back
• 19:07
  Speaker 1: seat of our friend Corbin Dallas's cab, not Corbon Blue,
• 19:12
  Speaker 1: not Corby. Again, I can't say it enough. He was
• 19:15
  Speaker 1: a baby. So because she's so perfect and because he
• 19:19
  Speaker 1: thinks she's hot, he helps her escape from the cops
• 19:23
  Speaker 1: and he takes her to Father Courtnelius and he's like, oh, ship,
• 19:29
  Speaker 1: this is the fifth element. She's perfect. It's taste. We
• 19:34
  Speaker 1: can we can tell because she's white right, yes, uh,
• 19:42
  Speaker 1: and we learned her name is is Leulu. And then
• 19:45
  Speaker 1: the priest is like, get out of here, Bruce Willis.
• 19:47
  Speaker 1: And then Chris Wallis is like, but my tanked up
• 19:51
  Speaker 1: and the phrase is like I respect her tank tub.
• 19:54
  Speaker 1: It's very good, but leave. It has like a cut
• 19:57
  Speaker 1: out of the back, cut in the back. It's really
• 20:00
  Speaker 1: a cute It's I was telling Danielle and I think
• 20:03
  Speaker 1: it's like a tank top that I would wear today. Yeah,
• 20:06
  Speaker 1: it feels like, um, it was meant to show off
• 20:09
  Speaker 1: how hot nineties Bruce Willis still was, you know, back
• 20:11
  Speaker 1: when he cared about acting um, because some people that's
• 20:15
  Speaker 1: like body is hot. It just like, ah, you're still
• 20:17
  Speaker 1: you're You're still doing this because you like it. And
• 20:20
  Speaker 1: but it is one of those things where it's like
• 20:22
  Speaker 1: I feel like that is the outfit they would give
• 20:25
  Speaker 1: to a woman now to be like, see we're relevant.
• 20:29
  Speaker 1: She doesn't just have to wear two band aids, like
• 20:32
  Speaker 1: she could definitely wear this tank top outfit and go
• 20:34
  Speaker 1: after aperture. Yeah, there are a lot of Zara in
• 20:38
  Speaker 1: spo from from these outfits. This is like a fun
• 20:41
  Speaker 1: period for Bruce Willis where he's like famous enough that
• 20:46
  Speaker 1: he's like, you know, I'm just gonna try. So I'm
• 20:48
  Speaker 1: gonna play the same character without doubt every single time. However,
• 20:53
  Speaker 1: maybe I'll wear a tank top and we're like, you
• 20:56
  Speaker 1: know what's good for you? Yeah, maybe I'll be Bruce
• 20:58
  Speaker 1: Willis in space this time. No one's ready for that, Like, Okay,
• 21:02
  Speaker 1: we've mastered Bruce Willis on Earth. Where do we go
• 21:08
  Speaker 1: tank top? Bruce Willis in space? Play a harmonica in space?
• 21:12
  Speaker 1: Does it? We've got to ask him? Okay. So then
• 21:18
  Speaker 1: they're like, where are the stones that are supposed to Prestone?
• 21:21
  Speaker 1: And Leelu is like, oh, we gave them to this
• 21:25
  Speaker 1: diva who sings opera. Let's go to that place which
• 21:30
  Speaker 1: is called flots and Paradise. But then also there's this
• 21:34
  Speaker 1: bad guys Orgue played by Gary Oldman Boo, who is
• 21:40
  Speaker 1: also trying to get the stones because the new his wife.
• 21:46
  Speaker 1: I think if we're talking about Gary Oldman getting the stones,
• 21:48
  Speaker 1: we have to say the stones, oh right, right right, yeah,
• 21:52
  Speaker 1: that is how he sounds see and then also light
• 21:55
  Speaker 1: that man on fire. Yeah, for those who aren't in
• 21:58
  Speaker 1: the know, he beat his wife and he sucks anyway
• 22:03
  Speaker 1: to those late to the Gary Oldman is canceled. Train
• 22:06
  Speaker 1: He's been canceled. Yes. So then because Corbyn Dallas is
• 22:11
  Speaker 1: like a good thing, I'm ex military, this general comes around.
• 22:15
  Speaker 1: He's like, hey, we need you to go to flats
• 22:17
  Speaker 1: in Paradise to protect the diva. Is that what the
• 22:21
  Speaker 1: mission is? I don't think because plot right. So he's like, okay,
• 22:26
  Speaker 1: I'll go there. And then so everyone's trying to get
• 22:29
  Speaker 1: to flats in Paradise. Now, so the priest is there,
• 22:32
  Speaker 1: is there, Corbyn Dallas is there, the bad guys are there.
• 22:35
  Speaker 1: Turns out those stones that we've all been looking for, uh,
• 22:39
  Speaker 1: they are inside of the big tall blue woman, because
• 22:43
  Speaker 1: that's what we went to far, carrying important things inside
• 22:46
  Speaker 1: of us dying. And then Bruce Willis is smart enough
• 22:51
  Speaker 1: to be like, let me punch this dead woman, therefore
• 22:57
  Speaker 1: launching us into the third act of a movie. And
• 23:01
  Speaker 1: we're like, yeah, he punches a dead woman in her stomach,
• 23:07
  Speaker 1: puncturing her flesh and winds and we did it. We yea.
• 23:14
  Speaker 1: So now the good guys have the stones and the
• 23:17
  Speaker 1: bad guys are trying to get them. So there's a
• 23:18
  Speaker 1: there's a fight, and then they go to Egypt and
• 23:22
  Speaker 1: that big like evil ball is like looming towards Earth.
• 23:26
  Speaker 1: So they go to Egypt Stones and then they go
• 23:32
  Speaker 1: to this tomb that we saw in the beginning of
• 23:34
  Speaker 1: the movie, and they're like, oh, how do we do this?
• 23:37
  Speaker 1: And then they figured out they like gift to blow
• 23:39
  Speaker 1: on the stones and set them on fire, you know,
• 23:43
  Speaker 1: the corresponding elements, and then it saves the day. The
• 23:47
  Speaker 1: stones are so stupid there, it's like, yeah, it's like
• 23:50
  Speaker 1: the guns. Another draft of the script, we could cut
• 23:54
  Speaker 1: the stones. I think. I think the stones are a
• 23:56
  Speaker 1: sensi candle, you know, interesting like I don't know if
• 24:00
  Speaker 1: your college or high school um friends to hit you
• 24:04
  Speaker 1: up yet to try to sell you on multi level
• 24:07
  Speaker 1: marketing schemes where it's like, well, look, our candles don't
• 24:12
  Speaker 1: need fire, or some of them do. But some of
• 24:16
  Speaker 1: them you can put in a heating element, and then
• 24:18
  Speaker 1: some of them you can blow on, and then some
• 24:20
  Speaker 1: of them you need a girl to remember what love is.
• 24:23
  Speaker 1: I feel like that's killen, Caitlin. I have to ask
• 24:30
  Speaker 1: consent for something. Please, can we take a break? I
• 24:34
  Speaker 1: grant you permission and consent to take a break. A
• 24:37
  Speaker 1: very progressive transition to advertise the whole thing with this
• 24:47
  Speaker 1: movie is it's like, okay, so we've got a woman
• 24:50
  Speaker 1: as christ figure. The twist is she doesn't get to
• 24:53
  Speaker 1: do fucking anything and she needs a head or a
• 24:57
  Speaker 1: white love to create taste or something. Yeah, I'm not
• 25:05
  Speaker 1: totally sure. Now that's pretty much it. Yeah, but it
• 25:09
  Speaker 1: ends with like they kiss a beam of light for
• 25:13
  Speaker 1: their boring love right explodes out from them, and then
• 25:17
  Speaker 1: it cuts forward to like the president being like cool,
• 25:22
  Speaker 1: good that happened, and then he calls Bruce Willis his mom,
• 25:27
  Speaker 1: who's like a very stereotypically like naggy mom, and she's like, Mayor,
• 25:33
  Speaker 1: the president sucks. And then the President's like, what the heck?
• 25:38
  Speaker 1: And then we got to Bruce Willis fucking, and then
• 25:41
  Speaker 1: the movie's over. You're like, we can't end the movie with.
• 25:48
  Speaker 1: I feel like that's like a contractual thing for person Willis.
• 25:50
  Speaker 1: He's like, I have to be fucking on screen or
• 25:53
  Speaker 1: I won't do it. I don't care how out of
• 25:56
  Speaker 1: plot it seems. I feel like he doesn't suck that
• 25:58
  Speaker 1: much in movies. Really. Yeah. I feel like it's more
• 26:04
  Speaker 1: of like the threat that he will fuck. It's like
• 26:08
  Speaker 1: we know that the intent is that he's so sexy
• 26:11
  Speaker 1: that he will be fucked. He and Alan Rickman don't
• 26:14
  Speaker 1: fuck in that movie. Maybe I'm watching the Rung movie.
• 26:19
  Speaker 1: If you're watching him on dailymotion dot com, who knows what. Really,
• 26:23
  Speaker 1: it would be really funny if I was just watching
• 26:24
  Speaker 1: the porn version of the movie. I think, like, yeah,
• 26:30
  Speaker 1: really not fair to women. But yeah, so we do
• 26:35
  Speaker 1: see him sucking this movie, and that was the ending
• 26:38
  Speaker 1: really through me. I did not see the president Naggie
• 26:43
  Speaker 1: mom fucking three punch in a row. Well, they're also
• 26:47
  Speaker 1: they're so they're fucking in the like rejuvenation chamber or
• 26:50
  Speaker 1: whatever it is they call it, Like they're in the
• 26:52
  Speaker 1: chamber where she was born. That's fucking weird. Oh yeah,
• 26:56
  Speaker 1: it's like her mom. Yeah, whoa, but like that's where
• 27:01
  Speaker 1: that's where she became a person. And it's great because
• 27:03
  Speaker 1: she still isn't quite one yet, so you can just
• 27:06
  Speaker 1: take her back there and just great transition into one
• 27:10
  Speaker 1: of the main talking points for this movie and part
• 27:13
  Speaker 1: of the reason that we had it like on our
• 27:16
  Speaker 1: radar of stuff we wanted to cover in the first place. Yes,
• 27:18
  Speaker 1: and that of course is the born sexy Yesterday trope.
