Latest / The Bechdel Cast / Bad Boys (1995) with Laci Mosley

Transcript

Bad Boys (1995) with Laci Mosley · The Bechdel Cast

• 0:00
  Speaker 1: On the Dog Cast, the questions asked if movies have
• 0:04
  Speaker 1: women in them? Are all their discussions just boyfriends and husbands?
• 0:08
  Speaker 1: Do they have individualism? The patriarchy? Zef in best start
• 0:13
  Speaker 1: changing it with the beck Del Cast. Bad boys, bad boys.
• 0:18
  Speaker 1: What you're gonna do, What you're gonna do when they
• 0:20
  Speaker 1: come for you? But wait, hang on, sorry, let me
• 0:24
  Speaker 1: let me start again. Bad girls, bad girls. What you're
• 0:27
  Speaker 1: gonna do, You're gonna do when? Sorry, God, Kalen, I
• 0:33
  Speaker 1: would I just like I was going to join him,
• 0:35
  Speaker 1: but then you were doing such a good job to im,
• 0:37
  Speaker 1: like she's she's got it, she's star is born. Yeah,
• 0:42
  Speaker 1: that was your d Okay. So here we are. We
• 0:49
  Speaker 1: are the bad girls. Where the Yeah, we're the bad
• 0:51
  Speaker 1: girls this time. Um, but we're here to talk about
• 0:56
  Speaker 1: the bad boys because we weren't given it a choice, right, Um.
• 0:59
  Speaker 1: Welcome to the Becktel Cast. My name is Jamie Loftus,
• 1:02
  Speaker 1: my name is Caitlin Darante, and we are the bad
• 1:04
  Speaker 1: Girls and that's what we're gonna When Alison Bechtel inevitably
• 1:07
  Speaker 1: sues us will change the name of the podcast to
• 1:10
  Speaker 1: bad Girls. I'm honestly surprised that the sequel for Bad
• 1:15
  Speaker 1: Boys for Life is actually not a reboot that's an
• 1:18
  Speaker 1: all female like Bad Girls. It's the trend. It's the trend.
• 1:22
  Speaker 1: But um, you know they had to make Cops cool
• 1:25
  Speaker 1: again at the politically advantageous time to reboot this franchise.
• 1:29
  Speaker 1: Can you do? And I mean, plus the chemistry between
• 1:33
  Speaker 1: Will Smith and Martin Laurence. I mean I want Martin
• 1:35
  Speaker 1: Lawrence to get as many checks as humanly possible. I
• 1:38
  Speaker 1: love him so much. Oh man, Martin Lawrence formative crush.
• 1:41
  Speaker 1: Really yes? But wait, what is the podcast? I forget?
• 1:47
  Speaker 1: We talked about the representation of women in movies and
• 1:50
  Speaker 1: how it usually doesn't do a very good job. I
• 1:52
  Speaker 1: don't see this movie. Yeah, because we we just talked
• 1:56
  Speaker 1: about men for two minutes. Um. We use the Bechdel
• 2:00
  Speaker 1: test as a jumping off point for discussion. The Bechdel
• 2:03
  Speaker 1: test being a media metric invented by Alison Bechdel, sometimes
• 2:07
  Speaker 1: called the Bechdel Wallace test that requires that two female
• 2:10
  Speaker 1: identifying characters with names talk to each other about something
• 2:14
  Speaker 1: other than a man. Can this movie do it? I
• 2:18
  Speaker 1: was honestly on the edge of my seat. I mean,
• 2:21
  Speaker 1: we'll talk about it, but there's a conversation to be had.
• 2:25
  Speaker 1: They get I was shocked. Um. And so to all
• 2:29
  Speaker 1: those haters out there who are like, do they just
• 2:31
  Speaker 1: spin an hour or trying to figure out if it
• 2:33
  Speaker 1: passes the Bechdel test, No, we have we know going
• 2:37
  Speaker 1: in we usually have the answer. Yeah. So we're talking
• 2:41
  Speaker 1: about Bad Boys. We have a guest. Is this time
• 2:46
  Speaker 1: three third time? Yes? She's an actor, comedian host of
• 2:51
  Speaker 1: Scam Goddess podcast and she's been on the show twice
• 2:54
  Speaker 1: before on our Ten Things I Hate About You episode
• 2:57
  Speaker 1: and What Women Want. It's Lacy mostly welcome back. I'm
• 3:02
  Speaker 1: so happy to be back. I love this pod. We
• 3:05
  Speaker 1: love all your fans. They're so nice. I mean, you're
• 3:08
  Speaker 1: a fan favorite. So I love Oh God, I love
• 3:11
  Speaker 1: you guys. I'm happy to be here and for bad Boy.
• 3:15
  Speaker 1: So we're uh, we were thinking about doing Bad Boys
• 3:18
  Speaker 1: because the franchise, as Caitlin was alluded to, is being
• 3:22
  Speaker 1: I don't even is it being rebooted if it's the
• 3:24
  Speaker 1: same cast. I think it's just I've seen a little
• 3:27
  Speaker 1: bit of this script. I can't say everything. I actually
• 3:31
  Speaker 1: turned down audition for this movie. No, not the flags tired,
• 3:36
  Speaker 1: but I was working on something else, and I got
• 3:38
  Speaker 1: the audition and it was just a character that just
• 3:40
  Speaker 1: wasn't me. It was like a badass with tattoos, like
• 3:45
  Speaker 1: nose weapons. And I went into like I was self
• 3:49
  Speaker 1: taping shooting in Georgia, and I did the tape like
• 3:51
  Speaker 1: six times to the point of exhaustion. And then I
• 3:54
  Speaker 1: asked the guy who was taping. I was like, if
• 3:55
  Speaker 1: you were me, would you send the statement? And he
• 3:57
  Speaker 1: was like, no, you right, your honest things right. I
• 4:04
  Speaker 1: was like, and I won't. Um. But it's so it's
• 4:09
  Speaker 1: um just like the third installment of this sequel. So
• 4:12
  Speaker 1: it's not necessarily a reboot, it's just the third. It's
• 4:15
  Speaker 1: just like they made the third one very very far
• 4:17
  Speaker 1: away from the second and first the second. I mean,
• 4:20
  Speaker 1: it's sort of like the Before Sunrise trilogy because they're
• 4:23
  Speaker 1: almost like they're like eight years because the first one
• 4:27
  Speaker 1: was eight years after, the second one was eight years
• 4:28
  Speaker 1: after the first one, and then this one is, however,
• 4:31
  Speaker 1: like over a decade after that, so they you know,
• 4:36
  Speaker 1: they're in and out the bad boys. They got a
• 4:38
  Speaker 1: story to tell every once in a while, and this
• 4:41
  Speaker 1: is their most recent story. And and I guess that
• 4:44
  Speaker 1: one of the credited writers on The New Bad Boys
• 4:47
  Speaker 1: is Sally Field's son, So big win for nepotism. I
• 4:53
  Speaker 1: always love a good nepotism pick, just like his nepotism
• 4:58
  Speaker 1: rarely wins. I just I'm like, who nepotism should be
• 5:02
  Speaker 1: like a category at award shows, like who did men epotism?
• 5:07
  Speaker 1: That best daughter of an actor in the lead series?
• 5:11
  Speaker 1: Did you not realize how to recognizable last name? Is it?
• 5:14
  Speaker 1: Maya ha? I think Maya Hawk is one of the
• 5:16
  Speaker 1: new nepotisms, the new nepotisms, that's my show. I'm good right, Well,
• 5:20
  Speaker 1: sometimes it gets switched up because like Judd Apata's daughter
• 5:23
  Speaker 1: doesn't have the same last name, or does she? I know,
• 5:25
  Speaker 1: I don't like a sneak attack of nepotism, doesn't have
• 5:28
  Speaker 1: the same last name. We're not gonna go like sometimes
• 5:31
  Speaker 1: she does. It's maud at that one's very clear when
• 5:39
  Speaker 1: the nepotisms sneak in on you, I'm like, how dare
• 5:43
  Speaker 1: I mean? Jennifer Instant daddy was an actor and that's
• 5:45
  Speaker 1: not get on us because we really knew that. Well,
• 5:49
  Speaker 1: then you got like Nick Cage who change who was
• 5:52
  Speaker 1: Nick Coppola and then changed his name because he's like,
• 5:54
  Speaker 1: I don't want nepotism. Well he yeah, but it's like,
• 5:59
  Speaker 1: is a vander else that old money though, there's like
• 6:06
  Speaker 1: a documentary about him and his fancy, fancy mommy because
• 6:09
  Speaker 1: his mom's glory of Vanderbilt. It's like the fanciest and
• 6:12
  Speaker 1: it's You're just like, oh, no, I love it. I
• 6:15
  Speaker 1: love it if I had that last name, look flaunted.
• 6:17
  Speaker 1: Don't be out here trying to be like I earned
• 6:19
  Speaker 1: my stripe, spitch. Please, there's no way in hell even
• 6:21
  Speaker 1: if you change your name, bitch. You can't change your
• 6:23
  Speaker 1: area code. You can't change your family connections. You might
• 6:26
  Speaker 1: as well listen. If I was lazy, winfree, you would
• 6:28
  Speaker 1: know it everywhere I went. I'm like, don't maybe call
• 6:31
  Speaker 1: my mama, don't maybe call Oprah? Okay, everywhere I would
• 6:38
  Speaker 1: character you should do two pumps of vanilla, bitch, don't
• 6:42
  Speaker 1: you forget it? Did you ever have the opra chie
• 6:46
  Speaker 1: at Starbucks? I've had over everything. My mom has an
• 6:48
  Speaker 1: over room her house. Oh my god, I'm not even kidding.
• 6:51
  Speaker 1: That's wonderful. Yeah. I loved the Overchie so much I
• 6:54
  Speaker 1: didn't even taste it the same as the regular Chies richer,
• 6:58
  Speaker 1: but richer. I paid forty cents extra just for that,
• 7:01
  Speaker 1: just for the name from a woman with large breasts,
• 7:05
  Speaker 1: and also Kathy, that's what the overt I feel so okay.
• 7:09
  Speaker 1: So back to Bad Boys, Lacy, what's your history relationship
• 7:15
  Speaker 1: with this movie? Um, I mean I loved all the
• 7:17
  Speaker 1: Bad Boys. Um so, you know, I mean, it was
• 7:20
  Speaker 1: a great time for black people in cinema. It's big
• 7:22
  Speaker 1: action films, lost the bad He's loved Gabrielle Union in
• 7:25
  Speaker 1: one of them. I'm into it. I've been into Bad Boys.
• 7:29
  Speaker 1: So watching it again with this I for feminism. You know,
• 7:32
  Speaker 1: I was very nervous because I was like, oh, I
• 7:33
  Speaker 1: can't don't put a bad taste on my Bad Boys.
• 7:39
  Speaker 1: I was really rooting for it. Oh, I mean there
• 7:43
  Speaker 1: were moments where I was pleasantly surprised. But time period though,
• 7:49
  Speaker 1: I feel like it was doing a lot more than
• 7:51
  Speaker 1: the time period in contact. And this is the last
• 7:55
  Speaker 1: time I jumped to the defense, I promised. But for
• 7:57
  Speaker 1: Michael Bay, we've seen my tworst. I've seen much worse
• 8:02
  Speaker 1: from Michael Bay. But it's also not but that's not
• 8:05
  Speaker 1: a fair yard stick. It's totally not okay. Jamie, what's
• 8:10
  Speaker 1: your history. I saw Bad Boys Too at a drive
• 8:13
  Speaker 1: in movie theater when I was ten. I really liked it.
• 8:17
  Speaker 1: Didn't go back to get the other VHR. This is
• 8:19
  Speaker 1: the first time I've seen the first one. I've seen
• 8:21
  Speaker 1: the second one before. I don't know, Like I all
• 8:24
  Speaker 1: my cousins really liked Bad Boys and I knew the song,
• 8:27
  Speaker 1: but it was another one of those things where my
• 8:28
  Speaker 1: family is kind of like, that's not a movie for girls.
• 8:31
  Speaker 1: Boys is in the title, So so like, if if
• 8:34
  Speaker 1: I had, I would have had to really make an
• 8:36
  Speaker 1: effort to see the first one just because if boys
• 8:40
  Speaker 1: was in the title, I wasn't going to be able
• 8:42
  Speaker 1: to see it. Really, But yeah, I had at the
• 8:44
  Speaker 1: drive in liked it and and for all of this
• 8:47
  Speaker 1: movie's faults, Caitlyn, you admitted it in the text Threat Too,
• 8:51
  Speaker 1: It's a fun wrong. It's a fun wrong I had.
• 8:53
  Speaker 1: I was not bored. I was. I was just saying
• 8:56
  Speaker 1: a lot because the movie that Michael Bay makes after this,
• 8:58
  Speaker 1: The Rock a Lot Happy, and I'm so bored. So
• 9:01
  Speaker 1: this movie is is. The performances are are solid. The chemistry,
• 9:06
  Speaker 1: I'm telling the chemistry, they're on fire. The whole time,
• 9:09
  Speaker 1: So yeah, it's good. I had never seen any of
• 9:12
  Speaker 1: these movies until prepping for the episode. I watched Bad
• 9:15
  Speaker 1: Boys one twice. I watched the first half hour of
• 9:19
  Speaker 1: Bad Boys too, didn't finish it in time before we
• 9:21
  Speaker 1: had to start recording. And uh, yeah, that's my very
• 9:25
  Speaker 1: short history. But like I said, it's I never thought
• 9:28
  Speaker 1: I would sort of like a Michael Bay movie, and
• 9:31
  Speaker 1: yet here I am. I'm like this, it's fun. It's fun.
• 9:34
  Speaker 1: It's fun. I didn't realize it was a Michael Bay
• 9:36
  Speaker 1: movie until we were like starting to prep for it.
• 9:39
  Speaker 1: I wouldn't like, I don't know who is movie I
• 9:41
  Speaker 1: thought this was. But this is also Michael Bay's first
• 9:44
  Speaker 1: movie directorial debut for a feature. Yeah, I realized it
• 9:48
  Speaker 1: from the shots. And it's definitely a movie that you
• 9:51
  Speaker 1: need to watch in theaters because you need support to
• 9:54
  Speaker 1: make sense because on your television, boy, oh boy, all
• 9:57
  Speaker 1: those slow circular camera AND's angle up to the sky.
• 10:02
  Speaker 1: You know, he goes full corny so many times. I'm
• 10:06
  Speaker 1: really excited for context corner for this because I have
• 10:08
  Speaker 1: a bunch of quotes about the production of this movie,
• 10:10
  Speaker 1: and as with all Michael Bay, p Jecks it's like
• 10:13
  Speaker 1: you can't imagine, but but yeah, just like how he
• 10:18
  Speaker 1: like orchestrates somehow the corny ist possible shot every single
• 10:22
  Speaker 1: time where like suddenly Will Smith is shirtless and why
• 10:27
  Speaker 1: he was like running and then his chest is just out.
• 10:30
  Speaker 1: There's a whole story. I'm very excitive. All right, Well
• 10:34
  Speaker 1: should I do the recap? Yes a time? Okay. Mike
• 10:37
  Speaker 1: Lowry that's Will Smith and Marcus Burnett that's Martin Lawrence.
• 10:43
  Speaker 1: They are cops in Miami. It's very yellow at the beginning.
• 10:49
  Speaker 1: They are Michael Bay. Is that like a Michael Bay thing?
• 10:52
  Speaker 1: I guess I just think of them is on fire, right.
• 10:55
  Speaker 1: He does a lot of like post production coloring of
• 11:00
  Speaker 1: his footage. But they're driving around and then some criminals
• 11:04
  Speaker 1: try to car jack Mike Lowry's car. Marcus fat shames
• 11:09
  Speaker 1: one of them. And then but here's the thing. They're
• 11:12
  Speaker 1: bad boys. So they stopped the criminals or is it okay?
• 11:16
  Speaker 1: Bad boys? And they say so they okay? Because for
• 11:19
  Speaker 1: a minute I was like, wait, are they the bad
• 11:21
  Speaker 1: boys or does the bad boys refer to the bad
• 11:24
  Speaker 1: guys that the cops are trying to capture? I wasn't
• 11:28
  Speaker 1: super clear they're the boys. They're the bad boys for life.
• 11:32
  Speaker 1: You're right, And it took them twenty five years to
• 11:35
  Speaker 1: a minute, but they're the bad boys for life. So
• 11:39
  Speaker 1: they stopped the bad guys. Not to be confused with
• 11:42
  Speaker 1: the bad boys. The bad boys are the good guys, yeah,
• 11:45
  Speaker 1: but the bad guy yeah. Okay, So then we learned
• 11:51
  Speaker 1: more about Marcus and Mike. Marcus has a his wife, Teresa,
• 11:55
  Speaker 1: and boy is she his wife. Here's what we know
• 11:59
  Speaker 1: about this woman. And she is his wife, wife, and
• 12:03
  Speaker 1: he wants to have sex with her, but she's me.
• 12:08
  Speaker 1: She don't want to have sex. Her name is Teresa.
• 12:13
  Speaker 1: At least we know her name. We know what her
• 12:15
  Speaker 1: name is. What does she do all day? God only
• 12:17
  Speaker 1: she simply don't know. And they have three kids together.
• 12:22
  Speaker 1: But Mike Lowry, on the other hand, he's a bachelor, womanizer,
• 12:27
  Speaker 1: playboy who has a lot of sex with the ladies.
• 12:31
  Speaker 1: And that first thing where he goes to Martin Lawrence's
• 12:34
  Speaker 1: house and then he's like, hey, kids, want to hear
• 12:36
  Speaker 1: about this lady I fucked last night, And then the
• 12:39
  Speaker 1: wife is like no, And we're supposed to be like, oh,
• 12:43
  Speaker 1: she's such a buzz kill. You're like no, don't. They're
• 12:46
  Speaker 1: like small children. They weren't teenager. We're a little eight
• 12:50
  Speaker 1: year old. You'll hear about this. Ask I got into
• 12:52
  Speaker 1: last night, like what it was like, Uncle Mike, did
• 12:56
  Speaker 1: you go on a date? He's like, oh, I went
• 12:58
  Speaker 1: on a date. You're like, no, make this stuff right now.
• 13:02
  Speaker 1: Oh yes, okay. So then we cut to the bad
• 13:05
  Speaker 1: guys again, not to be confused with the bad boys.
• 13:08
  Speaker 1: The bad guys are breaking into somewhere and stealing something,
• 13:13
  Speaker 1: and now things are very blue. Then Marcus and Mike, okay,
• 13:17
  Speaker 1: the bad boys they had to work at the precinct.
• 13:19
  Speaker 1: And it turns out that the robbery that we just
• 13:21
  Speaker 1: saw was heroin being stolen out of their evidence locker.
• 13:26
  Speaker 1: At least it's not DVDs. I was like, I thought
• 13:28
  Speaker 1: it might be something really silly, like the First Fast
• 13:30
  Speaker 1: and The Furious where they're like DVDs were stolen, but
• 13:36
  Speaker 1: it's like many millions of dollars worth of heroin and
• 13:40
  Speaker 1: it was from Mike and Marcus is like biggest drug bust.
• 13:45
  Speaker 1: Joey Pantaliano is their police captain. And then this other captain,
• 13:50
  Speaker 1: a woman, watch out, Alison Sinclair, another captain. I loved
• 13:57
  Speaker 1: all forty five seconds of that. She is like breathing
• 14:02
  Speaker 1: down Joey Pants's neck and she's like, this might be
• 14:05
  Speaker 1: an inside job. Figure it out before the press gets involved.
• 14:09
  Speaker 1: So then the bad boys start trying to figure out
• 14:11
  Speaker 1: who stole the drugs, and they go to this boxing
• 14:15
  Speaker 1: gym where a woman named Max, she like Mike Lowry
• 14:19
  Speaker 1: is like, hey, Max, let me know if you hear
• 14:21
  Speaker 1: anything on the streets. And she has a crush on him,
• 14:25
  Speaker 1: so she's like okay, and then she's like and let
• 14:27
  Speaker 1: me know if and he's like, yeah, we'll see. Anyways,
• 14:32
  Speaker 1: she dies, Um. Yeah. Then they go to this rich
• 14:39
  Speaker 1: guy's house and he I think was the one who
• 14:42
  Speaker 1: installed the ventilation system that the bad guys snuck through
• 14:48
  Speaker 1: to steal the heroine. When they get inside the house,
• 14:51
  Speaker 1: he's dead. So Mike and Marcus, who reminder our cops,
• 14:56
  Speaker 1: they just start rifling through the crime scene, getting her
• 15:00
  Speaker 1: fingerprints everywhere before any sort of like crime scene photos
• 15:04
  Speaker 1: are taken, you know, just spoiling the whole thing. Also
• 15:07
  Speaker 1: lots of banter about the dead guys. Know, they keep
• 15:11
  Speaker 1: it funny when there's a body in the room. Think
• 15:13
  Speaker 1: let's keep it like yeah, Like Martin Lawrence is like, oh,
• 15:16
  Speaker 1: it's stinky. I don't like it. He like almost pukes
• 15:20
  Speaker 1: as this way every time we run a dead body,
• 15:22
  Speaker 1: you know, every day? Why what? Why? And then they
• 15:26
  Speaker 1: just have a banter and I'm like, he was dead here? Okay, yeah, okay.
• 15:32
  Speaker 1: So then Max, who we find out is a sex worker,
• 15:36
  Speaker 1: and her best friend Julie that's Talione, go to a
• 15:41
  Speaker 1: guy's house because Max thinks that he might be in
• 15:44
  Speaker 1: on this like drug heist thing. Uh. And then he
• 15:48
  Speaker 1: brings out a package of the heroine on a platter
• 15:51
  Speaker 1: and we're like, oh, yes, he is in on it.
• 15:53
  Speaker 1: But then suddenly a bunch of bad guys show up
• 15:56
  Speaker 1: and they shoot and kill Max after a long monologue
• 16:01
  Speaker 1: and and lots of like making them dance around. It
• 16:04
  Speaker 1: was like, I don't kill everybody in here. Why you
• 16:06
  Speaker 1: gotta talk so much beforehand? They go dad like, and
• 16:09
  Speaker 1: before you let me tell you this, kill him and
• 16:14
  Speaker 1: go right. But then okay, So Julie, who had gone
• 16:19
  Speaker 1: to the bathroom and missed out on the killing spree,
• 16:22
  Speaker 1: witnesses all of this and manages to escape escape on
• 16:25
  Speaker 1: her own. I was like, okay, Michael Bay movie, we
• 16:28
  Speaker 1: got to do things. Yeah, as surprising, so's jump in
• 16:32
  Speaker 1: a pool. Right, So now the bad boys have to
• 16:37
  Speaker 1: figure out who this witnesses and they have to find her,
• 16:40
  Speaker 1: but she calls them first. But and she wants to
• 16:42
  Speaker 1: talk to Mike Lowry because her friend Max had talked
• 16:46
  Speaker 1: him up so much, but he's not at his desk
• 16:49
  Speaker 1: and she's like, well, I only want to talk to
• 16:51
  Speaker 1: Mike Lowry. So then Marcus pretends to be Mike over
• 16:56
  Speaker 1: the phone. The weirder plot points in the movie because
• 16:59
  Speaker 1: they could have bailed on this lie pretty early on
• 17:02
  Speaker 1: and probably like with no consequence. I think it seems right.
• 17:08
  Speaker 1: They really like keep doubling down on this. But it's yeah,
• 17:14
  Speaker 1: because you got a trick a woman. It's the nineties,
• 17:18
  Speaker 1: every movie the nineties checking a woman. Yes, they're just
• 17:21
  Speaker 1: doing it to do it. After a while, yeah, it
• 17:24
  Speaker 1: becomes it's weird, like Shakespearean comedy of errors thing, and
• 17:27
  Speaker 1: we're like, okay, fine, it's weird. It's weird, but it's
• 17:33
  Speaker 1: a Michael Bay movie anyway, right, So then Marcus goes
• 17:37
  Speaker 1: over to her apartment, still pretending to be Mike Lowry
• 17:42
  Speaker 1: and the bad guys show up. He helps her escape
• 17:45
  Speaker 1: this time. Then Marcus, still pretending to be Mike take right,
• 17:50
  Speaker 1: takes Julie to Mike's apartment and leaves her there because
• 17:55
  Speaker 1: she refuses to go anywhere for protective custody except for
• 17:59
  Speaker 1: Mike Lowry's condo, So it's hard to trace the logic there.
• 18:05
  Speaker 1: I think maybe because her best friend trusted him. Also,
• 18:10
  Speaker 1: the guy who got murdered in the heroine thing, who
• 18:13
  Speaker 1: was also a criminal, was a cop, so she was like, oh,
• 18:16
  Speaker 1: the cops are Dirney. I can't go there. They're gonna
• 18:19
  Speaker 1: give me yet, So let's go to your house. Mike Lowry. Okay,
• 18:25
  Speaker 1: that helps. That's how all black people say Michael Lowry.
• 18:30
  Speaker 1: And so now they've got to do this whole switcheru
• 18:36
  Speaker 1: where Mike has to pretend to be Marcus and stay
• 18:39
  Speaker 1: with Marcus is his wife, and they don't, but they
• 18:42
  Speaker 1: do for some right. And then Marcus stays at Mike's
• 18:45
  Speaker 1: place pretending to be Mike and he's protecting Julie the witness.
• 18:51
  Speaker 1: Then he starts showing Julie mug shots to see if
• 18:54
  Speaker 1: any of the people are someone that she recognizes as
• 18:58
  Speaker 1: one of Max's ers. And there's this one guy that
• 19:01
  Speaker 1: she does recognize Noah. So then Mike and Marcus go
• 19:05
  Speaker 1: to a nightclub called Club Hell. You know it's lit.
• 19:14
  Speaker 1: That was that was a big one for me. I
• 19:16
  Speaker 1: loved it. And then and it follows through on the
• 19:19
  Speaker 1: name that club I can't scary. Yeah, I mean there's
• 19:23
  Speaker 1: like brown piss in the urinalis, like who goes here?