• 27:22
  Speaker 1: If you're not familiar. This is a trope that was
• 27:25
  Speaker 1: the name was coined by Jonathan McIntosh on his one
• 27:29
  Speaker 1: of his pop culture detective video essays. But it basically
• 27:32
  Speaker 1: describes a trope that's like very common in sci fi especially,
• 27:36
  Speaker 1: and it's characterized by an adult woman being physically immature
• 27:40
  Speaker 1: and sexual, but she has the brain and naivete of
• 27:45
  Speaker 1: a baby. And part of the funny thing about this
• 27:52
  Speaker 1: trope is it is rooted in per that video, and
• 27:57
  Speaker 1: the read of most people is like, is it's very
• 28:02
  Speaker 1: much rooted in male insecurity. That is like they can't
• 28:06
  Speaker 1: hack it with women who have lived any manner of life,
• 28:10
  Speaker 1: and so they're like, what if it's a body I
• 28:13
  Speaker 1: want to funk, but someone who doesn't know anything and
• 28:15
  Speaker 1: has never met anyone, I would look great to someone
• 28:18
  Speaker 1: who doesn't know anyone. And what if my dick was
• 28:22
  Speaker 1: the first dick she saw exactly? Like what if I
• 28:25
  Speaker 1: had a like it? It is very sinister and like
• 28:29
  Speaker 1: deeply rooted and the way it is, but describing it
• 28:32
  Speaker 1: is very silly. There's like a lot of examples, and
• 28:36
  Speaker 1: some of them are given by McIntosh, but there are
• 28:39
  Speaker 1: examples of reverses of this trope. But the way it
• 28:44
  Speaker 1: is treated by the movie is very silly, Like the
• 28:46
  Speaker 1: like Big is a great example of like, uh baby
• 28:49
  Speaker 1: brain and a grown man's body. But the man in
• 28:53
  Speaker 1: that movie is not sexualized in a deep way. Most
• 28:58
  Speaker 1: of the stuff he's doing is played for laughs and
• 29:00
  Speaker 1: played for like, isn't this ridiculous? Blah blah blah, And
• 29:03
  Speaker 1: so it is. As much as you get the argument
• 29:06
  Speaker 1: that it's played for men and women in movies, the
• 29:09
  Speaker 1: way it's treated by the camera and by the plot
• 29:12
  Speaker 1: is always very different, and it's certainly I would say
• 29:15
  Speaker 1: more common for the born sex yesterday character to be
• 29:19
  Speaker 1: a woman in most cases. Yeah, I mean it's like
• 29:22
  Speaker 1: not like the men. They're like, we've got to see
• 29:24
  Speaker 1: his dick, Like there's but like in this, in this
• 29:28
  Speaker 1: first shot evanlue Lou, we see her completely new, a
• 29:31
  Speaker 1: very like gratuitous nude shot of her. And yeah, like
• 29:34
  Speaker 1: you were saying, it's problematic, got a number of levels.
• 29:38
  Speaker 1: One because this character usually ends up being the love
• 29:40
  Speaker 1: interest of the male hero because it's like the first
• 29:43
  Speaker 1: man she ever meet. She was like, well, I don't
• 29:45
  Speaker 1: know anyone else, so you're the one. That's why we
• 29:49
  Speaker 1: all have And it Yeah, it's like this unequal power dynamic.
• 29:55
  Speaker 1: Like you said, it's like based on male and securities
• 29:57
  Speaker 1: and like the fear of being inadequate both intellectually and sexually.
• 30:03
  Speaker 1: And also I think you know, it's where well actually
• 30:05
  Speaker 1: comes from. It's like a way to manifest man splaining totally.
• 30:09
  Speaker 1: I get to explain everything to her, Yeah, and then
• 30:13
  Speaker 1: she gonna fuck right because he usually and these stories
• 30:16
  Speaker 1: ends up like teaching her everything about the world and
• 30:19
  Speaker 1: including sex. So yeah, it basically allows them to fulfill
• 30:22
  Speaker 1: this fantasy where it's like I'm the awesomest guy you've
• 30:26
  Speaker 1: ever seen, and here's everything I know. Yeah, it's like
• 30:29
  Speaker 1: this creepy flattening of sexy professor. Yes, yes, we're like
• 30:33
  Speaker 1: tricky because it's like we're not even saying that characters
• 30:37
  Speaker 1: shouldn't be able to learn from each other regardless of gender,
• 30:40
  Speaker 1: but it's so unequal that it's like, oh, this person
• 30:43
  Speaker 1: doesn't know how to eat, like she didn't don't date them,
• 30:49
  Speaker 1: You don't know what a spoon is, you know, or
• 30:51
  Speaker 1: like you don't know how flatwear works, or like Lulu
• 30:54
  Speaker 1: doesn't know how showers work, and that is something that
• 30:57
  Speaker 1: he's like, oh my God, your nipples, Like you're just like, no,
• 31:03
  Speaker 1: that's not what is the focus? That doesn't make sense.
• 31:08
  Speaker 1: It's a very frustrating trope. And it's it is so
• 31:12
  Speaker 1: extremely common. I mean it comes up in movies even now,
• 31:15
  Speaker 1: like it was coming up in Tron and then what
• 31:17
  Speaker 1: then is the movie where Oscar isaacs a hot scientist.
• 31:20
  Speaker 1: Oh x mocks another one. I mean, if you can,
• 31:24
  Speaker 1: it can be argued. It comes up in Wonder Woman
• 31:26
  Speaker 1: quite a bit. We talked about what he does, and
• 31:29
  Speaker 1: it's it's frustrating because another thing about that trope, to
• 31:32
  Speaker 1: sort of neutralize it a little bit, is that very
• 31:36
  Speaker 1: often the woman has like a skill or two that
• 31:42
  Speaker 1: is impressive to the man, which is usually that she
• 31:46
  Speaker 1: can sort of fight, she can't be creepy, she kicks high.
• 31:50
  Speaker 1: You're like, well, a baby can't do that, so I
• 31:54
  Speaker 1: can have sex with her, Like you're just like the
• 31:56
  Speaker 1: last time you saw a baby shoot a gun? Oh,
• 32:00
  Speaker 1: I think it's like fair that we are married. Like, no,
• 32:04
  Speaker 1: it is a very it's a very complex trope, like
• 32:08
  Speaker 1: like the guys are trying to get you in every
• 32:10
  Speaker 1: corner of like, well, babies don't shoe guns, And I
• 32:13
  Speaker 1: could suck a baby if it was Oh, lady, she
• 32:16
  Speaker 1: needs help bathing, but like she could beat me up,
• 32:20
  Speaker 1: so it's fine. She remember that scene yet we're dating. Well,
• 32:24
  Speaker 1: that leads me to another thing I wanted to talk about,
• 32:26
  Speaker 1: where so her whole thing is that she's the supreme being.
• 32:29
  Speaker 1: She's the fifth element, like the thing that's needed to
• 32:32
  Speaker 1: like save the world from this like catastrophic event, and
• 32:36
  Speaker 1: she has the ability to like absorb all the information
• 32:40
  Speaker 1: in the world in a matter of second. She learns
• 32:43
  Speaker 1: very very quickly, which is which sounds cool but ultimately
• 32:47
  Speaker 1: doesn't serve the plot very much. But it serves the
• 32:51
  Speaker 1: fucking Bruce Willis parts of the plot well. But you
• 32:53
  Speaker 1: would think if she knew the history of the world,
• 32:55
  Speaker 1: she would know not to trust Bruce Willis, Like, yeah,
• 33:00
  Speaker 1: conveniently misses out on patriarchy, while through all of the
• 33:03
  Speaker 1: wars she finds out about patriarchy, and literally the last
• 33:06
  Speaker 1: second she's like, oh no, what is this? But then
• 33:12
  Speaker 1: she's she learns about war and patriarchy in the third act,
• 33:16
  Speaker 1: and then you see her like she's like and she's
• 33:19
  Speaker 1: crying and she's gonna wait. She's literally been kicking people
• 33:22
  Speaker 1: in the face because they were trying to get to
• 33:24
  Speaker 1: another woman. Yeah, she's she's been engaging in war and
• 33:28
  Speaker 1: she's like, what's war? Like, Oh no, it's bad. And
• 33:33
  Speaker 1: then she learns about war and patriarchy. But her solution
• 33:37
  Speaker 1: to that is Bruce willis fuck me, Like, that's not
• 33:40
  Speaker 1: the solution to that, kissed me on the stone. Oh
• 33:50
  Speaker 1: now you're all thinking of her with his head. But
• 33:55
  Speaker 1: she has this like uncanny ability to like learned everything
• 34:00
  Speaker 1: and be the smartest person ever really, but the only
• 34:03
  Speaker 1: thing that he appreciates her for is how she looks.
• 34:05
  Speaker 1: And this is a common thing that happens by a
• 34:07
  Speaker 1: number of characters were out there, Like they talk about
• 34:09
  Speaker 1: her as if she's an object. They call her a possession,
• 34:12
  Speaker 1: they call her like they keep talking about how perfect
• 34:14
  Speaker 1: she is. She's spoken about as if she's an item
• 34:17
  Speaker 1: for the whole movie and even and even when she
• 34:20
  Speaker 1: does learn, it's that thing of like, well, she learns,
• 34:24
  Speaker 1: but she doesn't have emotional intelligence. So she has book
• 34:28
  Speaker 1: learning and she gets things, but she doesn't like she
• 34:31
  Speaker 1: still isn't capable. She's a computer. Basically, she's a computer
• 34:35
  Speaker 1: that corporate DALYs is like, oh yeah, like five nine
• 34:40
  Speaker 1: and that. You know, the further we get from weird science,
• 34:44
  Speaker 1: the more that I'm like that chick was right punch
• 34:47
  Speaker 1: those nerds in the face or however that right kill
• 34:50
  Speaker 1: them boy? That movie O God, Yeah, the Bruce will
• 34:55
  Speaker 1: Is tank top I would like to just bring up
• 34:56
  Speaker 1: again good Yeah. I just think it's dumb that she
• 35:01
  Speaker 1: has ability to learn like an infinite amount of knowledge,
• 35:04
  Speaker 1: but he was only impressed by how attractive she is. Well,
• 35:07
  Speaker 1: the thing that they're trying to do. I mean, this
• 35:09
  Speaker 1: movie is all over the place, and I think part
• 35:11
  Speaker 1: of the reason it is as I did some research
• 35:14
  Speaker 1: on the origin of where this movie came from, and
• 35:17
  Speaker 1: it's partially built from a treatment or a short story
• 35:20
  Speaker 1: that director wrote when he was a teenager. And so
• 35:24
  Speaker 1: if you saw this movie and you're like, seems like
• 35:26
  Speaker 1: a horny French boys fantasy, you're exactly right, Like what
• 35:31
  Speaker 1: if a horny French boy had millions of dollars? This
• 35:34
  Speaker 1: movie answers that question. And best um has always been like,
• 35:40
  Speaker 1: you know, he was a big and and you got
• 35:42
  Speaker 1: to see a lot of what he based that on
• 35:44
  Speaker 1: in Valerian, which no one watched who just really weirdly
• 35:48
  Speaker 1: saw that. Sorry, Yeah, did you like it? No, Yeah,
• 35:53
  Speaker 1: because it's another one where it's like this time, instead
• 35:56
  Speaker 1: of plucking a woman out of time and making her
• 35:59
  Speaker 1: the perfect woman, they pluck a woman out of time
• 36:02
  Speaker 1: and she's still in this series, which is based on
• 36:04
  Speaker 1: this old French like newspaper Cereal. It's like their version
• 36:08
  Speaker 1: of Valiant or whatever, which is another thing that none
• 36:11
  Speaker 1: of us here watched or read in the cartoon section.
• 36:13
  Speaker 1: It was the one that you skipped and um or
• 36:15
  Speaker 1: you put dicks on and like me and so in
• 36:20
  Speaker 1: that series, the dude from the future, like they're also
• 36:23
  Speaker 1: time travelers, he goes back and he grabs this peasant
• 36:26
  Speaker 1: woman from I want to say the seventeen or eighteenth century. Um.
• 36:29
  Speaker 1: And so again it's that thing of like, oh, you're
• 36:32
  Speaker 1: so pretty and so you know you're of these values,
• 36:35
  Speaker 1: but I still have to teach you about this modern world, right,
• 36:38
  Speaker 1: And that's where like so much of what the Fifth
• 36:42
  Speaker 1: Element became was based on this. And I think you
• 36:45
  Speaker 1: had a great point about Wonder Woman too, of like
• 36:47
  Speaker 1: I'm thinking men to our Wonder Woman episode where that
• 36:49
  Speaker 1: was something we didn't pick up on at the time
• 36:52
  Speaker 1: of like even a year of like, yeah, the male lead,
• 36:55
  Speaker 1: and that would be one of the christ Is. I
• 36:57
  Speaker 1: don't fucking know which time had to He's the one
• 37:00
  Speaker 1: who just showed off as Pinus in that movie on Netflix.
• 37:04
  Speaker 1: Is that the one? I honestly, I have Chris blindness.
• 37:07
  Speaker 1: I can't tell any of them apart. I don't know.
• 37:10
  Speaker 1: There's too many, but there there it's a frustrating trope
• 37:14
  Speaker 1: and and it so it was like built from his
• 37:17
  Speaker 1: like something he wanted to do since he was a teenager.
• 37:20
  Speaker 1: It seems like very little edits were made from his
• 37:24
  Speaker 1: little horny story. So that's just a fact. Another thing
• 37:29
  Speaker 1: I wanted to bring up. I mean, so, she is
• 37:32
  Speaker 1: one of very few female characters in the movie. She's
• 37:36
  Speaker 1: the only one that is like a primary character. There
• 37:39
  Speaker 1: are quite a few women with speaking roles in the movie,
• 37:42
  Speaker 1: but they're mostly in like tertiary roles, and they're usually
• 37:46
  Speaker 1: in like service, like a lot of secretaries attendants, someone
• 37:51
  Speaker 1: who gets super super banged by Yeah. Yeah, wof. There's
• 37:57
  Speaker 1: a lot to unpack there there. I think it's interesting
• 38:00
  Speaker 1: that they it's it's weird because I feel like what
• 38:03
  Speaker 1: frustrated me about this movie, even though I ultimately did
• 38:05
  Speaker 1: like it, is that this movie contradicts itself in so
• 38:09
  Speaker 1: many ways where it's trying to have it so many
• 38:11
  Speaker 1: ways where it's like with Lulu, you're given basically a
• 38:15
  Speaker 1: female christ Like figure, but she doesn't get to do
• 38:19
  Speaker 1: any of the cool stuff that comes with being a
• 38:22
  Speaker 1: christ Like figure, like you've got if you were talking
• 38:24
  Speaker 1: movie christ like figures, you know, you've got your fucking
• 38:27
  Speaker 1: Luke Skywalkers, you got your Harry Potters, you got your
• 38:31
  Speaker 1: Jesus Christ, you got you got like and and the
• 38:34
  Speaker 1: thing about Christ figure is, at some point you get
• 38:38
  Speaker 1: to not be a baby and do something, and she
• 38:41
  Speaker 1: doesn't get to do that. Yeah, it comes with a
• 38:43
  Speaker 1: leadership role, right at a certain point. You know, you
• 38:46
  Speaker 1: look at a Buffy and the thing about if you
• 38:49
  Speaker 1: look at a Buffy, she kicks a lot of asks
• 38:51
  Speaker 1: and she's a young girl. But part of being the
• 38:52
  Speaker 1: Slater and then obviously there's problems with that series too,
• 38:55
  Speaker 1: a part of being the Slayers it comes with a
• 38:57
  Speaker 1: natural leadership ability. Typically when it Dude, even if he
• 39:01
  Speaker 1: discovers two days ago that he can maybe use the
• 39:03
  Speaker 1: forest kind of if he squints, he suddenly becomes someone
• 39:07
  Speaker 1: very important to the rebellion and and not just because
• 39:11
  Speaker 1: you know, he can kind of maybe do a thing,
• 39:13
  Speaker 1: but because they respect him for his brain, for his mind,
• 39:16
  Speaker 1: and he suddenly becomes a leader of people. And with
• 39:19
  Speaker 1: the born sexy babies, they get to get past the
• 39:23
  Speaker 1: baby face. She even wonder child, Yeah, like even wonder woman.
• 39:27
  Speaker 1: She does become kind of a leader, but even then
• 39:31
  Speaker 1: it's mostly when it's her and the Pine separated and
• 39:34
  Speaker 1: he's like, oh, I've seen what she's doing, and so
• 39:37
  Speaker 1: I'll go ahead and let her do it. But like
• 39:39
  Speaker 1: as far as being a tactician or a military leader
• 39:42
  Speaker 1: or someone who has the respect of folks, Lelu never
• 39:45
  Speaker 1: gets that, and she could murder all of them. And
• 39:49
  Speaker 1: then she like passed respect more you should respect and
• 39:51
  Speaker 1: angry baby even more, and she kind of conveniently tends
• 39:56
  Speaker 1: to fall lamp or pass out when it would be
• 39:59
  Speaker 1: convenient end for Bruce Willis's character to suddenly be useful.
• 40:04
  Speaker 1: It's like Jean Graham the X Meen cartoon. Yes, yeah,
• 40:06
  Speaker 1: so there is a sequence when they're on the Flotsam
• 40:09
  Speaker 1: Jetsam place and then they're like, I was like, what
• 40:15
  Speaker 1: is that from? Okay, the Paradise Hotel, which is basically
• 40:19
  Speaker 1: Titanic I think we can all agree. Um, they just
• 40:22
  Speaker 1: evacuate and it does not work out. But there's a
• 40:26
  Speaker 1: sequence where Lee Lu is like single handedly fighting a
• 40:29
  Speaker 1: bunch of the bad aliens and then we're like, Okay, great,
• 40:33
  Speaker 1: I guess she can fight because she looked up. It's
• 40:36
  Speaker 1: basically that same sequence from The Matrix when she's like,
• 40:39
  Speaker 1: I know kung fu, and then she even does this
• 40:41
  Speaker 1: motion with her hand. But this movie came before the
• 40:44
  Speaker 1: Matrix is probably a reference to something else anyway. So
• 40:48
  Speaker 1: she's like fighting off all these bad guys and then
• 40:51
  Speaker 1: for no reason, she like starts to die, Like she
• 40:56
  Speaker 1: becomes completely damseled and like it's just slam and don't
• 41:00
  Speaker 1: do anything for the whole Third is Bruce Willis kisses,
• 41:06
  Speaker 1: loves kiss at the end of the day, so it's
• 41:09
  Speaker 1: true love's fucking kiss Like that's all it does. It
• 41:11
  Speaker 1: he's speaking of kisses. Let's talk about the surprise kiss
• 41:15
  Speaker 1: that happens. Okay, So this one, here's how it goes.