• 19:28
  Speaker 1: They're like bodies hanging from the ceiling that are wrapped
• 19:31
  Speaker 1: in aluminum foils. You want something bad to happen to you,
• 19:36
  Speaker 1: that's when you go. You have a death wish. Halloway
• 19:39
  Speaker 1: tonight we're going to clap Hill. There's also like this
• 19:46
  Speaker 1: giant fish tank that serves as a window into the
• 19:49
  Speaker 1: men's restroom. But to be fair, if there's not a
• 19:53
  Speaker 1: fish tank at the club at the movie, are you
• 19:56
  Speaker 1: eving at a club at the ready? And then also
• 19:58
  Speaker 1: what are they going to smash in to? It's not you.
• 20:03
  Speaker 1: That's the route. That's the rule of movie fish. That's
• 20:08
  Speaker 1: a new rule rule of fish. So they're at Club
• 20:10
  Speaker 1: Hell to look for Noah the bad guy, and Julie
• 20:13
  Speaker 1: decides that she's going to go to and she brings
• 20:15
  Speaker 1: a gun that she gets I guess out of Mike's
• 20:18
  Speaker 1: apartment and the bad Guys and the bad Boys they
• 20:22
  Speaker 1: all spot each other. There's there's this big fight that
• 20:25
  Speaker 1: breaks out. Then there's a car chase. The bad boys
• 20:28
  Speaker 1: and Julie getaway once again, but they still don't have
• 20:31
  Speaker 1: any real leads. Then there's this whole thing where like
• 20:34
  Speaker 1: Julie pretends to be horny for Marcus and then she's
• 20:38
  Speaker 1: like wow, wow, will Smith, it's so hot. And then
• 20:42
  Speaker 1: it leads to this misunderstanding where Marcus thinks that Mike
• 20:46
  Speaker 1: is having sex with his Wife's also unnecessary, and then
• 20:52
  Speaker 1: in a kiddie pool, right, because the thing about Mike
• 20:56
  Speaker 1: Marcus is that they're bad boys for life, but they
• 20:58
  Speaker 1: also fight so much testoster. My favorite part of that
• 21:03
  Speaker 1: is when they finished the fight, the gun slides out
• 21:05
  Speaker 1: of the kiddie pool. So they've been fighting like armed,
• 21:09
  Speaker 1: they could have killed each other, thought they were just
• 21:11
  Speaker 1: wrestling with gun. Yeah, so masculine, I won't date a
• 21:16
  Speaker 1: man who has wrestled once with a five firearm. Okay,
• 21:22
  Speaker 1: So then it's ridiculous. So they're still trying to figure
• 21:27
  Speaker 1: out who was behind stealing the heroine and like what
• 21:30
  Speaker 1: they planned to do with it. Then Marcus's wife his
• 21:34
  Speaker 1: wife shows up and she's mad at Marcus for lying
• 21:37
  Speaker 1: to her about going to Cleveland, but it's still framed like, oh,
• 21:41
  Speaker 1: she's such an obstacle. Exactly why is she so mad?
• 21:46
  Speaker 1: Believe the lies I told you, Theresa? Why? God? But
• 21:51
  Speaker 1: then this also means that the jig is up and
• 21:53
  Speaker 1: Julie now knows that Marcus was lying about being Mike Lowry.
• 21:59
  Speaker 1: Just then the bad guys show up again. Another gunfight ensues,
• 22:04
  Speaker 1: and the we got a damsel, this, we got a damsel.
• 22:09
  Speaker 1: They kidnapped her and they get away with her because
• 22:11
  Speaker 1: she's emotional and that's why she decided to become a damsel.
• 22:16
  Speaker 1: She was so smart the rest of this time, and
• 22:18
  Speaker 1: now she's like, I'm just gonna want the streets by
• 22:19
  Speaker 1: myself because I'm mad at you. Cops right by her
• 22:24
  Speaker 1: snatched her. Excuses like well, if Marcus's wife can find us,
• 22:30
  Speaker 1: then the bad guys can find us too, and it's
• 22:32
  Speaker 1: like that doesn't track. I think like Marcus's wife would
• 22:37
  Speaker 1: know where Mike Glowry lives anyway. So they've kidnapped her
• 22:41
  Speaker 1: and they're getting away. So now Mike and Marcus only
• 22:45
  Speaker 1: have a couple of hours before the big deal goes down,
• 22:50
  Speaker 1: and suddenly there's another important female character, Francine. She is
• 22:55
  Speaker 1: I think, like a secretary. But the precinct, I thought
• 22:58
  Speaker 1: they were maybe a little mean to They were a
• 23:01
  Speaker 1: little hard on Francy because Francine, the bad guys go
• 23:05
  Speaker 1: to get information from her and they're like, we'll kill
• 23:07
  Speaker 1: your son if you don't give us the information. So
• 23:09
  Speaker 1: obviously she gives it to them, and then she reports
• 23:11
  Speaker 1: this to Mike and Mike's like okay, Like he's like,
• 23:16
  Speaker 1: I was like, what what choice did she have? Will Smith? Yeah,
• 23:19
  Speaker 1: she's being blackmailed, I think with like photographs the nude. Yeah,
• 23:23
  Speaker 1: they took nudes of her and then they were threatening
• 23:25
  Speaker 1: to post them at her son's school, so they weren't
• 23:28
  Speaker 1: even thrown. I don't even think they were threatening together.
• 23:30
  Speaker 1: It was like a horny blackmail. And also they're most
• 23:33
  Speaker 1: steaks blackmail in the nineties because like how far could
• 23:36
  Speaker 1: you get with some nudes online? You know, It's not
• 23:39
  Speaker 1: like now we could put them on Twitter. Back then's
• 23:41
  Speaker 1: like old timing, Like what do you have to scan
• 23:43
  Speaker 1: them into the composer? You're gonna scan to my son?
• 23:48
  Speaker 1: And this polaroid Selnese. Yeah, they should have tried to
• 23:55
  Speaker 1: kill this son. That makes more sense. Oh maybe I
• 23:57
  Speaker 1: was just you were trying to sit with that is
• 24:00
  Speaker 1: trying to say, Okay, it's like they said they was
• 24:02
  Speaker 1: gonna upload my fugie nudes, my grainy f Yeah that's Francine.
• 24:15
  Speaker 1: She but like, yeah, she's been blackmailed. So she was
• 24:18
  Speaker 1: like giving the bad guys some information. But then she
• 24:22
  Speaker 1: helps out Mike and Marcus and then they know where
• 24:25
  Speaker 1: to go now, so they go to this airplane hangar
• 24:28
  Speaker 1: because that's where like the big the drug deal is
• 24:30
  Speaker 1: going to go down. Then there's another big fight and
• 24:32
  Speaker 1: I honestly stopped writing the recap here, so I don't
• 24:36
  Speaker 1: totally remember what happens. I feel like they just they win,
• 24:38
  Speaker 1: and then they rescue Julie and everything. They rescue her,
• 24:42
  Speaker 1: they're finally then Will Smith is able to say I
• 24:45
  Speaker 1: love you to Martin Lawrence, which is his I kind
• 24:47
  Speaker 1: of actually really liked that little arc anyway, over a
• 24:50
  Speaker 1: dead guy's body, also over and like really not concerned
• 24:54
  Speaker 1: about it. That's when their moments happen. Over a dead
• 24:58
  Speaker 1: guy's body. Will Smith is like I love you, my friend,
• 25:01
  Speaker 1: and he's like Wow. And then Tayley and he's like,
• 25:03
  Speaker 1: am I cool? And they're like yes, And there's a
• 25:06
  Speaker 1: dead man there though. Cool. And then Martin Lawrence handcuffs
• 25:10
  Speaker 1: Will Smith to tay and then he's like, I gotta
• 25:13
  Speaker 1: go see my wife. And now it last, I'm going
• 25:18
  Speaker 1: to fund my wife, who, as far as we know,
• 25:20
  Speaker 1: it's still mad at him. Right. So and that's the
• 25:23
  Speaker 1: end of the movie. Alright, cool, bad boys, bad boys.
• 25:26
  Speaker 1: What you're gonna do, what you're gonna do when it
• 25:29
  Speaker 1: comes for you. Let's take a quick break. Yeah, let's
• 25:33
  Speaker 1: do it. And we're back. We're back and we're bad.
• 25:43
  Speaker 1: We're back and we're bad boys back. We're back, We're bad,
• 25:45
  Speaker 1: We're boys. Uh. Can I do a little bit of
• 25:48
  Speaker 1: contact learner? Okay? Okay. So this is Michael Bay's directorial debut.
• 25:56
  Speaker 1: He has directed some music videos at this point. He's
• 25:59
  Speaker 1: famously directed Meat Loaf music video and so he's coming
• 26:03
  Speaker 1: in and but even though it's his first movie, he's
• 26:07
  Speaker 1: very confident about his ability to direct this movie. So
• 26:11
  Speaker 1: there is this great I think we talked about it
• 26:13
  Speaker 1: in the Rock and Trent. This is the third Michael
• 26:16
  Speaker 1: Bay movie, Recovering, and that's maybe something that we should
• 26:20
  Speaker 1: keep in mind about our dignity. That's true. But so
• 26:25
  Speaker 1: we've used this article a bunch. But it is an
• 26:27
  Speaker 1: oral history published in g Q inn called an oral
• 26:30
  Speaker 1: history of Michael Bay the most explosive director of all time. Sure,
• 26:35
  Speaker 1: so I pulled some quotes about Bad Boys. Um So,
• 26:40
  Speaker 1: One of the producers of the movie, Jennifer Klein said, quote,
• 26:45
  Speaker 1: there was no script when they started filming Bad Boys.
• 26:48
  Speaker 1: Um So, that's something. Uh No, Martin Laurence does a
• 26:53
  Speaker 1: lot of improv It did seem like, hey, we need
• 26:56
  Speaker 1: to fill up two minutes before we get to the
• 26:58
  Speaker 1: plat points. So Martin, you just you just let it rip, Okay,
• 27:02
  Speaker 1: we'll figure it out in the edit room. And it's
• 27:04
  Speaker 1: just like say thing. There was like a moment where
• 27:06
  Speaker 1: Martin Lawrence should have told Mike Lowry that he had
• 27:09
  Speaker 1: the woman in his apartment, But instead of saying that,
• 27:12
  Speaker 1: he's like, why do you wait? Why do you come
• 27:13
  Speaker 1: home last night? More planning? Where was you that for
• 27:16
  Speaker 1: like a three minutes? And I was like, why won't
• 27:19
  Speaker 1: you just tell him there's a woman in his house?
• 27:21
  Speaker 1: It was like yeah, And another thing, my ass is
• 27:23
  Speaker 1: hurting today because and I'm like, are you going to
• 27:25
  Speaker 1: get to the woman in the house that was Michael
• 27:27
  Speaker 1: Bay like being like, no, we need more screen time more.
• 27:31
  Speaker 1: I was like, we just gotta fill the time, and
• 27:34
  Speaker 1: we're I mean, there's like that all like weirdly half
• 27:38
  Speaker 1: improvised scenes in Michael bay movies are weird or offensive,
• 27:42
  Speaker 1: but like and this one there was like weird like
• 27:44
  Speaker 1: conversation they had about like who are they were they
• 27:47
  Speaker 1: too other detectives who are like Lucille Ball is stupid?
• 27:50
  Speaker 1: And then they said something like racist about Desi Arnez
• 27:54
  Speaker 1: and then and then and then the scene starts and
• 27:56
  Speaker 1: it has there's always some black and Latino conflict because
• 28:00
  Speaker 1: it's in Miami. So they're like, we've got to keep
• 28:02
  Speaker 1: it true to Miami, the blacks and Latinos. Scott to
• 28:05
  Speaker 1: argue with, and we are going to hire three white
• 28:09
  Speaker 1: male writers, but let's make it authentic. You're like, yikes.
• 28:14
  Speaker 1: So the most interesting part of the oral history for
• 28:17
  Speaker 1: this movie is uh that surprise, surprise. Martin Lawrence is
• 28:21
  Speaker 1: not a big fan of Michael Bays when this movie
• 28:24
  Speaker 1: was being made, but I guess later he was like,
• 28:26
  Speaker 1: I guess I don't care. Hardy this is maybe you know,
• 28:31
  Speaker 1: he has since made a hard turn on Michael Bay.
• 28:35
  Speaker 1: So I'll just read this exchange. So Michael Bay says, quote,
• 28:38
  Speaker 1: by week two, Martin was being a dick to me,
• 28:41
  Speaker 1: and I was like, what is this attitude? He didn't
• 28:43
  Speaker 1: trust the white man? That was the deal? Unquote Martin.
• 28:49
  Speaker 1: Martin Lawrence says, quote, That's exactly what it was. You know, Michael,
• 28:54
  Speaker 1: he has a certain bravado. One time he said to me,
• 28:56
  Speaker 1: I need your notes on the script, and I looked
• 28:58
  Speaker 1: at him. I said, Michael, yeah, I'll you the notes
• 29:00
  Speaker 1: when I get to it, and he looked at me
• 29:02
  Speaker 1: with this blank stare, like, oh he did not. So
• 29:05
  Speaker 1: they're just like okay. Uh. Michael Bays says quote, Eventually
• 29:09
  Speaker 1: I took Martin aside and said, dude, what's your deal.
• 29:12
  Speaker 1: I'm busting my ask to make you look good, make
• 29:14
  Speaker 1: you look funny, and you just keep belittling me. Hey,
• 29:18
  Speaker 1: then you look funny, Martin Lawrence, he does not need
• 29:22
  Speaker 1: music video direct Uh. And then here's the speech, almost
• 29:27
  Speaker 1: like it was ready to come out. Martin says, I'm
• 29:30
  Speaker 1: a black man that made it from nothing, and this
• 29:32
  Speaker 1: is okay, this is the wild okay, and I said,
• 29:35
  Speaker 1: Michael Bays said, you know what, I'm a white guy
• 29:37
  Speaker 1: who made it from nothing too. I grew up in
• 29:40
  Speaker 1: the fucking valley, slavery in the fucking valley. And then
• 29:49
  Speaker 1: the quote ends instant respect unquote, and then Martin Lawrence's quote,
• 29:53
  Speaker 1: I had to get to know him. We grew to
• 29:55
  Speaker 1: be the coolest this I uh we we don't know
• 30:02
  Speaker 1: it was. I grew up in the fucking valley. It's
• 30:06
  Speaker 1: just like being a black man in America. Let me
• 30:09
  Speaker 1: the fun. This fucking man, he's reb um. So, so
• 30:14
  Speaker 1: that's some background where where everyone's coming from. But the
• 30:20
  Speaker 1: I mean the valley, so he's really experienced a lot
• 30:23
  Speaker 1: of hardship coming from Pasadena. Um anyways, um, And then
• 30:30
  Speaker 1: there's like some other stuff just about how like this
• 30:33
  Speaker 1: is Michael bays movie where he basically establishes his corny,
• 30:36
  Speaker 1: over the top style and Will Smith didn't okay, So
• 30:39
  Speaker 1: Will Smith says, quote Michael Bay was like, oh, take
• 30:42
  Speaker 1: your shirt off and run with the gun. And I
• 30:44
  Speaker 1: was like, come on, man, that's that's just on the
• 30:47
  Speaker 1: edge of corny. But Michael can take things you'd think
• 30:49
  Speaker 1: of as corny and make it super galactic iconic. Unfortunately,
• 30:53
  Speaker 1: I would contest this. I mean, let's not forget that
• 30:57
  Speaker 1: Will Smith is a Libra, so you know, he's honestly
• 31:02
  Speaker 1: just trying to keep the scales mounse. He knows Martin's
• 31:05
  Speaker 1: over here, like I'm a black man. Who was this
• 31:07
  Speaker 1: music devideo director. He's like, all right, Michael, geez, if
• 31:09
  Speaker 1: it's gonna keep everybody onset happy, I'll pull out these
• 31:13
  Speaker 1: six abs. Come on, now, I'm not mad at it,
• 31:19
  Speaker 1: there's no I mean, I'm glad this shot was there.
• 31:21
  Speaker 1: I mean, I wasn't unhappy with it, but I will
• 31:24
  Speaker 1: see Wilson miss abbs any one time. You want to
• 31:26
  Speaker 1: give them to me. It's formative. So uh so. So
• 31:30
  Speaker 1: that's the production background. And this movie did incredibly well.
• 31:36
  Speaker 1: Um it had what had a nineteen million dollar budget,
• 31:39
  Speaker 1: which I guess Michael Bay ended up sinking a bunch
• 31:42
  Speaker 1: of his own money in it to make the explosions bigger,
• 31:45
  Speaker 1: of course, but it made almost a hundred million dollars
• 31:48
  Speaker 1: at the box office. Did really well. Meant that he
• 31:50
  Speaker 1: could make the rock and basically this is the reason
• 31:53
  Speaker 1: that we're stuck with him. Another thing I thought was
• 31:55
  Speaker 1: interesting about the background of this movie is that originally
• 31:59
  Speaker 1: the p Ball that we're going to be cast, but
• 32:03
  Speaker 1: scheduling thing was John Lovett and Dana Carvey. That movie
• 32:08
  Speaker 1: would have suck. Would have seen that? And what that
• 32:12
  Speaker 1: would that? What Dana Carvey as what? Oh? Wait? Them
• 32:16
  Speaker 1: as the bad Ball? No? Instead of Will Smith and
• 32:20
  Speaker 1: Martin Lawrence. What isn't that? That's like, um, you know,
• 32:25
  Speaker 1: everything ended up Wayne's everything. And then Will Smith was
• 32:32
  Speaker 1: also not supposed to be in it. They wanted Arsenio Halls.
• 32:35
  Speaker 1: I read that and he said no. And then they're like,
• 32:38
  Speaker 1: all right, Will Smith because this was like Will Smith's
• 32:40
  Speaker 1: movie where they're like, oh, he's like yeah, Like he's
• 32:45
  Speaker 1: not just like a TV boy, so this is like
• 32:47
  Speaker 1: a big for him. They got very lucky that that
• 32:49
  Speaker 1: casting fell through, because Jesus did they have it wrong?
• 32:52
  Speaker 1: This supposed to be a sexy Miami movie. You're gonna
• 32:55
  Speaker 1: have these datl actors. This movie would have been horrible.
• 32:59
  Speaker 1: I mean, the combo of Michael Bay's corny as shots
• 33:03
  Speaker 1: and then these corny as mints, Oh my god, it
• 33:07
  Speaker 1: would have been really bad. Yeah. Um, so so that's
• 33:11
  Speaker 1: that's a little bit of the context for you. Thank
• 33:15
  Speaker 1: you Jamie. Welcome. So let's talk about the ladies, shall we. Yeah, well,
• 33:23
  Speaker 1: this is a movie that has boys in the title,
• 33:27
  Speaker 1: boys in the title, so it is not too concerned
• 33:30
  Speaker 1: with women. Unfortunately, women are generally framed as either being nagging,
• 33:36
  Speaker 1: frigid shrews or just meddlesome police captains or if we're
• 33:43
  Speaker 1: talking about Teleoni, the main female character of the movie,
• 33:46
  Speaker 1: is constantly damseled harassed. Anytime women shows emotions, there's like
• 33:53
  Speaker 1: a disproportionate consequence, like like I say, was saying, like
• 33:58
  Speaker 1: shows emotion like really one time when she storms out
• 34:02
  Speaker 1: and then she's immediately like abducted. Yeah. Ta. Leoni also
• 34:07
  Speaker 1: seems to be putting moisturize around her legs a lot
• 34:09
  Speaker 1: of this movie. Her legs were very dry, the most
• 34:13
  Speaker 1: arid legs of a movie. So this is nothing new
• 34:17
  Speaker 1: for Michael Bay, but he loves to objectify and overly
• 34:22
  Speaker 1: sexualize women's bodies in his movie. Something that stood out
• 34:27
  Speaker 1: to me was Teleoni seemed to have a bunch of
• 34:30
  Speaker 1: sexy changes of clothes at a place she did not
• 34:33
  Speaker 1: live right, and she did not pack at the other place.
• 34:36
  Speaker 1: They were shot out of there by gunfire, so the
• 34:38
  Speaker 1: assumption is that Mike Glay just has sexy women clothes
• 34:42
  Speaker 1: and which actually could track. He's like, my bearis size four,
• 34:46
  Speaker 1: Like she's wearing a leather dress when she needs him,
• 34:50
  Speaker 1: and like where did this come from? Well, there's that
• 34:52
  Speaker 1: scene where like a masseuse shows up at his apartment
• 34:57
  Speaker 1: ready to like give Will Smith a massage JJ, and
• 35:00
  Speaker 1: then Martin Laures has to be like, go away. Honestly,
• 35:04
  Speaker 1: my dream wrong. But so I think we're meant to believe.
• 35:07
  Speaker 1: I think we're meant to believe that women are just
• 35:09
  Speaker 1: showing up at Mike Lowry's apartment all the time and
• 35:13
  Speaker 1: presumably leaving items of clothing behind. I'll wear these things,
• 35:18
  Speaker 1: and every time, you know, Martin comes back to the apartment,
• 35:20
  Speaker 1: he was like, oh, I was just lotion him a pussy.
• 35:22
  Speaker 1: What's up slooping myself up in case something. I have
• 35:29
  Speaker 1: a quick list though, of all the of the main
• 35:32
  Speaker 1: moments in which women's bodies are overly sexualized. We've got
• 35:36
  Speaker 1: the opening shot where a scantily clad woman gets out
• 35:40
  Speaker 1: of the car with the other criminals, the bad guys.
• 35:43
  Speaker 1: She just like walks past the bad boys to distract
• 35:47
  Speaker 1: them so that the criminals can carjack them, so it's
• 35:50
  Speaker 1: just like a woman there as a prop basically to
• 35:53
  Speaker 1: distract the bad boys. Then there's the scene where that
• 35:58
  Speaker 1: you talked about Lacey, where she's just like putting lotion
• 36:01
  Speaker 1: on in this very sexy way even though she's alone
• 36:06
  Speaker 1: in a stranger's Yeah, I do it every day it was.
• 36:09
  Speaker 1: There was another one where like, I guess they're about
• 36:12
  Speaker 1: to go to bed and my Martin Lawrence is pretending
• 36:14
  Speaker 1: to be my glory, so he's like, she's like, come
• 36:16
  Speaker 1: to bed, and then she's got her feet up and
• 36:19
  Speaker 1: she's got a belt around her feet or something, and
• 36:22
  Speaker 1: she's just like playing with her legs. And that's weird
• 36:26
  Speaker 1: to because it's like, we haven't really been given any
• 36:28
  Speaker 1: indication that she's like into him. She seems very mistrustful
• 36:32
  Speaker 1: of him and right, so I think what's happening here
• 36:36
  Speaker 1: is that she's starting to catch on to the fact.
• 36:39
  Speaker 1: She's like yeah, but it's not totally clear because the
• 36:43
  Speaker 1: first time I watched it, I was like, Oh, she's
• 36:45
  Speaker 1: just really horny for him all of a sudden, and
• 36:47
  Speaker 1: then the second time I was like, oh, wait, no,
• 36:49
  Speaker 1: I think she's actually trying to like call his bluff,
• 36:52
  Speaker 1: but she's not clear one way or the other, so
• 36:54
  Speaker 1: they're still making her stupid because the second that she
• 36:56
  Speaker 1: sees Will Smith, she should be like, oh, I went
• 36:58
  Speaker 1: to a house where all of your photos were there,
• 37:00
  Speaker 1: that's your doo and too real quick, but like no,
• 37:05
  Speaker 1: she's a stupid lady with boobs, so she'll believe this man.
• 37:11
  Speaker 1: And then there's like that in that same scene, there's like,
• 37:13
  Speaker 1: I mean, there's there's a bunch of like no homo
• 37:17
  Speaker 1: moments in this movie that do not age well and
• 37:20
  Speaker 1: weren't good then, but like, I feel like that's another
• 37:23
  Speaker 1: way she sort of tries to call his bluff and
• 37:26
  Speaker 1: then it's like he you know, they immediately go full
• 37:28
  Speaker 1: no homo And then you're just like right, because she
• 37:31
  Speaker 1: sees all these photos of Will Smith in the apartment
• 37:35
  Speaker 1: and she's like, oh, who's that. I thought he might
• 37:37
  Speaker 1: be your lover, and Martin Lawrence is like, um no,
• 37:41
  Speaker 1: he's not my lover. I'm not gay. He's my police partner. Yeah,
• 37:47
  Speaker 1: it's just like totally no homo moment. Martin Lawrence is
• 37:51
  Speaker 1: horrified by the idea that someone might think he's gay. Yeah,
• 37:55
  Speaker 1: well that's one horrible way to approach this. Yeah. Yeah,
• 38:00
  Speaker 1: so I know that using Michael Bay as a yardstick
• 38:04
  Speaker 1: is unwise and we can't, but but I I mean
• 38:08
  Speaker 1: it is interesting, just like because we've seen so much
• 38:13
  Speaker 1: of his filmography now for some reason, to see someone's
• 38:17
  Speaker 1: attitude towards women get worse over time, like expert, Like,
• 38:23
  Speaker 1: there there's a lot, I mean, there's a lot of
• 38:25
  Speaker 1: hallmarks of like how badly Michael Bay treats his female
• 38:28
  Speaker 1: characters in this movie, but like she's being treated like
• 38:32
  Speaker 1: a queen compared to how like Megan Foxes treet Like
• 38:35
  Speaker 1: it's it's a power dynamic. As soon as Michael Bay
• 38:38
  Speaker 1: had the power than it was like Okay, come here,
• 38:41
  Speaker 1: you skank bitch, I'm gonna make you a star. You
• 38:44
  Speaker 1: better say thank you and maybe give me some six.
• 38:46
  Speaker 1: And he's like also just one of those guys you know,
• 38:49
  Speaker 1: like before he had things in the Valley. I'm sure
• 38:52
  Speaker 1: in his life when he was a black man in
• 38:53
  Speaker 1: the Valley, a big struggle for him was he couldn't
• 38:57
  Speaker 1: get bitches. He's not like a good looking guy my pitches.
• 39:01
  Speaker 1: I mean, that's what Michael Bay calls women. And and
• 39:04
  Speaker 1: I mean I've seen him at restaurants and ship and
• 39:06
  Speaker 1: he's always at the youngest girls, like the youngest little
• 39:09
  Speaker 1: like twenty sings even you know, nineties and twenties and stuff.