• 41:20
  Speaker 1: Uh Leelu is sleeping, repeat, unconscious, not conscious, cannot tell
• 41:26
  Speaker 1: what's going on. Bruce Willis tries to kiss her in
• 41:30
  Speaker 1: the tank top of all tops, and then she holds
• 41:34
  Speaker 1: a gun to his head, and he's like, you're right,
• 41:37
  Speaker 1: I shouldn't have done that. I shouldn't have tried to
• 41:40
  Speaker 1: kiss you. But he's only saying that because there's a
• 41:42
  Speaker 1: gun to his head. Life, and then she says something
• 41:45
  Speaker 1: in her like divine language, and then his defenses. He said,
• 41:49
  Speaker 1: to wake you gently, and I thought you would remember
• 41:53
  Speaker 1: me from the cab as if you know, have you
• 41:56
  Speaker 1: ever wanted someone you met in a cab to kiss
• 41:58
  Speaker 1: you while you're sleeping? It's like up someone was like, oh,
• 42:01
  Speaker 1: I'm sorry I molested you, but remember me from the
• 42:05
  Speaker 1: uber pool, so and get away from me. Man, When
• 42:11
  Speaker 1: that that whole kissing someone while they're sleeping thing was
• 42:13
  Speaker 1: so prevalent that when I was a kid, I would
• 42:15
  Speaker 1: think it was cute to run up on my parents
• 42:17
  Speaker 1: and kiss him on this cheek while they were sleeping.
• 42:20
  Speaker 1: And it took me three times to realize that's fucking terrifying.
• 42:25
  Speaker 1: And it ends with adults screaming yeah, and that rings
• 42:30
  Speaker 1: true till today that's so and then okay. So then
• 42:36
  Speaker 1: he condescends to her and he's like, call me when
• 42:39
  Speaker 1: you can speak English. JK. But really, dick, she speaks
• 42:44
  Speaker 1: like eighty languages. Sorry, she didn't get to English, and
• 42:47
  Speaker 1: then later he's like, oh, what was that thing that
• 42:49
  Speaker 1: she said? And then the priest translates it to never
• 42:53
  Speaker 1: without my permission. So in this case of the surprise
• 42:57
  Speaker 1: kiss in this movie, at least consent is acknowledged, and
• 43:02
  Speaker 1: she does hold a gun to his head for trying
• 43:05
  Speaker 1: to surprise kiss him, but he is not punished at all,
• 43:09
  Speaker 1: really because then he ends up getting to kiss her
• 43:12
  Speaker 1: later for reasons that don't make sense. But you know,
• 43:16
  Speaker 1: when you have a man and a woman in a
• 43:17
  Speaker 1: story together, they better kiss on each other at the end.
• 43:20
  Speaker 1: So that's just a world to say, a universe and
• 43:25
  Speaker 1: some shows is he like makes it even more frustrating
• 43:31
  Speaker 1: for me though, when it's like the movie demonstrates, yeah,
• 43:34
  Speaker 1: we know what consented, we know how it works, we
• 43:36
  Speaker 1: just don't care. Like that's like even more frustrating when
• 43:41
  Speaker 1: I mean, it's frustrating and unacceptable across the board. But
• 43:44
  Speaker 1: you've got a somewhat different situation when you've got, for instance,
• 43:48
  Speaker 1: Brendan Fraser My King the Mummy surprise kissing in the
• 43:53
  Speaker 1: Mummy and it's never commented on, and the way that
• 43:56
  Speaker 1: movie positions it is that they don't know what they're doing,
• 44:00
  Speaker 1: like they're stupid. Well, in that movie, he surprised kisses
• 44:04
  Speaker 1: Rachel White's and then she's like and then she falls
• 44:08
  Speaker 1: and you're like, all this movie is for idiots, Okay,
• 44:10
  Speaker 1: got it, but this movie is like, no, not without
• 44:13
  Speaker 1: my permission. And then you're like, oh, cool, we're on
• 44:16
  Speaker 1: the right track, and they're like just getting we're not.
• 44:19
  Speaker 1: We're gonna keep getting this woman naked and the movie
• 44:22
  Speaker 1: won't like the world will end unless she gets like
• 44:25
  Speaker 1: kissed by this guy who molested her at the beginning
• 44:27
  Speaker 1: of the movie. Awesome, and I wanted to talk more
• 44:31
  Speaker 1: about that, the way that just the wardrobe of this movie,
• 44:35
  Speaker 1: the way women are dressed. It's with Leelu especially. We
• 44:38
  Speaker 1: already talked about the straps at somehow magically become like
• 44:42
  Speaker 1: a bathe and it doesn't get better and movie goes on.
• 44:45
  Speaker 1: It's like turns into it differently at aar but this
• 44:46
  Speaker 1: one sort of has sleeves. Yeah, and it's it's matching
• 44:49
  Speaker 1: though Bruce's orange tank tops, so they matched. Yeah, that's great. Um,
• 44:55
  Speaker 1: but yeah, we see her nipples I think no less
• 44:58
  Speaker 1: than three times in the movie. She's alway. It's because
• 45:00
  Speaker 1: she doesn't understand social norms, so that gives her permission
• 45:03
  Speaker 1: to just be like, oh naked, and like even the
• 45:06
  Speaker 1: Blue Singing Lady is wearing a dress that looks like
• 45:09
  Speaker 1: she's naked, right, Like she's wearing a flesh colored for
• 45:12
  Speaker 1: her dress. But don't worry, that scene ends with her
• 45:15
  Speaker 1: dying and getting punched in the stomach. We're not Mexo sexualizer.
• 45:22
  Speaker 1: She's meant to be our mom there. It's like she's
• 45:26
  Speaker 1: sexy until she's dead and then she's mommy, and you're like,
• 45:30
  Speaker 1: what is this fucking movie? But then the women who
• 45:34
  Speaker 1: are like you know, the flight attendants and things like that,
• 45:37
  Speaker 1: they're wearing these like very scant uniforms where oh yeah, yeah,
• 45:43
  Speaker 1: it's the party plane, like that's what it is, right,
• 45:45
  Speaker 1: Like it looks like remember in Iron Man when all
• 45:48
  Speaker 1: of a sudden, all the stewardesses are on the pole,
• 45:51
  Speaker 1: but in the beginning, they like pretend like they're not
• 45:53
  Speaker 1: going to be on a pole and they're gonna be
• 45:55
  Speaker 1: just flight attendants as the first Iron Man. Oh my god,
• 45:59
  Speaker 1: I haven't seen that. Oh yeah, so that it's a
• 46:01
  Speaker 1: terrible scene and it's meant to be part of why
• 46:03
  Speaker 1: Tony Stark sucks. It's meant to be part of why
• 46:06
  Speaker 1: Tony Stark socks. But in this movie, all of the
• 46:09
  Speaker 1: women are are dressed like the Halloween version of a
• 46:12
  Speaker 1: flight attendant. Yeah, patriarchy is alive and well in Yes. Yeah.
• 46:20
  Speaker 1: The way that she's dressed throughout the movie, through the
• 46:23
  Speaker 1: very end is like she starts nude, she ends nude,
• 46:28
  Speaker 1: and in between there's a series of scantily clad outfits
• 46:32
  Speaker 1: always and and the way she's filmed it's always very
• 46:35
  Speaker 1: I mean fully male gaze. There's no commentary being made
• 46:39
  Speaker 1: at all. And on that note, let's take a quick break.
• 46:43
  Speaker 1: What do you say sounds good? All right? Can we
• 46:50
  Speaker 1: talk about Ruby Road? We better queer icon, pans axual icon,
• 46:58
  Speaker 1: pantecrobably possible. I do find it interesting that this feels
• 47:03
  Speaker 1: like they're trying to have it both ways, where they're like,
• 47:05
  Speaker 1: we're gonna have a dude who is hyper sexual, turns
• 47:08
  Speaker 1: on all the ladies all of this stuff, but in
• 47:12
  Speaker 1: order to make sure that he is not more sexy
• 47:15
  Speaker 1: or sexual than our lead, we have to give him
• 47:19
  Speaker 1: parts that are feminine. It is like a very nineties
• 47:23
  Speaker 1: way of looking at that I hear a lot of
• 47:25
  Speaker 1: homes in the audience. This is the thing I've thought
• 47:27
  Speaker 1: about as another pan sexual, like on, um, you can't
• 47:31
  Speaker 1: close your legs. So yeah, it is interesting because obviously,
• 47:35
  Speaker 1: like he does have a feminine moments, but he is
• 47:37
  Speaker 1: also like banging down stewardesses in weird ways, maybe more coercy,
• 47:43
  Speaker 1: not super consensually ways. Yeah, with which we'll talk about.
• 47:48
  Speaker 1: But it's also yeah, so they wanted clearly to make
• 47:51
  Speaker 1: this character that's like super sexy. Everyone wants to be
• 47:54
  Speaker 1: with him, but how do we make him not a
• 47:57
  Speaker 1: threat for our hero for the love of our baby woman. Right,
• 48:01
  Speaker 1: He's also basically doing a podcast the whole thing. He's like,
• 48:04
  Speaker 1: he's like talking into a mic. He's like like where
• 48:10
  Speaker 1: the show is or where I was paying broadcast. It's
• 48:12
  Speaker 1: like this could be anyone in Los Angeles. It's on
• 48:16
  Speaker 1: iTunes cast for mattresses, but it was Blue Apron delivered
• 48:24
  Speaker 1: uh fifty pounds of seafood onto my doorstep the other day,
• 48:29
  Speaker 1: but yeah, so I don't know why they did. Yeah,
• 48:33
  Speaker 1: he's got this like entourage of like men who were
• 48:37
  Speaker 1: like all kind of queer coded. He's coming, coming, man coming,
• 48:41
  Speaker 1: and it's also a way to like slide in some
• 48:44
  Speaker 1: black people that weren't um, you know, house musicians in
• 48:47
  Speaker 1: the nineties in England, which is what basically all the
• 48:50
  Speaker 1: other black people are where either English models or English rappers.