• 39:13
  Speaker 1: So I think it's a thing of like as soon
• 39:14
  Speaker 1: as he started getting more power, it's like, Okay, now
• 39:18
  Speaker 1: I'm gonna teach you a lesson. God does not surprise
• 39:22
  Speaker 1: me at all. Um. Yeah, I mean the way even
• 39:25
  Speaker 1: in this movie where he probably because this is his
• 39:28
  Speaker 1: first feature, like he's probably not given a whole enormous
• 39:33
  Speaker 1: ton of creative freedom at least in terms of like
• 39:36
  Speaker 1: how he treats the female characters. But even in this movie,
• 39:39
  Speaker 1: there's still so much like objectification and mistreatment of women.
• 39:43
  Speaker 1: But I think that's just like the action franchise. It's
• 39:46
  Speaker 1: like we're gonna have cars, you're gonna have explosions, and
• 39:49
  Speaker 1: you're going to have legs and acid titty. There's a
• 39:51
  Speaker 1: scene where like they're running there there's like a chase,
• 39:54
  Speaker 1: one of many chase scenes, but one of them they
• 39:57
  Speaker 1: run through like a photography shoot where women 're just
• 40:00
  Speaker 1: like in bikinis and they just like interrupt this shoot
• 40:03
  Speaker 1: that just didn't have to be in the movie at all.
• 40:07
  Speaker 1: There's one there's that scene where they run outside and
• 40:11
  Speaker 1: there's um a bunch of people in wheel wheelchairs and
• 40:14
  Speaker 1: they just knock someone. It's like, why do that? What
• 40:18
  Speaker 1: are you doing? People with disabilities are treated as an
• 40:21
  Speaker 1: obstacle in this movie, and that's well, and that's like
• 40:24
  Speaker 1: Michael Bay Bread and Butter Ship too. It sucks because
• 40:28
  Speaker 1: it's like I didn't dislike Julie's character at least in
• 40:33
  Speaker 1: the abstract. I feel like she And it sucks because
• 40:38
  Speaker 1: I'm just comparing it to other action movies and Michael
• 40:41
  Speaker 1: Bay movies, so we're not operating in you know, like
• 40:44
  Speaker 1: women in action franchises. Still, there's really not that much
• 40:48
  Speaker 1: and if there are, it's just a reboot of an
• 40:50
  Speaker 1: all male franchise and then everyone gets upset. But I
• 40:55
  Speaker 1: did think that Julie participated more than your average action sideline.
• 41:01
  Speaker 1: I mean, she's still largely sidelined, but at least she
• 41:05
  Speaker 1: contributes in some moments, and like there was like there's
• 41:09
  Speaker 1: that scene towards the end where she like insists on
• 41:11
  Speaker 1: being allowed to be there and be involved, and I
• 41:14
  Speaker 1: mean she's basically wrong because she doesn't have a weapon
• 41:17
  Speaker 1: or any way to defend herself about or ability, right,
• 41:21
  Speaker 1: But I was just like, I guess that that, Huh,
• 41:23
  Speaker 1: I don't. I mean, I feel like she does more
• 41:26
  Speaker 1: than your average like woman in a nineties era action
• 41:31
  Speaker 1: he is allowed to do. But that's not saying that's
• 41:32
  Speaker 1: not there. Yeah. She also she like finds because they
• 41:36
  Speaker 1: the bad boys a k a. The good guys, are
• 41:39
  Speaker 1: constantly handcuffing her to a vehicle. Um, So at one
• 41:46
  Speaker 1: point she finds the handcuff keys and like steals it
• 41:50
  Speaker 1: and hides it so that the next time they do that,
• 41:52
  Speaker 1: she's like, no, I'm not going to let them handcuffed
• 41:55
  Speaker 1: me to the steering wheel, which pays off. Like, after
• 41:59
  Speaker 1: she gets kidnap apped, she's put in handcuffs and then
• 42:01
  Speaker 1: she's able to use those keys to free herself. And
• 42:04
  Speaker 1: then she does something and I don't totally remember. I
• 42:07
  Speaker 1: think she drives the truck into some of the barrels
• 42:10
  Speaker 1: of ether or the thing. I loved the barrels of Ether,
• 42:15
  Speaker 1: especially because there was a conversation between like the I
• 42:19
  Speaker 1: love the evil guy just for purely being evil and
• 42:22
  Speaker 1: really not being that smart. He goes down to the
• 42:25
  Speaker 1: chemists lab where they're cooking up the drugs and he's like,
• 42:27
  Speaker 1: why are my drugs taking so long? And they're like,
• 42:30
  Speaker 1: it's very humid in here, so it's hard to cook
• 42:32
  Speaker 1: the drugs. I don't care. I'll kill you both. And
• 42:34
  Speaker 1: he's like, well then you won't get the drugs. I
• 42:36
  Speaker 1: don't care, I'll kill you. It's like this, this is
• 42:38
  Speaker 1: not a protective conversation, sir. Like, I just love how
• 42:42
  Speaker 1: brazenly evil he is. I enjoyed it through. And so
• 42:46
  Speaker 1: he talks to the guy at the ether truck and
• 42:47
  Speaker 1: he said, hey, man, watch the truck and be careful,
• 42:50
  Speaker 1: and then he's gonna walk away, and then the guy's
• 42:52
  Speaker 1: lighting a cigarette. He comes back and slaps and he's like,
• 42:54
  Speaker 1: just eat that back there, and it's like, well, you
• 42:55
  Speaker 1: didn't tell the guy who was running the truck that
• 42:57
  Speaker 1: he had explosives, Like what do you expect? I loved him.
• 43:01
  Speaker 1: He was just so like one note villain I did. Like,
• 43:05
  Speaker 1: I mean, it is like in an action movie like this,
• 43:07
  Speaker 1: it is fun when the only smart people are the
• 43:10
  Speaker 1: heroes and everyone else is aggressively dumb. As rocks like
• 43:14
  Speaker 1: Martin Lawrence and Will Smith are smart and everyone else
• 43:17
  Speaker 1: is dumb, dumb, dumb, dumb, dumb and in the way, yeah,
• 43:21
  Speaker 1: that including several of the female characters who get not
• 43:24
  Speaker 1: that much screen time. But like his wife is treated
• 43:28
  Speaker 1: as usually just an obstacle true withholding. Uh, I think
• 43:33
  Speaker 1: that the withholding of sex is like more hit on
• 43:37
  Speaker 1: than usually. This becomes like a running joke because the
• 43:41
  Speaker 1: first exchange of dialogue in the entire movie is Martin
• 43:44
  Speaker 1: Lawrence basically saying, like, my wife is a true who
• 43:47
  Speaker 1: will not suck me, so I have to eat this
• 43:49
  Speaker 1: big mac in your Porsche instead. And then Will Smith's like, well,
• 43:53
  Speaker 1: she's hot, right, And then it's like Martin Lawrence is
• 43:56
  Speaker 1: regarded as a good man because he doesn't try to
• 43:57
  Speaker 1: fund anybody else even though his wife is withhold sex. Right.
• 44:01
  Speaker 1: And then a few minutes after that, we see him
• 44:04
  Speaker 1: try to have sex with his wife and she's like, no,
• 44:07
  Speaker 1: you didn't come home early enough last night. It's also
• 44:11
  Speaker 1: like seven am and their kids have to get to school.
• 44:13
  Speaker 1: But yeah, she's such a bit like and then like
• 44:17
  Speaker 1: Mike keeps teasing Marcus about like not getting any from
• 44:20
  Speaker 1: his wife, he keeps teasing himself about it, like it's
• 44:23
  Speaker 1: just like a running gag. There's a phone caller to
• 44:27
  Speaker 1: with her where he'll like It seems like there's at
• 44:30
  Speaker 1: least one example of Martin Lawrence calling his wife and
• 44:34
  Speaker 1: being like, hey, can I come home and you will
• 44:36
  Speaker 1: fuck me? And like like this is a call that
• 44:39
  Speaker 1: happens between spouses and she's like no, and he's like, ah,
• 44:44
  Speaker 1: why not? And then and then like his like boss
• 44:48
  Speaker 1: will be like, hey, stop asking your wife to fuck you.
• 44:50
  Speaker 1: We've got police work to do. You're just like what
• 44:53
  Speaker 1: is this? Also like what a like manual for like
• 44:55
  Speaker 1: if he wanted to cheat, he should have been able
• 44:58
  Speaker 1: to because she would never look he I had seven
• 45:01
  Speaker 1: times to get some couchie during the movie, and but
• 45:03
  Speaker 1: then she shows up all mad when she's not sleeping
• 45:06
  Speaker 1: with him, like what are you trying? What is this narrative?
• 45:11
  Speaker 1: She's raising his three children, she's busy. There's also that
• 45:15
  Speaker 1: scene where, um, I think it's after Will Smith got
• 45:18
  Speaker 1: like thrown out of a window and got concussed, and
• 45:21
  Speaker 1: it's when Martin Lawrence is supposed to be telling him
• 45:24
  Speaker 1: about the woman that's in his apartment, but instead he's
• 45:28
  Speaker 1: like he's just yelling at him and being like where
• 45:31
  Speaker 1: where are you? And then Will Smith is like, oh,
• 45:34
  Speaker 1: listen to you yelling you're like a nagging wife, and
• 45:36
  Speaker 1: it's like, oh, this movie hates doesn't think of women. Um,
• 45:43
  Speaker 1: we've got to take another quick break. But let's come
• 45:46
  Speaker 1: back soon and talk more. Okay, Caitlin, don't make it weird,
• 45:57
  Speaker 1: and we're back. I want to one more thing about
• 46:01
  Speaker 1: Julie while we're still talking about her. Things that I
• 46:04
  Speaker 1: liked that she did was rescued herself at the beginning
• 46:07
  Speaker 1: when her friend was killed. She doesn't need to be
• 46:09
  Speaker 1: rescued by some nameless male character. I like that she
• 46:13
  Speaker 1: calls the cops and is like, Hey, this is what
• 46:18
  Speaker 1: I need, blah blah blah, and um, maybe that's it. Oh,
• 46:24
  Speaker 1: and I like that it seems like again it's like
• 46:28
  Speaker 1: I think you're totally spot on with like just Michael
• 46:30
  Speaker 1: Bay doesn't have enough power yet to make the movie
• 46:33
  Speaker 1: as sexist as he would want to. But even though
• 46:37
  Speaker 1: it's like there, well, they do chain Taileone and will
• 46:41
  Speaker 1: Smith together at the end, they handcuffed them together, but
• 46:44
  Speaker 1: they don't kiss. And I thought that that was a
• 46:48
  Speaker 1: lot of restraint for Michael Bay, was that there was
• 46:51
  Speaker 1: a woman in the movie the whole time, and she
• 46:53
  Speaker 1: didn't even kiss anyone. True, That's that's some Bay restraint.
• 46:59
  Speaker 1: Also fascinating that so Mike Lowry, Mike Larry, I knew
• 47:05
  Speaker 1: that the boxing girl in the gym was a call girl. Yes,
• 47:10
  Speaker 1: So when he finds out that she dies and like
• 47:12
  Speaker 1: pulls up the sheet and he's like all hurt and
• 47:14
  Speaker 1: ship cut to Martin Lawrence being like, hey, I got
• 47:17
  Speaker 1: the other girl's friend in your apartment. He's like, you
• 47:20
  Speaker 1: have a hooker in my house? You have in my house,
• 47:24
  Speaker 1: And it was like the other girl was technically he
• 47:27
  Speaker 1: would be very nice to her, Like, what's what one
• 47:29
  Speaker 1: sex worker worse than the other? Like, so this movie
• 47:33
  Speaker 1: has a strong contempt for sex workers and sex work, yes,
• 47:38
  Speaker 1: and and I so on the Wikipedia for this movie
• 47:43
  Speaker 1: scholar coming at this from a scholar perspect of course,
• 47:46
  Speaker 1: Max is described as both a sex worker and his
• 47:49
  Speaker 1: ex girlfriend, which I don't know if maybe it was
• 47:53
  Speaker 1: like a line of dialogue we missed or this could
• 47:55
  Speaker 1: be inaccurate, But that was how I was trying to
• 47:58
  Speaker 1: contextualize that relationship, is that they knew each other, possibly
• 48:02
  Speaker 1: through sex work, but also they'd had some sort of relationship.
• 48:07
  Speaker 1: And then I think that this movie, like it's very
• 48:09
  Speaker 1: non specific sex work there, like it seems like es Corty.
• 48:13
  Speaker 1: It's not very specific about what it is, but it
• 48:16
  Speaker 1: was like pretty agreedious that there's two black women with
• 48:21
  Speaker 1: significant roles or I mean significant being a stretch. But
• 48:25
  Speaker 1: there's Martin, Lawrence's wife, and then there's Max who's killed off.
• 48:33
  Speaker 1: One good spin in Honey was trying to figure out
• 48:35
  Speaker 1: who the actor who played her was, and it was
• 48:39
  Speaker 1: Karen Alexander, who was like, she has like a pretty
• 48:43
  Speaker 1: cool story. She has like a she has a model
• 48:45
  Speaker 1: turned actor, Yeah, which I mean I think you can
• 48:48
  Speaker 1: always tell whenever when it's a model turned actor. But
• 48:51
  Speaker 1: she's a model turned actor. She like, uh, did a
• 48:54
  Speaker 1: lot of like cool activism work to get black models
• 48:57
  Speaker 1: more accepted in an American mainstream culture the eighties, acted
• 49:01
  Speaker 1: for a little while, and now she's represented by Trump
• 49:04
  Speaker 1: Model Management. So you know, life is crazy. Life comes
• 49:07
  Speaker 1: at you fast, very fast. But yeah, that was so
• 49:13
  Speaker 1: like And then also the like madame who she has
• 49:17
  Speaker 1: a conversation, Yeah they are. They are both murdered. So
• 49:21
  Speaker 1: all the sex workers we see on screen in this
• 49:23
  Speaker 1: movie are punished by being murdered for being sex workers.
• 49:27
  Speaker 1: And they make it and they go out of their way,
• 49:29
  Speaker 1: even though it is not plot relevant to not make
• 49:33
  Speaker 1: Taylani a sex worker as well, they go out of
• 49:36
  Speaker 1: their way to make it clear. She's like, well, I'm
• 49:38
  Speaker 1: not a sex worker, but i'll be an escort for
• 49:40
  Speaker 1: tonight because you're my best friend. I'm a photographer and
• 49:43
  Speaker 1: I'm struggling. The scene that passes the Bechtel test spoiler
• 49:46
  Speaker 1: alert in this movie is so horribly written. It is
• 49:49
  Speaker 1: like it passes the Bechtel test because it's Julie and
• 49:53
  Speaker 1: Max talking to each other about general stuff. They're just
• 49:57
  Speaker 1: screaming exposition, but like they're not even looking at each other,
• 50:01
  Speaker 1: like like, how do you know they're acting? Like when
• 50:04
  Speaker 1: are you making full eye contact with someone in a scene?
• 50:07
  Speaker 1: You're explaining your job and like, look, I'm not a
• 50:10
  Speaker 1: sex worker. I don't condone sex work. However, I am
• 50:13
  Speaker 1: a beautiful white woman who does photography and art and
• 50:17
  Speaker 1: is worthy of life. So I will go with you
• 50:19
  Speaker 1: to this event, but know that I'm an unwilling participant.
• 50:22
  Speaker 1: And then Max is like, okay, I still have feelings
• 50:25
  Speaker 1: for will Smith and Taylor, and he's like okay, and
• 50:27
  Speaker 1: then they walk in and you're just like like Taylor.
• 50:30
  Speaker 1: Taylor Leans basically screaming like, yeah, I am a white
• 50:34
  Speaker 1: woman who is not a sex worker, Like she's screaming
• 50:37
  Speaker 1: to the audience, I'm going to live, like it's just
• 50:40
  Speaker 1: it's so much. I forgot that we learned that she's
• 50:45
  Speaker 1: a photographer, so at least we know what she does.
• 50:51
  Speaker 1: Photographer is also just like this, it's still like the
• 50:54
  Speaker 1: stock photo of like film jobs for waify women. Are
• 50:58
  Speaker 1: you just a beautiful woman is skating her way through
• 51:01
  Speaker 1: life photography? Give her a polar on. She's got this somehow,
• 51:05
  Speaker 1: this is a job, Like, well, do you think she
• 51:09
  Speaker 1: took the photos of Francine? That's why she would use
• 51:13
  Speaker 1: her skills? That would be really funny though she was
• 51:16
  Speaker 1: where she was, Um, but yeah, I guess. I mean,
• 51:20
  Speaker 1: we learn again not to give this movie any credit whatsoever.
• 51:24
  Speaker 1: But I was surprised that we learn a little bit
• 51:27
  Speaker 1: about Julie in that we get a sense of some
• 51:31
  Speaker 1: of her sort of like code of ethics and that
• 51:33
  Speaker 1: she does not eat meat, she's a vegetarian. I liked that.
• 51:38
  Speaker 1: I thought that that was like fun and also it's
• 51:41
  Speaker 1: like cute because you're like, oh, the boy riders are
• 51:44
  Speaker 1: like what should we say about her, I don't eat flesh.
• 51:50
  Speaker 1: She goes in this rant about bologney. You're just like, Okay, sure,
• 51:54
  Speaker 1: I guess I don't know. No blogny Tleani baby, I
• 52:01
  Speaker 1: love it. Sorry about that. So yeah, we get two
• 52:05
  Speaker 1: facts about her. But yeah, they did Max's character so
• 52:09
  Speaker 1: dirty it sucked, like and and just on top of that,
• 52:12
  Speaker 1: where they it's just like that thing where a writer
• 52:15
  Speaker 1: knows that this character is gonna die obviously, so they
• 52:17
  Speaker 1: don't even bother to characterize her. They're like, okay, well, uh,
• 52:21
  Speaker 1: we don't need to say anything. We don't even need
• 52:23
  Speaker 1: to say if she has an interest in anything except
• 52:26
  Speaker 1: Will Smith, because we need her death to move forward
• 52:30
  Speaker 1: the narrative of Will Smith and Martin Lawrence, like the
• 52:33
  Speaker 1: narrative just like sacrifices her so that the movie can happen.
• 52:36
  Speaker 1: And it's also the scene where she gets shot Michael
• 52:40
  Speaker 1: Bay the corniness jumped out like truly, It's like she
• 52:44
  Speaker 1: spins in a circle. He grabs a pillow and it's
• 52:48
  Speaker 1: behind his back, and then the evil guy shoots her
• 52:51
  Speaker 1: through the pillow and then the music like and then
• 52:55
  Speaker 1: he ensumes in on an eye ball, which is like
• 52:58
  Speaker 1: the expression of any ball that's just been shut. And
• 53:02
  Speaker 1: then it wasn't enough that she's like falling in SloMo.
• 53:05
  Speaker 1: Of course there's a glass table behind her, because why not?
• 53:08
  Speaker 1: Why not? And then that scene she also never comes
• 53:13
  Speaker 1: up again really after, like you get that shot of
• 53:17
  Speaker 1: like Martin Larcy' is like, oh no, it's Will Smith's
• 53:20
  Speaker 1: ex and then he's like and then Will Smith goes yeah.
• 53:25
  Speaker 1: But then but then they sort of stopped talking about it,
• 53:28
  Speaker 1: like it becomes about the crime and the bad guys,
• 53:31
  Speaker 1: but it sort of stops being about her. There's one
• 53:33
  Speaker 1: moment when they're like, it's like after a chase scene
• 53:35
  Speaker 1: where they the bad guys get away and they're like,
• 53:37
  Speaker 1: darn it, we still don't know when the big drug
• 53:40
  Speaker 1: bust is happening. Uh, And then Julie's like, who cares
• 53:44
  Speaker 1: about that? What about us? Letting the killers of Max
• 53:48
  Speaker 1: get away? Like that should be our motivation and they're
• 53:51
  Speaker 1: just like, oh right, Max, Yes, I remember her. It's
• 53:56
  Speaker 1: coming back to me. Also, I was the only dead
• 54:00
  Speaker 1: body that they were somber around. Every other dead body
• 54:03
  Speaker 1: was like a comedy jam Martin Lawrence being like and
• 54:09
  Speaker 1: we'll be like, come on, man by look play with
• 54:12
  Speaker 1: his mouth just really and they kill her like she's
• 54:17
  Speaker 1: like laid out, shot to death in the most model
• 54:20
  Speaker 1: like she looks like a angel. There's like the smallest
• 54:24
  Speaker 1: bit of blood on the side of her face, and
• 54:26
  Speaker 1: was like, oh my girlfriend, Oh my god, and then
• 54:29
  Speaker 1: forgets about her two seconds later. I'm glad that at
• 54:32
  Speaker 1: least hale One is like, hey, that's my friend. I'm
• 54:36
  Speaker 1: not here for no reason. She at least sticks up
• 54:39
  Speaker 1: for her. Although I thought the bad guy's plot was
• 54:41
  Speaker 1: a little stupid, it just seems like you guys got
• 54:43
  Speaker 1: the heroine. The girls already with the cops, so she's talked,
• 54:46
  Speaker 1: she's already talked. Why are you also focused on killing her? Like,
• 54:50
  Speaker 1: go do the drug deal? What? What? What? She know?
• 54:54
  Speaker 1: Literally she's already with the cops. Like it just seems
• 54:57
  Speaker 1: like we should just do our thing, our drug thing,
• 54:59
  Speaker 1: and stead of showing up everywhere that she could potentially
• 55:02
  Speaker 1: get caught to try to kill it. There's not a
• 55:06
  Speaker 1: lot of logic. Perhaps overall, don't talk about Allison Sinclair
• 55:10
  Speaker 1: for a seco. What the folk is that there? I liked?
• 55:13
  Speaker 1: I mean again, it's just like another kind of empty
• 55:15
  Speaker 1: gesture or like they accidentally wrote it in a female
• 55:18
  Speaker 1: character or something where she's like another like she's a
• 55:22
  Speaker 1: little bit above them, right, or is shed of like
• 55:25
  Speaker 1: captain uh and she she right? She she comes from
• 55:30
  Speaker 1: like internal affairs or something like that. So she's presented
• 55:33
  Speaker 1: as an obstacle, as many of the other female characters
• 55:36
  Speaker 1: in this movie are. But she's like breathing down Joey
• 55:39
  Speaker 1: Pantaliano's neck about like to solve this case or else
• 55:44
  Speaker 1: the press is going to have a field day, right,
• 55:47
  Speaker 1: I mean, I she's definitely written to be a bitchy
• 55:51
  Speaker 1: like a ball buster. I want to make a sure
• 55:53
  Speaker 1: this bitchy obstacle new merchant um. But then she's just right.
• 56:02
  Speaker 1: She shows up every once in a while and then
• 56:05
  Speaker 1: it's like it's like you just Elba comes up to
• 56:08
  Speaker 1: her and cats and cause and then she just disappears
• 56:11
  Speaker 1: from this theme. Yeah, and then she disappears. So she's
• 56:18
  Speaker 1: there and you're just like okay. Also, also like they
• 56:21
  Speaker 1: I feel like I don't know if this was just
• 56:23
  Speaker 1: the nineties, but both the women who work for the
• 56:26
  Speaker 1: police department have the same severe blonde haircut. Like it
• 56:30
  Speaker 1: was I kept confusing Allison and Francine because they had
• 56:33
  Speaker 1: the same haircut. Um, it was like bleached bleech blonde
• 56:37
  Speaker 1: and some kind of girling. How do you describe that haircut?
• 56:42
  Speaker 1: And like sure hair doesn't fall that way anymore. I
• 56:45
  Speaker 1: don't know what a different times different, the gravitational pull
• 56:51
  Speaker 1: of the earth. It's different, doesn't It must have been
• 56:56
  Speaker 1: maybe with Cindy Laper popular then that was eighties. I
• 57:01
  Speaker 1: don't remember. It was Madonna. It was Madonna blonde, weird
• 57:07
  Speaker 1: hair that she was doing, like, um, express yourself. Yeah, Si,
• 57:12
  Speaker 1: that song was like express yourself, express yourself, don't repress
• 57:16
  Speaker 1: your It was that hair. It was that haircut. Yeah, okay,
• 57:19
  Speaker 1: so it was the human nature haircut there was. Yes,
• 57:24
  Speaker 1: So they're so they're just like trying to be Madonna,
• 57:27
  Speaker 1: but it's confused. They were like, give me two Madonna's
• 57:29
  Speaker 1: who work in the precinct. One of them gets a
• 57:33
  Speaker 1: few lines, the other ones a trader Benedict's frenzy. That's it.
• 57:39
  Speaker 1: And they were also wearing nineties type clothes like which
• 57:41
  Speaker 1: actually isn't weird to have in a Miami p D.
• 57:44
  Speaker 1: Like women dressed not like police officers per se, because
• 57:48
  Speaker 1: that's like a thing in Miami is like the suit
• 57:50
  Speaker 1: leggings is what we call them. Like everyone dresses like
• 57:52
  Speaker 1: a little more hyper sexualized at the workplace, so it's
• 57:56
  Speaker 1: actually not a weird thing for the movie. Okay, interesting,
• 58:00
  Speaker 1: you're like really like I lived, It's just you know,
• 58:04
  Speaker 1: you get a highlighter pallette wardrobe and everything's tied. I've
• 58:08
  Speaker 1: never been I've never been to ms. Why the drugs
• 58:13
  Speaker 1: won't cook? The humidity this Okay, I just wanted to
• 58:18
  Speaker 1: talk about cop movies just for a moment, because this
• 58:21
  Speaker 1: is one of many, many, many that it's it's for
• 58:26
  Speaker 1: the boys. The target audience is men. The characters are
• 58:32
  Speaker 1: mostly men. These movies can't envision a world where women
• 58:37
  Speaker 1: would be participants in the story in the context of
• 58:40
  Speaker 1: anything besides them being like the damsels who get dragged along.
• 58:45
  Speaker 1: In terms of cop movies that prominently feature a woman
• 58:51
  Speaker 1: as an officer, I can think of Silence of the Lambs.
• 58:55
  Speaker 1: I can think of Zootopia, I can think of the
• 59:00
  Speaker 1: heat and kind of the list kind of stops there
• 59:04
  Speaker 1: for at least off the top of my head, and
• 59:07
  Speaker 1: any and if you're a listener, that's like I need
• 59:09
  Speaker 1: to tweet another movie. That's not the point that there's
• 59:13
  Speaker 1: not a lot, don't add us. Uh. And on the
• 59:17
  Speaker 1: other hand, there are dozens and dozens and dozens of
• 59:21
  Speaker 1: movies about boys. Yes, Um, but the fact that this
• 59:26
  Speaker 1: is a big budget movie with two black leads is great. Yeah. Also,
• 59:30
  Speaker 1: I don't think that people look at Bad Boys as
• 59:32
  Speaker 1: a police movie. Um, they don't really act like police.