• 48:55
  Speaker 1: A lot of it's very European. A lot of this movie. Really,
• 49:00
  Speaker 1: it is a tricky character. I feel like it very
• 49:03
  Speaker 1: like very much falls under the umbrella that we come
• 49:07
  Speaker 1: up with nineties movies all the time, which is like
• 49:09
  Speaker 1: kind of like what you're saying, Daniel is like a
• 49:11
  Speaker 1: movie trying to have it both ways. It's like, oh,
• 49:14
  Speaker 1: this is some manner or impression of queer representation, but
• 49:19
  Speaker 1: don't worry. There's still very bad to women, and like, yes,
• 49:23
  Speaker 1: it's a manner of queer representation, but don't worry. Technically
• 49:27
  Speaker 1: if you wrote them out of the script, the movie
• 49:29
  Speaker 1: would be no different. They really don't push the story
• 49:32
  Speaker 1: forward in any way. It's sort of queer representation, but
• 49:35
  Speaker 1: also they constantly are needing the straight male white lead
• 49:39
  Speaker 1: to bail them out, and so it just feels like
• 49:42
  Speaker 1: it it is a step in some ways, but also
• 49:46
  Speaker 1: I don't know, it was frustrating. It's like you you
• 49:49
  Speaker 1: want that character who is like so funny and so
• 49:52
  Speaker 1: like well played to have more of a narrative impact.
• 49:56
  Speaker 1: It feels like someone loo black wife realize that a
• 50:01
  Speaker 1: lot of the black people in the movie don't actually
• 50:03
  Speaker 1: get to be people. It was like, maybe we should
• 50:06
  Speaker 1: make one of the black people of purple and not
• 50:09
  Speaker 1: make them an alien or paint them blue or like
• 50:12
  Speaker 1: do whatever, Like maybe there should be one person that's
• 50:16
  Speaker 1: clearly black. Yeah, it's like it's it's so frustrating because
• 50:21
  Speaker 1: it's so well played and the character and it's funny
• 50:26
  Speaker 1: and the fits are incredible. I don't know, I just
• 50:30
  Speaker 1: wish that it's it's very frustrating me when movies incorporate
• 50:34
  Speaker 1: any marginalized group in a way that doesn't progress the narrative,
• 50:38
  Speaker 1: because then it just sort of reads as to some extent,
• 50:41
  Speaker 1: kind of like gratuitous, as like they were just doing it,
• 50:44
  Speaker 1: like oh, I'll just do this, but it won't actually
• 50:46
  Speaker 1: make a difference. Yeah, that's what like when when the
• 50:49
  Speaker 1: groups of the gates of the people, when they complain
• 50:52
  Speaker 1: about this is just to please the s JW's, It's like, no,
• 50:55
  Speaker 1: because we actually want our characters to mean something. This
• 50:59
  Speaker 1: is because they want to at all four or five
• 51:01
  Speaker 1: quadrants that has nothing to do with us, and that's
• 51:04
  Speaker 1: what this was. Yeah, although again I mean I do that.
• 51:08
  Speaker 1: It's a great character and I love him, but yeah,
• 51:09
  Speaker 1: he can very easily not at all be in the movie.
• 51:13
  Speaker 1: I just like if he had even it would be
• 51:16
  Speaker 1: so easy to write out like he doesn't know how
• 51:19
  Speaker 1: to defend himself in any way, or like if if
• 51:22
  Speaker 1: he had a skill that could forward the group, which
• 51:26
  Speaker 1: would help the story because it would make them seem
• 51:28
  Speaker 1: like more of a group and not just sort of
• 51:30
  Speaker 1: a group of people who are co dependent on Bruce Willis,
• 51:33
  Speaker 1: then that would have been great and it would have
• 51:36
  Speaker 1: been such an easy fix that would have made the
• 51:38
  Speaker 1: story better. And it's like, if you just unpassed out
• 51:43
  Speaker 1: Leelu and gave Ruby Road a skill, the movie is better.
• 51:48
  Speaker 1: So why not do that? Oh yeah, well could and
• 51:50
  Speaker 1: Ruby Rod essentially became the damsel during that escape scene, right,
• 51:58
  Speaker 1: I'm gonna give to run. It is iconic, but y
• 52:06
  Speaker 1: god damn it. A couple of things I wanted to mention.
• 52:09
  Speaker 1: Jamie already touched on this, but Corbyn's mom so we
• 52:12
  Speaker 1: never meet her on screen. Corbin's mom is the just
• 52:16
  Speaker 1: no mother in law subreddit made into a person. That's
• 52:21
  Speaker 1: a joke for the people who got it. There's a
• 52:25
  Speaker 1: sepright on reddit which is just people bitching about their
• 52:28
  Speaker 1: mothers and laws, which becomes very clear that it's just
• 52:30
  Speaker 1: people writing fan fiction where they get to call women bitches. Oh,
• 52:34
  Speaker 1: very cool. Love that's pretty tight. But so Corbyn's mom,
• 52:40
  Speaker 1: we never meet her on screen, but we hear her
• 52:41
  Speaker 1: voice quite a bit because he's she's always calling nagging
• 52:48
  Speaker 1: leaven messages. Man, women, you go from being a hot
• 52:51
  Speaker 1: baby to being a nagging mom in two seconds, right,
• 52:55
  Speaker 1: And this is how a lot of moms are portrayed
• 52:57
  Speaker 1: in movies, where it's like I'm gonna let that pass. Uh,
• 53:00
  Speaker 1: this is a restaurant, but this is not a lot
• 53:03
  Speaker 1: of women are A lot of mothers are portrayed in
• 53:06
  Speaker 1: movies where it's like a nagging, overbearing like can't let
• 53:09
  Speaker 1: go of her baby boy, and like often played as
• 53:13
  Speaker 1: like comic relief, like someone to not be taken seriously
• 53:15
  Speaker 1: because he's always like brushing her off and it's just
• 53:18
  Speaker 1: like a commonly known as like bad writing. Yeah, that
• 53:22
  Speaker 1: is exactly what that. There's no in between. There's very
• 53:25
  Speaker 1: I mean now We're getting to a point where you
• 53:26
  Speaker 1: get competent women, but very often it is like you
• 53:30
  Speaker 1: were either a sexy person I want a sex who
• 53:32
  Speaker 1: also kicks other people sexily, or you are this nagging,
• 53:39
  Speaker 1: horrible Oh why should I have to clean my room? Mom?
• 53:44
  Speaker 1: Why do I have to take my diarrhea medication? Now?
• 53:46
  Speaker 1: I'm all right, man, And that's real. You can look
• 53:51
  Speaker 1: at and you never you never see her, right, we
• 53:54
  Speaker 1: never formally meet her. She's strictly playing off screen for
• 53:59
  Speaker 1: laughs with Bruce Willis and then later with the President.
• 54:05
  Speaker 1: She's like, I don't believe you're the president. The President
• 54:09
  Speaker 1: sucks cut to Bruce Willis. Fucking end of movie. A
• 54:13
  Speaker 1: great last hilarious. Another female character who's introduced, who is
• 54:20
  Speaker 1: like kind of played as a joke is her name
• 54:22
  Speaker 1: is Major ice Borg, another Titanic reference. Obviously that is
• 54:27
  Speaker 1: the official they're like, Sir Major ice Borg. But she
• 54:36
  Speaker 1: comes in in the scene where the general is like, hey, Corbin,
• 54:40
  Speaker 1: we need you to like go on this secret mission
• 54:42
  Speaker 1: even though you are retired from the military, but do
• 54:46
  Speaker 1: this anyway. So she comes in and basically she would
• 54:50
  Speaker 1: not probably be considered attractive by Western ideal like beauty standards,
• 54:56
  Speaker 1: and then they're like, she's gonna play your wife, Corbin
• 54:59
  Speaker 1: in your won this trip and he takes one look
• 55:02
  Speaker 1: at her and he's like, I am not going is
• 55:04
  Speaker 1: if Like she's not beautiful traditionally, so therefore she is disgusting,
• 55:10
  Speaker 1: and uh, it's just like play not worth being around
• 55:14
  Speaker 1: for three fucking seconds. Yeah, it's so frot like. They're
• 55:18
  Speaker 1: also like, per this movie, you don't see women for
• 55:22
  Speaker 1: canonically three centuries, and then when you get to women finally,
• 55:27
  Speaker 1: it's like, oh, it's only actually naked white ladies that
• 55:30
  Speaker 1: we see and everything else is gross to us. So sorry,
• 55:35
  Speaker 1: and that's just the movie. Yeah, look, I either want
• 55:38
  Speaker 1: the perfect woman who you made out of a hand
• 55:43
  Speaker 1: or nothing at all. Not this incredibly like that woman
• 55:48
  Speaker 1: could have had his back, could have shot some folks up.
• 55:52
  Speaker 1: We don't know how long she's been in the academy.
• 55:54
  Speaker 1: She had probably been working with She's a major. You
• 55:56
  Speaker 1: know how long it takes to be a fucking major.
• 55:59
  Speaker 1: She had been to be a major for years, and
• 56:02
  Speaker 1: this dude looks at her and goes like, oh, your hips,
• 56:05
  Speaker 1: and it's suddenly like I'm gonna do this mission alone.
• 56:08
  Speaker 1: I've been retired forever, but I know I'm better than
• 56:10
  Speaker 1: you with That's part of where I feel like this
• 56:13
  Speaker 1: movie ultimately, for even though you see it and aesthetically
• 56:17
  Speaker 1: it doesn't look like a very conservative movie, but ultimately
• 56:21
  Speaker 1: I feel like the story does play very conservative because
• 56:25
  Speaker 1: you're given these characters who on the written page seem
• 56:30
  Speaker 1: like it's on the right track of like we've got
• 56:33
  Speaker 1: our female christ figure and we've got a queer reading
• 56:37
  Speaker 1: character who is present for much of the movie. But
• 56:42
  Speaker 1: ultimately they are both deeply reliant and the plots deeply
• 56:45
  Speaker 1: reliant on kind of your average white you know, ex military,
• 56:50
  Speaker 1: blue collar straight guy, and that that the Bruce Willis character.