• 59:36
  Speaker 1: They don't ever drive a police car. There, perhaps not
• 59:38
  Speaker 1: very good at being police. Yeah, this is like just
• 59:41
  Speaker 1: two homeboys who I guess work in the police department,
• 59:46
  Speaker 1: you know, just kicking it, having a good time, maybe
• 59:49
  Speaker 1: be a sexy, maybe stopping a crime. Like I've never
• 59:52
  Speaker 1: looked at Bad Boys movies and been like, oh, the
• 59:53
  Speaker 1: cops look so cool. However, I notice how they're looked
• 59:56
  Speaker 1: at by people who are in law enforcement and by
• 59:59
  Speaker 1: men sometimes because like there was recently, like maybe a
• 1:00:01
  Speaker 1: month and a half ago, there was a shootout in
• 1:00:03
  Speaker 1: Miami when they were trying to act like fake as
• 1:00:05
  Speaker 1: bad boys and everybody's about to go down for this ship.
• 1:00:08
  Speaker 1: I'll put the specific incident, but it was with a
• 1:00:10
  Speaker 1: UPS truck. They stole a UPS truck, these criminals, and
• 1:00:14
  Speaker 1: they also kidnapped the guy who was driving the UPS truck.
• 1:00:17
  Speaker 1: So then Miami p D thought this was a Bad
• 1:00:20
  Speaker 1: Boys moment, so they out on the motherfucker highway shooting
• 1:00:24
  Speaker 1: at the UPS truck, the UPS truck shooting back. They
• 1:00:27
  Speaker 1: are hide they are shielding themselves. I wish this was
• 1:00:30
  Speaker 1: a lot shooting themselves with real civilians who are in cars.
• 1:00:34
  Speaker 1: They're like hiding behind the cars and shooting. I'm like,
• 1:00:38
  Speaker 1: I'm about to be a ship the fun like they
• 1:00:40
  Speaker 1: thought they were in Bad Boys. So unfortunately, this does
• 1:00:44
  Speaker 1: really influence a lot of dumbass police who want to
• 1:00:47
  Speaker 1: get their kicks on. But I've never regarded Bad Boys
• 1:00:52
  Speaker 1: movies as like, oh cops, Like I don't that my
• 1:00:55
  Speaker 1: cop movie. I actually forgot that this was a cop
• 1:00:57
  Speaker 1: movie before I started, Like they us have goods. They
• 1:01:01
  Speaker 1: really could be rogue vigilantes and the movie and the
• 1:01:03
  Speaker 1: movie also has the character specifically remind you that their
• 1:01:07
  Speaker 1: cops several times. And I don't think that that's a
• 1:01:09
  Speaker 1: mistake because yeah, they don't. They don't dress like cops,
• 1:01:11
  Speaker 1: they don't travel, and I mean there's a scene and
• 1:01:14
  Speaker 1: I think that the movie is more like fun that way,
• 1:01:17
  Speaker 1: like no one wants to cop. They also kill a
• 1:01:19
  Speaker 1: lot of bas so many people a lot of people,
• 1:01:22
  Speaker 1: and Martin Lawrence at one point is like to Julie,
• 1:01:26
  Speaker 1: he's like, you know, the bad guys probably already know
• 1:01:29
  Speaker 1: where you live, so I'll just leave now and let
• 1:01:31
  Speaker 1: them come find you and kill you and good luck
• 1:01:33
  Speaker 1: with that. And then she's like, no, wait, please protect
• 1:01:36
  Speaker 1: me and he's like, okay, fine, but like, yeah, it's
• 1:01:39
  Speaker 1: like that stuff. They're like rifling through all the crime scenes,
• 1:01:42
  Speaker 1: like messing up crime scenes, like they're not good cops.
• 1:01:46
  Speaker 1: It's wild. I love and I love the troup of
• 1:01:50
  Speaker 1: their boss just yelling at them like every day is
• 1:01:52
  Speaker 1: their last day, you know, but it never is. This
• 1:01:55
  Speaker 1: is the last time, You're like, no, not um. One
• 1:02:00
  Speaker 1: thing I did like was and and it was was
• 1:02:03
  Speaker 1: it deeply couched in no homo rhetoric, but particularly at
• 1:02:06
  Speaker 1: the beginning, yes, but when when at the beginning, when
• 1:02:10
  Speaker 1: Martin Lawrence tells Will Smith that he loves him, he's like,
• 1:02:14
  Speaker 1: you're my partner, I love you. Will Smith is like
• 1:02:17
  Speaker 1: no homo, no homo, no homo, and we're like much
• 1:02:21
  Speaker 1: and then but then at the end there's a little
• 1:02:24
  Speaker 1: friendship arc where Will Smith in the first and only
• 1:02:28
  Speaker 1: time any sort of toxic masculinity is overcome. In a
• 1:02:32
  Speaker 1: Michael Bay movie, Will Smith tells Martin Lawrence, you're my partner.
• 1:02:36
  Speaker 1: I love you. Are they standing over a dead body?
• 1:02:39
  Speaker 1: Of course they are. That makes it no homo. As
• 1:02:43
  Speaker 1: long as there's a man that they've just killed, then
• 1:02:47
  Speaker 1: we know that they're straight. I mean, if there wasn't
• 1:02:51
  Speaker 1: a dead bye, then then how do you know they're
• 1:02:53
  Speaker 1: not lovers? You know what I mean? There's also so
• 1:02:57
  Speaker 1: between this. In the middle of this arc there is
• 1:03:00
  Speaker 1: another weird no homo scene where I think he wouldn't
• 1:03:03
  Speaker 1: even necessarily catch it unless you had the subtitles on,
• 1:03:06
  Speaker 1: which is why I watch all my movies with subtitles.
• 1:03:09
  Speaker 1: Breg get it, you can read. I do have a
• 1:03:12
  Speaker 1: faster screen screenwriting from Boston University. You want to see
• 1:03:18
  Speaker 1: how I can read so good? I love watching Haylyn read. Honestly,
• 1:03:22
  Speaker 1: it's you watch it all day so you can make
• 1:03:26
  Speaker 1: money out of anything I watched read I pay for
• 1:03:29
  Speaker 1: Thank you for that. Um No. But there's this the
• 1:03:32
  Speaker 1: scene where they go into like a bodega and notable
• 1:03:36
  Speaker 1: actor Sean Talb. I'm not entirely sure how to say
• 1:03:39
  Speaker 1: his name, but he plays like the bodega owner and
• 1:03:45
  Speaker 1: he sees that Martin Lawrence and Will Smith both have
• 1:03:48
  Speaker 1: guns and he thinks he's about to get robbed, so
• 1:03:51
  Speaker 1: he pulls out a gun on them. But because he um,
• 1:03:56
  Speaker 1: English isn't his first language. The actor is Rani and
• 1:04:00
  Speaker 1: I don't know who what the character is supposed to be,
• 1:04:02
  Speaker 1: but it feels like there's some racist stereotypes real troped
• 1:04:07
  Speaker 1: out and that's like, I mean another I'm like, I
• 1:04:10
  Speaker 1: was surprised there wasn't more of that in a Michael
• 1:04:13
  Speaker 1: Bay movie because if like in a Transformers movie, they'll
• 1:04:16
  Speaker 1: be scenes like that in a row right. Also, it's Miami,
• 1:04:20
  Speaker 1: so they were ripe for making those scenes because it's
• 1:04:23
  Speaker 1: such a cultural melting pot that you can, you know,
• 1:04:26
  Speaker 1: insert whatever racial trope you want wherever you want. So
• 1:04:30
  Speaker 1: they really went, they really like pulled back. Yeah, and
• 1:04:33
  Speaker 1: I think still to date, the Transformers franchise is the
• 1:04:36
  Speaker 1: worst example of the highest concentration of Michael Bay racism.
• 1:04:40
  Speaker 1: And like not coincidentally that's the franchise he as the
• 1:04:42
  Speaker 1: most power rover um but yeah, that um, but any case,
• 1:04:45
  Speaker 1: so in this in this scene where we've got this
• 1:04:49
  Speaker 1: bodega owner who he's saying something like he's holding a
• 1:04:52
  Speaker 1: gun to them, and he's like, I will blow you,
• 1:04:55
  Speaker 1: meaning like I will blow you away with my gun.
• 1:04:58
  Speaker 1: And then Martin Lawrence is like blow me. No, you
• 1:05:00
  Speaker 1: can hunt me, but blow me. Like it's really weird.
• 1:05:05
  Speaker 1: It's really hard to arrive at the offensive joke they're
• 1:05:08
  Speaker 1: trying to make two called improv Yes, yes, wait, Martin
• 1:05:13
  Speaker 1: Lawres just had that at the top of his head.
• 1:05:16
  Speaker 1: How incredible there, Although at the end of that scene,
• 1:05:19
  Speaker 1: I like how that scene ends when Will Smith has
• 1:05:22
  Speaker 1: the gun and he's like, get me. Was likes and
• 1:05:28
  Speaker 1: You're like, damn it, Michael Bay, you got me, got
• 1:05:31
  Speaker 1: me at the end, But it was it was it
• 1:05:33
  Speaker 1: was racist and homophobic and then they and then they
• 1:05:35
  Speaker 1: somehow stuck the landing horrible. I think, well that I
• 1:05:38
  Speaker 1: think those lines were improvised, So it has nothing to
• 1:05:40
  Speaker 1: do with Michael Bay. It was it was Will and
• 1:05:44
  Speaker 1: Martin and skittles. I laughed. I laughed. A similar joke
• 1:05:50
  Speaker 1: is made in A similar racist joke is made in
• 1:05:52
  Speaker 1: this movie that is made in Transformers, where a character
• 1:05:56
  Speaker 1: speaks a few words of Spanish and then a character
• 1:06:01
  Speaker 1: who does not speak Spanish was like, what the hell
• 1:06:03
  Speaker 1: did you say? Um? English? Please? Especially in Miami, this
• 1:06:08
  Speaker 1: is especially ridiculous, especially working for the police. Right, So, yeah,
• 1:06:12
  Speaker 1: you ain't never had to speak to nobody in Spain.
• 1:06:13
  Speaker 1: You don't know what the word cajones means. You've never
• 1:06:16
  Speaker 1: heard that word before? Okay, one time? So when need
• 1:06:24
  Speaker 1: content too. But it is Michael Bay's favorite joke because
• 1:06:27
  Speaker 1: he keeps using it over and over. He thinks it's hilarious.
• 1:06:31
  Speaker 1: He tells he regales all the nineteen year olds he
• 1:06:33
  Speaker 1: hangs out with. Hilarious joke he came up with thirty
• 1:06:37
  Speaker 1: years ago. Literally, my favorite part of the movie is
• 1:06:41
  Speaker 1: here we go, ready for this? Okay, At the very beginning,
• 1:06:45
  Speaker 1: when Martin Lawrence and Will Smith are being carjacked, they're like, hey,
• 1:06:49
  Speaker 1: where cops? You're messing with cops right now? And the
• 1:06:52
  Speaker 1: car jackers like, oh, yeah, well, I'm a stand up
• 1:06:54
  Speaker 1: comedian and I I like that was like representation of
• 1:07:00
  Speaker 1: a man of a stand up comedian who's a man
• 1:07:02
  Speaker 1: admitting that he sucks at stand up comedy. Hasn't happened before.
• 1:07:06
  Speaker 1: Since I know, we need to see more of it. Incredible,
• 1:07:10
  Speaker 1: I forgot I really did like that too, Did you
• 1:07:13
  Speaker 1: guys know that Michael Bay's first job in film was
• 1:07:17
  Speaker 1: working on Raiders of the Lost Arc, where he was
• 1:07:21
  Speaker 1: like an intern on Raiders of the Lost Arc. Oh
• 1:07:24
  Speaker 1: my gosh, do you think he met Alfred Molina? He
• 1:07:26
  Speaker 1: better not of he there stayed a funk away from him.
• 1:07:30
  Speaker 1: I would be so pissed if they've met um just
• 1:07:37
  Speaker 1: the meeting, if they met him passing done. Uh. But so,
• 1:07:44
  Speaker 1: I guess this is another just like Michael Bay has
• 1:07:47
  Speaker 1: always been the worst. So he's living his really difficult
• 1:07:50
  Speaker 1: life in the valley and he gets this internship horrible
• 1:07:54
  Speaker 1: for him on one of the most famous movies of
• 1:07:55
  Speaker 1: all time, like so difficult, he's struggling. Uh, he's an
• 1:07:59
  Speaker 1: intern Raiders to have the Lost Dark And I guess
• 1:08:00
  Speaker 1: he spends his whole time on that movie being like
• 1:08:02
  Speaker 1: this movie is gonna fucking suck. And then when it
• 1:08:06
  Speaker 1: comes out he said, oh it was good. I want
• 1:08:08
  Speaker 1: to be a film director now too. And George and
• 1:08:13
  Speaker 1: George Lucas actually contributed to the Michael Bay oral history
• 1:08:17
  Speaker 1: and he was he was shady in a way that
• 1:08:20
  Speaker 1: I thought was funny. He said, Michael's films are identifiable.