• 56:54
  Speaker 1: And so I I just it seems like such a
• 56:57
  Speaker 1: coppa for it's a job high con that movie that
• 57:00
  Speaker 1: could be doing so much more to ultimately tease you
• 57:05
  Speaker 1: and pull in viewers with like, Hi, this is something
• 57:08
  Speaker 1: you want to see in movies, like you want to
• 57:09
  Speaker 1: see women, you want to see queer people, you want
• 57:11
  Speaker 1: to see people of color. But ultimately it's the same thing,
• 57:15
  Speaker 1: and the movie won't end unless the norm takes place,
• 57:19
  Speaker 1: and so it's just like it's frustrating because it's for
• 57:22
  Speaker 1: so much of it. I'm on board, but the way
• 57:25
  Speaker 1: it plays out, you're like, funk, you hit all this stuff.
• 57:28
  Speaker 1: Why didn't you? Like it's pretty and weird and French
• 57:30
  Speaker 1: and unorthodox. But then at the end they're still like
• 57:33
  Speaker 1: penises in janus right right, like it's ending a beam
• 57:38
  Speaker 1: of light. Sure, oh my god, were they the first
• 57:41
  Speaker 1: Never they did a reverse sky beam? Never mind, they
• 57:44
  Speaker 1: didn't do the sky beam going down. They did the
• 57:46
  Speaker 1: sky beam coming up. They didn't from her mouth because
• 57:49
  Speaker 1: that's where love comes from, you know, the love hole.
• 57:55
  Speaker 1: So frustrating, Yeah, to thinks that were like the diva
• 57:58
  Speaker 1: character is like, she needs your help and she needs
• 58:01
  Speaker 1: your love, and it's like, does she she's a weapon,
• 58:05
  Speaker 1: she's a nuke? Do you have to make out with
• 58:06
  Speaker 1: this new right? Like I guess they're trying to humanize
• 58:09
  Speaker 1: her in that moment, but it's to fringe this bomb
• 58:13
  Speaker 1: like and he's like, I'll do It's like, man, you
• 58:17
  Speaker 1: know what humanizing her would do more than having other
• 58:19
  Speaker 1: people tell you that is make her a person. Yeah,
• 58:23
  Speaker 1: that's if you wrote her as a person, Because all
• 58:25
  Speaker 1: of those are words on a page, and you can
• 58:27
  Speaker 1: change any of those any second, and you can tell
• 58:29
  Speaker 1: that whole sequence where like the diva's singing opera and
• 58:33
  Speaker 1: then we cut back to Lee Lu fighting. You can
• 58:37
  Speaker 1: tell that everyone involved in the movie is like, oh
• 58:39
  Speaker 1: my god, feminism, we get it. It's just like guys
• 58:44
  Speaker 1: are like high fiving and patting themselves on their back, like,
• 58:47
  Speaker 1: oh m G seven, we did it, and it's like, no,
• 58:52
  Speaker 1: you're hot. You a woman kicked one time and within
• 58:56
  Speaker 1: minutes at this sequence ending, one will die and you'll
• 58:59
  Speaker 1: have ruce waves punched through her flesh. You did you
• 59:03
  Speaker 1: do it? To be fair, she already had a bullet
• 59:05
  Speaker 1: hole and he just reaches into it. But Fairy reaches
• 59:09
  Speaker 1: in my bullet hole. Daddy, get the stones, daddy. That's
• 59:16
  Speaker 1: what I always said. That's like, where are the stone sounds?
• 59:20
  Speaker 1: They're in my daddy. He's like in her? What could
• 59:24
  Speaker 1: that possibly mean? Does that mean they're in her? Oh?
• 59:32
  Speaker 1: It does? So I think it bears. It bears telling
• 59:36
  Speaker 1: that during this moment, which is I think one of
• 59:38
  Speaker 1: the only moments where there's cut screens where two women
• 59:40
  Speaker 1: are both doing equal They're both doing the most impossible
• 59:44
  Speaker 1: thing you've ever seen in the world. And that's the
• 59:46
  Speaker 1: only time they showed to me and then Bruce will
• 59:49
  Speaker 1: hast seen punching a woman, which is not even the
• 59:53
  Speaker 1: only time Bruce Willis has done that on screen, so
• 59:56
  Speaker 1: you know, he just like he's like, oh the Stones,
• 59:59
  Speaker 1: I got the and then everyone's like, whoop, sorry about
• 1:00:02
  Speaker 1: your deadpop. Yeah, then r I p Diva Bruce changes
• 1:00:07
  Speaker 1: into and regretfully, I honestly lost a lot of interest
• 1:00:10
  Speaker 1: once he took off the tank top. I really liked it.
• 1:00:16
  Speaker 1: Oh God, well, is there anything anything anyone else wants
• 1:00:20
  Speaker 1: to talk about? Um? Let's see, uh consent? Did we
• 1:00:27
  Speaker 1: have Ruby Rod? Um? I think Ruby Road. I apologize.
• 1:00:33
  Speaker 1: It's fine because I keep doing like he keeps doing
• 1:00:36
  Speaker 1: like funny weird things with his accent to be like, yeah,
• 1:00:40
  Speaker 1: I think I heard it that way the first time,
• 1:00:42
  Speaker 1: and then I was like, okay, sounds good. But then
• 1:00:44
  Speaker 1: Ruby Rod, You're like, oh, Penis got it. I get
• 1:00:48
  Speaker 1: it because his dick get it. Because of Dick. Uh
• 1:00:52
  Speaker 1: that was everything I had. It's weird because it's like, ultimately,
• 1:00:56
  Speaker 1: I even on first viewing, enjoyed this movie and it
• 1:01:00
  Speaker 1: is so like aesthetically fun and it moves so quickly
• 1:01:05
  Speaker 1: and it's on daily motion dot com. I mean, what
• 1:01:08
  Speaker 1: Mark could you want in a movie, but there are
• 1:01:12
  Speaker 1: so many, Like I think it's a as the classic
• 1:01:14
  Speaker 1: cas of like a nineties movie, trying to have it
• 1:01:16
  Speaker 1: every which way but ultimately playing to the norm. Yeah, exactly,
• 1:01:20
  Speaker 1: because you know in the end, wasn't it Ruby Rod
• 1:01:22
  Speaker 1: who fucked up opening the Stones? It's coming? He doesn't
• 1:01:28
  Speaker 1: have fire. Yeah, he's like, I quit smoking, even though
• 1:01:31
  Speaker 1: the day before we see him smoking a cigarette. Let's
• 1:01:36
  Speaker 1: be real that Mike, that Mike is half my calf
• 1:01:41
  Speaker 1: vape new reboot where we blow vape smoke on the stones,
• 1:01:48
  Speaker 1: coolest stones ever. Man. We touched on us a little bit.
• 1:01:52
  Speaker 1: But like Corbin spends the whole movie condescending to the
• 1:01:56
  Speaker 1: woman he's in love with, and we'll end up with
• 1:01:59
  Speaker 1: at the in the love story makes no fucking it really,
• 1:02:02
  Speaker 1: it doesn't need to be there. She even says like love,
• 1:02:05
  Speaker 1: I don't know love, and he's like, I'm gonna put
• 1:02:07
  Speaker 1: my face on you again, and it's like, bitch, that's
• 1:02:09
  Speaker 1: not love. Like you just like remember when I molested you.
• 1:02:13
  Speaker 1: Let's give it a second shot, and this time it works.
• 1:02:18
  Speaker 1: I guess his horrible because she's so tired. Yes, she's
• 1:02:23
  Speaker 1: just this movie has beaten her down again or a
• 1:02:29
  Speaker 1: diet because she's had to like bear the like emotional
• 1:02:32
  Speaker 1: labor of like learning what war is and like being
• 1:02:36
  Speaker 1: the supreme being is like her Urkle where he's like,
• 1:02:41
  Speaker 1: I'm wearing you down, I'm wearing you down, But then
• 1:02:45
  Speaker 1: he does, and that's how the movie ends. And then
• 1:02:47
  Speaker 1: where her watching war and be like reminded me of
• 1:02:53
  Speaker 1: fifty First Days when you're barrymore Hustle learned his two
• 1:02:56
  Speaker 1: thousand and five every day and she's like, oh, no,
• 1:02:59
  Speaker 1: I don't know. Is a negress governor? Like that was
• 1:03:02
  Speaker 1: kind of what it reminded me of. But yeah, like
• 1:03:04
  Speaker 1: I feel like the thing he's always like patronizing her
• 1:03:07
  Speaker 1: and condescending to her based on her she doesn't have
• 1:03:10
  Speaker 1: a great grasp of the English language yet, even though
• 1:03:13
  Speaker 1: she's had a day to learn it and is doing
• 1:03:15
  Speaker 1: a pretty good job with what she's got. What she
• 1:03:18
  Speaker 1: knows and what she doesn't know is very plot convenient.
• 1:03:21
  Speaker 1: She's supposed to know everything, but she doesn't know anything
• 1:03:23
  Speaker 1: that Bruce Willis can teach her, right, But then like
• 1:03:27
  Speaker 1: someone they're like trying to check into the Flying Titanic,
• 1:03:30
  Speaker 1: He's like, yes, they know what a fucking multi passes
• 1:03:33
  Speaker 1: and like, yeah, it's just like a movie pass And
• 1:03:35
  Speaker 1: I was like, yeah, he's like really mean to her
• 1:03:39
  Speaker 1: and then she's like, but let's kiss. So yeah, this
• 1:03:43
  Speaker 1: movie is weird. That's my last comment. So it was weird.
• 1:03:49
  Speaker 1: I don't know. If you still like it, that's fine. Yeah.
• 1:03:52
  Speaker 1: Should we take some questions or comments from the audience?
• 1:03:56
  Speaker 1: Does anyone have anything they want to share, A question,
• 1:03:59
  Speaker 1: a comment they like to share. I guess someone yes,
• 1:04:01
  Speaker 1: Oh yeah, coming up. I just thought it was funny
• 1:04:04
  Speaker 1: that this is a movie very similar to Blade Runner
• 1:04:08
  Speaker 1: and also very similar in the sense that straight white
• 1:04:10
  Speaker 1: men love to try to explain it to you and, um,
• 1:04:15
  Speaker 1: help you understand why it's so good, but you don't
• 1:04:19
  Speaker 1: get it. Man tears in the rain. He improved that
• 1:04:22
  Speaker 1: scene we had someone else. Are you gonna come up?
• 1:04:27
  Speaker 1: What's your name? Um? My name is Ben real quick? Um,
• 1:04:32
  Speaker 1: So I noticed I just remembered that in Valerian, actually
• 1:04:36
  Speaker 1: there is another um. Both in this movie end in Valeria,
• 1:04:39
  Speaker 1: and there's a scene where a woman does a big
• 1:04:42
  Speaker 1: song number in Valarious Rihanna and then does something to
• 1:04:45
  Speaker 1: help out the hero and then immediately dies to advance
• 1:04:48
  Speaker 1: the plot. So my question is, does Luke Bissan hate
• 1:04:52
  Speaker 1: female singers? Um? I think it was another thing where
• 1:04:57
  Speaker 1: Luc Bisson's black wife was like just something for me,
• 1:05:00
  Speaker 1: just Rihanna or like something. But even in that one,
• 1:05:05
  Speaker 1: she's like a comfort woman, a woman of the night,
• 1:05:08
  Speaker 1: and performing in all of those things is is how
• 1:05:12
  Speaker 1: she attracts people, as though being Rihanna was somehow not
• 1:05:14
  Speaker 1: enough in space. It's weird, it's like you if. I
• 1:05:20
  Speaker 1: also have the feeling that most of Luson's stories were
• 1:05:24
  Speaker 1: created when he was fourteen years old, and so he
• 1:05:28
  Speaker 1: writes women as if he is a holy proteenager and
• 1:05:32
  Speaker 1: that's a bad writing. Oh god, how gross would be
• 1:05:35
  Speaker 1: if he was just like, oh, what's a younger version
• 1:05:37
  Speaker 1: of my wife to be in this movie? But I wasn't,
• 1:05:42
  Speaker 1: but I asked him. When I answer your question, I
• 1:05:44
  Speaker 1: think that Luke Bisson doesn't respect women period. And I
• 1:05:50
  Speaker 1: think he loves a song and dance sequence and he's like, well,
• 1:05:52
  Speaker 1: I'm not gonna waste a man in this. Put someone
• 1:05:56
  Speaker 1: in some hot pants, yeah, make a prance for me. Yes,
• 1:05:59
  Speaker 1: that's a great and unfortunate point. Thank you. Do you
• 1:06:02
  Speaker 1: have any other questions? Anything. Oh yeah, come on down.
• 1:06:07
  Speaker 1: What's your name? My name is Katie. When we were
• 1:06:10
  Speaker 1: watching this movie, my question was they find this hand
• 1:06:14
  Speaker 1: which doesn't look like her hand after she's made into
• 1:06:16
  Speaker 1: a person, do they design her like the creepy scientists
• 1:06:19
  Speaker 1: design her to look like that or is that like
• 1:06:22
  Speaker 1: her genetic code? Oh? Actually, this is something I wanted
• 1:06:26
  Speaker 1: to touch on. I have to imagine they're just reconstructing
• 1:06:30
  Speaker 1: whatever like genetic material would like dictate her to end
• 1:06:33
  Speaker 1: up being like but that what ends up perhaps, so
• 1:06:38
  Speaker 1: everyone is using like he pronouns before they realize that
• 1:06:41
  Speaker 1: she is a woman. Uh so it's that woman's perfect.
• 1:06:48
  Speaker 1: So this to me is a version of that trope
• 1:06:50
  Speaker 1: where it's like the person that you thought was a
• 1:06:52
  Speaker 1: man until they take off their helmet is actually a
• 1:06:57
  Speaker 1: woman and you don't even get the like the frustrating
• 1:07:01
  Speaker 1: but also the one redeeming part of that trope, as
• 1:07:03
  Speaker 1: you get to see that character be capable at something
• 1:07:06
  Speaker 1: before you find out they're a woman. And this woman
• 1:07:09
  Speaker 1: does not even isn't even afforded that. It's like a
• 1:07:12
  Speaker 1: hand god like when she comes out of the Fiudi printer,
• 1:07:16
  Speaker 1: like she is perfect. Yeah, and they're like oh cool,
• 1:07:20
  Speaker 1: So she doesn't have any we don't really care, and
• 1:07:22
  Speaker 1: it's just and you see her be literally like I
• 1:07:26
  Speaker 1: I feel as if you see her be literally born
• 1:07:29
  Speaker 1: in this thing that she later fox Bruce Willis in
• 1:07:32
  Speaker 1: because we all aspire to fuck Bruce Willis inside of
• 1:07:36
  Speaker 1: our moms, like fucking in your childhood bed, which is
• 1:07:41
  Speaker 1: still also your mom. Just I honestly wish I had
• 1:07:45
  Speaker 1: I never did, but you know it's it's fucking weird. Yeah,
• 1:07:50
  Speaker 1: that they it is sort of that thing where they're like,
• 1:07:53
  Speaker 1: it is it perfect that you can hetero fuck and
• 1:07:57
  Speaker 1: that's like the Lamo Coppa right, And then even like uh,
• 1:08:01
  Speaker 1: father Cornelius is like he's a she because everyone was,
• 1:08:05
  Speaker 1: I guess expecting the perfect sabreme being to be a man,
• 1:08:09
  Speaker 1: but she's a woman. But that has no impact on
• 1:08:12
  Speaker 1: the story except for the fact that then Bruce Willis
• 1:08:14
  Speaker 1: can later have sex with her because he's hetero and
• 1:08:17
  Speaker 1: because hetero normativity. Are there any other questions or comments?
• 1:08:23
  Speaker 1: Gary Olman's canceled, so we can't comment on him at
• 1:08:26
  Speaker 1: this time. Alfred Molina should have a Billina would have
• 1:08:30
  Speaker 1: killed it. Alba Billina could have played Bruce Willis is
• 1:08:33
  Speaker 1: partly been thick Bruce Willis. That would have been great.
• 1:08:38
  Speaker 1: He I would love well. I don't not to take
• 1:08:40
  Speaker 1: parts away from women, but what if the hand traled
• 1:08:43
  Speaker 1: into Alfred Bollina. That would have been kind of fun.
• 1:08:47
  Speaker 1: And then when everything else was exactly the same, he's
• 1:08:51
  Speaker 1: still Casses Bruce Wills at the end, there's still love.
• 1:08:55
  Speaker 1: I don't know love. What if it Albert will appeared
• 1:09:00
  Speaker 1: in an incubator and they're like, perfect, I want to
• 1:09:05
  Speaker 1: see I want Prince Well to be like five D
• 1:09:09
  Speaker 1: proud eyes, Alfa Molina, Lulu Dallas multi pass and then yeah,
• 1:09:19
  Speaker 1: I think that actually not to like, you know, uncast
• 1:09:23
  Speaker 1: the only woman in this movie, but I think Alva
• 1:09:25
  Speaker 1: Billina would be a great Lulu. Yeah. I would have
• 1:09:30
  Speaker 1: it was a gender neutral name exactly. Would have help Billina,
• 1:09:33
  Speaker 1: would have Bruce Willis kissed Alpha Billina and then alfread
• 1:09:35
  Speaker 1: Billina did kill Bruce Willis, and he's like, I'm the
• 1:09:38
  Speaker 1: hero of the movie. Now this is the Alpha Blena movie.
• 1:09:41
  Speaker 1: This is the Molina element, like Alpha Morlena. Yeah, so anyways,
• 1:09:48
  Speaker 1: we just uncast the female lead. Hey, does this movie
• 1:09:54
  Speaker 1: pass the Bechdel test? No? Not even a little bit. No,
• 1:09:58
  Speaker 1: there's times where women speak to each other, but it's
• 1:10:02
  Speaker 1: usually the times I spot it was Lulu talking to
• 1:10:05
  Speaker 1: a woman in a service role who was not names. Yeah,
• 1:10:08
  Speaker 1: we don't know her name. Yeah, so yeah, that's a
• 1:10:10
  Speaker 1: big fat no on passing the Bechdel tests for this movie.
• 1:10:15
  Speaker 1: Shall we write the movie on our nipple scale? Let's
• 1:10:17
  Speaker 1: do zero to five nipples based on its portrayal and
• 1:10:20
  Speaker 1: representation of women. I'm gonna go ahead and give the
• 1:10:23
  Speaker 1: fifth element a half nipple. I mean between the like
• 1:10:30
  Speaker 1: wild objectification and sexualization of a female character who is
• 1:10:36
  Speaker 1: crucial to the story in the sense that she is
• 1:10:39
  Speaker 1: the fifth element and she's like the component they need
• 1:10:42
  Speaker 1: for the weapon against evil. But aside from that, like
• 1:10:46
  Speaker 1: her characterization, it's the whole born sexy yesterday trope. She
• 1:10:51
  Speaker 1: is there for gratuitous nudity a lot of the time.
• 1:10:55
  Speaker 1: She is has the brain of a baby essentially that
• 1:10:59
  Speaker 1: is very good at learning about war and she hates it.
• 1:11:09
  Speaker 1: Do you think someone watched that movie and they're like, Oh,
• 1:11:12
  Speaker 1: where's bad? Oh my god, I'm going to give up
• 1:11:16
  Speaker 1: on everything now until Bruce Willis puts one on me. Uh,
• 1:11:21
  Speaker 1: and then even like the moments where she's like kicking
• 1:11:23
  Speaker 1: ass just like feel like a very empty thing where well,
• 1:11:28
  Speaker 1: now Bruce Willis will respect her when he flex her
• 1:11:31
  Speaker 1: so dumb. Yeah, So I think the movie doesn't really
• 1:11:34
  Speaker 1: handle anything well when it comes to representing women. So yeah,
• 1:11:39
  Speaker 1: that's a half nipple from me, and I will give
• 1:11:43
  Speaker 1: it of course to Cormoran Dallas's cat. So um, that's
• 1:11:48
  Speaker 1: that daniell Um. I'm going to give it a full nipple.
• 1:11:54
  Speaker 1: I'm giving it one full nip, if only because the
• 1:11:57
  Speaker 1: action scenes were really good and it did help launch
• 1:12:01
  Speaker 1: Miyadjoovic's career. Because of that, she was able to go
• 1:12:05
  Speaker 1: on and be an actual good actress in things where
• 1:12:10
  Speaker 1: she got to kick people in the face, and because
• 1:12:13
  Speaker 1: it was able to launch that career in other movies,
• 1:12:17
  Speaker 1: it'll get a full nip. Cool, I guess I'll go
• 1:12:20
  Speaker 1: half as well there there, It's just it's all the
• 1:12:23
  Speaker 1: progressist movie is trying to make us kind of self
• 1:12:26
  Speaker 1: defeating in a very way, uh that we see over
• 1:12:31
  Speaker 1: and over again, and as pleasant as I'm sure it
• 1:12:34
  Speaker 1: was to see some representation at the time of this
• 1:12:38
  Speaker 1: coming out, seeing it over twenty years later, it feels
• 1:12:41
  Speaker 1: even more frustrating to feel like you're trying to have
• 1:12:44
  Speaker 1: your cake and eat it too, of like, here's queer representation,
• 1:12:49
  Speaker 1: here's female representation. Just kidding, it's Ruse Wallas the whole time,
• 1:12:53
  Speaker 1: and it's just it's frustrating. I am glad that it
• 1:12:57
  Speaker 1: was able to give credibility and a platform to actors
• 1:13:01
  Speaker 1: who wouldn't have had it otherwise, and that's more than
• 1:13:04
  Speaker 1: a lot of movies at this time did, and that
• 1:13:07
  Speaker 1: definitely deserves acknowledgement. But like plot wise, I would argue,
• 1:13:12
  Speaker 1: you could write out really every character on Bruce Willis's
• 1:13:17
  Speaker 1: team except for him, and the movie could feasibly play
• 1:13:20
  Speaker 1: out the exact same way, because even though we're told
• 1:13:23
  Speaker 1: over and over that Leelu is the chosen one, Bruce
• 1:13:27
  Speaker 1: Willis is the chosen one according to this movie, because
• 1:13:31
  Speaker 1: the thing that needs to happen cannot happen without him
• 1:13:34
  Speaker 1: and without his choices every step of the way. So
• 1:13:37
  Speaker 1: it's weird that this movie is secretly all right, but
• 1:13:42
  Speaker 1: uh no, I mean it's just like it it hurts
• 1:13:45
  Speaker 1: to watch because you see a filmmaker who you can
• 1:13:48
  Speaker 1: tell thinks they're doing the right thing, but they're not.
• 1:13:53
  Speaker 1: And so it's frustrating, and so I'll give it a
• 1:13:55
  Speaker 1: half nipple. And I'm going to give my half nipple
• 1:13:58
  Speaker 1: to Chris Tucker Well. Danielle, thank you so much for
• 1:14:03
  Speaker 1: being here. Thank you for having guest. Danielle Radford, Thank you.
• 1:14:09
  Speaker 1: What would you like to plug? Where can people find
• 1:14:12
  Speaker 1: you online? Um? Yeah, so you guys. Every Thursday I
• 1:14:16
  Speaker 1: do SJU on Screen Junkies News and then on Screen
• 1:14:20
  Speaker 1: Junkies Main. I am the social blah blah blah for
• 1:14:23
  Speaker 1: movie fights. Um, just find me online. I usually plug
• 1:14:26
  Speaker 1: all of my weird things. Also, if you like wrestling,
• 1:14:28
  Speaker 1: I have a wrestling podcast called Tights and Fights. Um.
• 1:14:30
  Speaker 1: You also find me on Patreon, where I do a
• 1:14:33
  Speaker 1: lot of fun things for not a lot of money
• 1:14:34
  Speaker 1: a month, because you know who has it. Thank you
• 1:14:38
  Speaker 1: to the Ruby for having us. Thank you take Aristotle's
• 1:14:43
  Speaker 1: back there. If you want to meet Aristotle, having up
• 1:14:46
  Speaker 1: for yourselves for being here, You're going We're back. That's
• 1:14:52
  Speaker 1: the episode, baby, Love it or leave it with the
• 1:14:56
  Speaker 1: name of a podcast you can listen to right after this.
• 1:15:00
  Speaker 1: We just wanted to plug a few things to say
• 1:15:02
  Speaker 1: thank you again to the Ruby for having us. To
• 1:15:05
  Speaker 1: daniel rad to Daniel Radford, a wonderful, wonderful person, very funny. UM,
• 1:15:11
  Speaker 1: don't forget that. We have a live show in Los
• 1:15:13
  Speaker 1: Angeles at the Ruby on the second Saturday of every
• 1:15:16
  Speaker 1: single month, so come out join the fam. We're starting
• 1:15:19
  Speaker 1: to get a little crew comes every month. It's very exciting. Uh.
• 1:15:23
  Speaker 1: And we're also going on tour very soon. Yes, yes,
• 1:15:27
  Speaker 1: so we will be in uh San Francisco. I sold
• 1:15:31
  Speaker 1: out show, so sorry if you don't have your tickets. Portland.
• 1:15:35
  Speaker 1: It's not sold out yet at the time of this recording, Losers,
• 1:15:40
  Speaker 1: but it's close. At the time of this recording, Um,
• 1:15:43
  Speaker 1: it is not yet sold out, but those tickets are
• 1:15:45
  Speaker 1: going very fast, so perhaps by the time of the
• 1:15:47
  Speaker 1: episode release it will be sold out. Hard to say,
• 1:15:51
  Speaker 1: you've got to just get on your little computer and
• 1:15:54
  Speaker 1: figure it out. And then we have Seattle shows as well.
• 1:15:59
  Speaker 1: The two live back cast shows are sold out. However, however,
• 1:16:02
  Speaker 1: we are doing UH stand up show on We highly
• 1:16:07
  Speaker 1: recommend you know, you see Caitlin and Jamie strike out
• 1:16:10
  Speaker 1: on their own and do a little something. Maybe we'll
• 1:16:13
  Speaker 1: do something together. We haven't decided. Do I have three
• 1:16:15
  Speaker 1: minutes of Titanic based puns? As yes I do. And
• 1:16:21
  Speaker 1: you know what, by the time you know this show
• 1:16:23
  Speaker 1: rolls around, I may have written three more minutes. Hard
• 1:16:26
  Speaker 1: to say, I usually end up body slamming a doll.
• 1:16:29
  Speaker 1: Anything could happen at this wild Seattle show. Okay, so um,
• 1:16:36
  Speaker 1: grab tickets for that the ones that are still available
• 1:16:38
  Speaker 1: on bechtel cast dot com and click on the live
• 1:16:41
  Speaker 1: appearances tab. Oh, we've got a Patreon a k A
• 1:16:45
  Speaker 1: Matreon Patreon dot com slash bechtel Cast will get you
• 1:16:50
  Speaker 1: to bonus episodes a month for only five bucks, and
• 1:16:53
  Speaker 1: this month in January a K pageant January a k Pagentuary,
• 1:17:00
  Speaker 1: you're covering Dumplins as good as Revenge bur almost but
• 1:17:05
  Speaker 1: not quite. We are covering the Netflix movie Dumpling and
• 1:17:10
  Speaker 1: we are covering Drop Dead Gorgeous, both frequent requests as
• 1:17:15
  Speaker 1: of late. Yes, so check it out. Check out that,
• 1:17:18
  Speaker 1: check out our merch store, t public dot com, slash
• 1:17:21
  Speaker 1: the backtel Cast. Check us out on Twitter and Instagram
• 1:17:26
  Speaker 1: backdel Cast. You can also check out our Facebook if
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  Speaker 1: you're still working with Facebook, which I am not. So
• 1:17:31
  Speaker 1: if you've sent us a Facebook message and you have
• 1:17:33
  Speaker 1: not gotten responds, it's probably because I never go on
• 1:17:36
  Speaker 1: Facebook anymore. Yeah, it's about to say, like, there we
• 1:17:39
  Speaker 1: I I go on Facebook sometimes, but only because I
• 1:17:43
  Speaker 1: like to make fun of my mom. Otherwise, Zuck is canceled,
• 1:17:49
  Speaker 1: Cheryl Sandberg's lean out You're mean, we don't like you.
• 1:17:55
  Speaker 1: Um also writing reviews on iTunes that would be great
• 1:17:57
  Speaker 1: and say that a lot and a lot MR is
• 1:18:00
  Speaker 1: getting to our reviews and it gets messy, so uh
• 1:18:03
  Speaker 1: we would appreciate it. So um. Thanks to listen for you. Yes,
• 1:18:10
  Speaker 1: thank you so much for listening. Thanks for all of
• 1:18:13
  Speaker 1: your support. We'll be here next week. Bye bye