• 1:08:27
  Speaker 1: It was like good for you, George Lucas. You know
• 1:08:31
  Speaker 1: when you see trash, you know what you want on
• 1:08:34
  Speaker 1: the New York sidewalk, and then you just get a
• 1:08:36
  Speaker 1: whiff of something that's like Michael Bay movie identifiable. You
• 1:08:40
  Speaker 1: know when you pass into Sharma, and you know when
• 1:08:42
  Speaker 1: you pass into Michael Bay. George Lucas out here being
• 1:08:46
  Speaker 1: a bitchy obstacle to Michael Bay. Can't believe it better
• 1:08:51
  Speaker 1: beat Teresa Wife. George Lucas channel that energy. I thought
• 1:08:55
  Speaker 1: that was really funny. Well, I hate that. This movie
• 1:08:58
  Speaker 1: is fun to watch. I know it, but now I'm like,
• 1:09:00
  Speaker 1: should I see the new one? It's not Michael Bay
• 1:09:03
  Speaker 1: doesn't appear to be involved at all? Is it still
• 1:09:05
  Speaker 1: written by three white guys? As far as I can tell, Yes,
• 1:09:08
  Speaker 1: it's a time honored bad voice tradition. It has to
• 1:09:12
  Speaker 1: be written by people who do not know what they're
• 1:09:14
  Speaker 1: talking about. The formula works. Yeah, yeah, exactly. They have
• 1:09:17
  Speaker 1: two new directors on. I mean, who knows, maybe maybe
• 1:09:21
  Speaker 1: it will be I'll use my amc A List stubs
• 1:09:25
  Speaker 1: membership to see it for free. I tried to unsign
• 1:09:28
  Speaker 1: up from that and then they're like you have to
• 1:09:29
  Speaker 1: stay for three months, and like well, now I have
• 1:09:31
  Speaker 1: to see Bad Boys three. Also, I do love just
• 1:09:36
  Speaker 1: like the grotesque waste of money in these movies. Because
• 1:09:38
  Speaker 1: in Bad Boys too, they have one of those cardboards
• 1:09:41
  Speaker 1: that you like deliver cars in, so you'll have like
• 1:09:44
  Speaker 1: twelve cars kind of stacked upon each other on a
• 1:09:46
  Speaker 1: big rig. They have one in Bad Boys to where
• 1:09:49
  Speaker 1: they like unloaded and then all the cars just start
• 1:09:51
  Speaker 1: shooting off of the truck and then their dodge and
• 1:09:54
  Speaker 1: the cars that are just flattened in the road. And
• 1:09:56
  Speaker 1: I was like, this is so much money, and um,
• 1:09:58
  Speaker 1: you know, and it's it's horrible to think about how
• 1:10:01
  Speaker 1: much money it is, the new back ninety million dollar budgets.
• 1:10:07
  Speaker 1: So I actually thought it would have more than that.
• 1:10:10
  Speaker 1: I'm like, that's cat's level up a building with that
• 1:10:13
  Speaker 1: much money. Probably with a computer, yeah, but I would
• 1:10:17
  Speaker 1: used to blow a real built Michael pag blew so
• 1:10:19
  Speaker 1: much that that was one of the things that they
• 1:10:22
  Speaker 1: like he mentioned was he like put dollars of his
• 1:10:25
  Speaker 1: own money to make a couple of extra cars explode,
• 1:10:29
  Speaker 1: Like he worked outside the budget of the spend his
• 1:10:32
  Speaker 1: meat load money. He's a black man, He's spend his
• 1:10:35
  Speaker 1: meat load money on bad boys explosions. That's what black
• 1:10:39
  Speaker 1: people have to do. They were like, we'll put you
• 1:10:40
  Speaker 1: in a movie, but you gotta bring some of your
• 1:10:42
  Speaker 1: own money. So he gets it, Michael play gets it.
• 1:10:45
  Speaker 1: He's got that Valley mentalent. Just I had the fact
• 1:10:51
  Speaker 1: the fact man, um, well, are there any other final thoughts?
• 1:10:56
  Speaker 1: I hate that this movie is fun. I know, but
• 1:10:59
  Speaker 1: it's fun and it's bad in so many ways, and
• 1:11:03
  Speaker 1: yet not Michael Bay's worst. As we've said before, I
• 1:11:06
  Speaker 1: would honestly say, of what I've seen, one of his best. Yeah,
• 1:11:09
  Speaker 1: I would send this is my favorite Michael Bay movie.
• 1:11:12
  Speaker 1: That's and and that's saying that. I never thought I
• 1:11:15
  Speaker 1: would say that sentence. And I'm hor if I please
• 1:11:17
  Speaker 1: never like if anyone's out there trying to isolate that
• 1:11:20
  Speaker 1: clip can um, Yeah, yeah, we we reckon. We hope
• 1:11:27
  Speaker 1: that we've demonstrated that we understand why the shortcomings and
• 1:11:31
  Speaker 1: the and the of its but it's fun to watch.
• 1:11:34
  Speaker 1: So we alluded earlier that it, I guess does pass
• 1:11:39
  Speaker 1: the Bechdel test. I think even without asterisks it passes
• 1:11:44
  Speaker 1: in that scene because I was ready to be like,
• 1:11:48
  Speaker 1: like the scene prior where Max and Lois are talking
• 1:11:52
  Speaker 1: there's like two lines where they're not explicitly talking about
• 1:11:54
  Speaker 1: a man, but the context of the conversation still about
• 1:11:56
  Speaker 1: a man's Like, maybe it doesn't pass. But then the
• 1:11:58
  Speaker 1: next scene, I'm pretty sure they're talking about uh, their
• 1:12:01
  Speaker 1: relationship with each other, the roommates. I'm a photographer, I
• 1:12:04
  Speaker 1: owe you one. What is she over for? We don't know,
• 1:12:06
  Speaker 1: but it's referenced. Yeah, true. But then they do start
• 1:12:09
  Speaker 1: talking about Little Smith's character towards the end of that conversation,
• 1:12:11
  Speaker 1: but there is, yeah, that two line exchange at least
• 1:12:14
  Speaker 1: that technically passes. And then also Julie and Teresa talk
• 1:12:19
  Speaker 1: to each other, but I think they're talking only about
• 1:12:22
  Speaker 1: men because Teresa shows up and not Mike Lowry's condo,
• 1:12:26
  Speaker 1: and she's like, is my husband here? And Julie's like,
• 1:12:29
  Speaker 1: is he the short one or the tall one? Objectifying men?
• 1:12:35
  Speaker 1: It Michael Bay a woke king you heard it here first,
• 1:12:41
  Speaker 1: and probably has good politics too. You can quote us
• 1:12:44
  Speaker 1: on oh right, that brings us to our nipple scale
• 1:12:50
  Speaker 1: zero to five nipples based on its representation of women,
• 1:12:54
  Speaker 1: it still gets like a point to five. Yeah, Like
• 1:12:58
  Speaker 1: you can't give it, really, I'll give it. I'll give
• 1:13:03
  Speaker 1: it and and and keep my sliding scale because Michael
• 1:13:07
  Speaker 1: give it. Point five because Tailani got to make a
• 1:13:11
  Speaker 1: few just drove the truck. For she shot a gun once,
• 1:13:15
  Speaker 1: didn't ruin Club Hell. Yes, we didn't talk about that.
• 1:13:19
  Speaker 1: She shot a gun one time. She had a club
• 1:13:21
  Speaker 1: in Miami. It's called Club Hell. It's on brand. But anyway,
• 1:13:27
  Speaker 1: so point five because Taloni made decisions and they didn't
• 1:13:30
  Speaker 1: make her kiss at the end. Everything else bad bad,
• 1:13:33
  Speaker 1: bad bad bad bad boys. Look, man, I gotta I
• 1:13:39
  Speaker 1: gotta give it a one nipple, okay, because it's got
• 1:13:42
  Speaker 1: a special place in my heart. I'm gonna even make
• 1:13:44
  Speaker 1: the nipple maybe slightly darkened aerola for black man, Michael
• 1:13:48
  Speaker 1: Bay and stay stay strong, king, Like I mean, I
• 1:13:58
  Speaker 1: did enjoy that she didn't take I didn't have to kiss.
• 1:14:00
  Speaker 1: She got to talk a good deal. I mean, there
• 1:14:03
  Speaker 1: is one scene. Unfortunately it's very sad. It doesn't truly
• 1:14:06
  Speaker 1: like surpass the Bechdel test, but it does pass the
• 1:14:09
  Speaker 1: bare minimum and requirements. Um and then also you know,
• 1:14:12
  Speaker 1: I never saw titties. I mean she did have to
• 1:14:14
  Speaker 1: oil and see her underwear. She falls, she falls down
• 1:14:17
  Speaker 1: at one point and she's wearing a really short skirt
• 1:14:19
  Speaker 1: and then like her skirt flies up and you see
• 1:14:20
  Speaker 1: her underwear. I'll blame that on the wind. But again
• 1:14:24
  Speaker 1: she's still styled more more respectfully than we see him later. Michael. Yeah,
• 1:14:30
  Speaker 1: it's not like, oh, I'm running from the you know,
• 1:14:33
  Speaker 1: cartel in my bra for some reason. No, Will Smith
• 1:14:37
  Speaker 1: is the He's his shirt is somehow always unbuttoned, and
• 1:14:42
  Speaker 1: the wind is billowing and he's he's got to always
• 1:14:45
  Speaker 1: be oily and are all single people just oily? And
• 1:14:50
  Speaker 1: I'm trying to let the people know I'm out here,
• 1:14:51
  Speaker 1: you know, I mean, you gotta you gotta be looped up,
• 1:14:55
  Speaker 1: you gotta be catching losing herself as we speak. Yes, um,
• 1:14:59
  Speaker 1: sam friend of the show, sam Ike brought up in
• 1:15:01
  Speaker 1: our Men in Black episodes something that I think about often,
• 1:15:05
  Speaker 1: because he said that the female lead in that movie
• 1:15:09
  Speaker 1: does not kiss Tessa. Is that her name? No? No?
• 1:15:13
  Speaker 1: Sorry not? Yeah? So the n nine, the nine eight
• 1:15:19
  Speaker 1: or ninety seven first Men in Black movie, and it's
• 1:15:23
  Speaker 1: Linda Florentino, right, so she we do not see her
• 1:15:28
  Speaker 1: kiss anyone in that movie either. But sam Ike speculated
• 1:15:32
  Speaker 1: that it's because the male lead that would have been
• 1:15:37
  Speaker 1: made the most sense to pair her with was black,
• 1:15:39
  Speaker 1: and he speculated that audiences wouldn't have wanted to see
• 1:15:44
  Speaker 1: a interrational kiss. So I wonder if that is why
• 1:15:49
  Speaker 1: there's no kissing in this movie, because it's the same
• 1:15:52
  Speaker 1: actor Will Smith that movie. Damn it, and Michael had
• 1:15:58
  Speaker 1: to take someone nipple back hairs. I mean, this is reulation,
• 1:16:03
  Speaker 1: but it's not far fetched. I don't remember Sam saying
• 1:16:05
  Speaker 1: that as well. Yeah, yeah, I don't think it's far fetched.
• 1:16:08
  Speaker 1: I mean also in the nineties, and it wasn't the
• 1:16:10
  Speaker 1: two thousands of the nineties when Saved the Last Dance
• 1:16:11
  Speaker 1: came out. I think it was maybe two Yeah, but
• 1:16:16
  Speaker 1: that was still when the plot of a movie was
• 1:16:18
  Speaker 1: we're in an interracial relationship. That was the whole plot
• 1:16:20
  Speaker 1: of the movie. Yeah, two thousand one, so like thank you,
• 1:16:24
  Speaker 1: So like that's you know, still like the nineties. Two
• 1:16:27
  Speaker 1: thousand Want is so super close in time periods, so
• 1:16:29
  Speaker 1: that makes sense. At the end of the movie, they're like, look,
• 1:16:30
  Speaker 1: white people will watch two negroes. It's just like, how
• 1:16:32
  Speaker 1: to let a black man be president. They're like, he's
• 1:16:34
  Speaker 1: still a man, but we don't want to see him
• 1:16:36
  Speaker 1: sucking on women. Okay, let's let's see his big old
• 1:16:39
  Speaker 1: lips on our women. So that makes sense to me. Yeah,
• 1:16:43
  Speaker 1: that's shitty. I I thought they were just respecting her.
• 1:16:46
  Speaker 1: Nona would doubt always go with racist that. Yeah, alright,
• 1:16:51
  Speaker 1: well shout out to Sam Mike before probably correctly calling that.
• 1:16:54
  Speaker 1: We thought that maybe that Michael Bay had made a
• 1:16:57
  Speaker 1: choice that was nice to women, but it turns out
• 1:16:59
  Speaker 1: it was racist. So uh so, yeah, my nipple, I'm
• 1:17:05
  Speaker 1: gonna give it. I'm gonna give two point five or sorry,
• 1:17:08
  Speaker 1: what point to five? Oh my god, cancel me. I
• 1:17:14
  Speaker 1: gotta go down the half. Okay, yeah, yeah, I'm gonna
• 1:17:19
  Speaker 1: go point to five because of like the two things
• 1:17:24
  Speaker 1: that the Julie character gets to do. But everything, as
• 1:17:29
  Speaker 1: we've discussed, is just like framing women as obstacles, framing
• 1:17:33
  Speaker 1: women as damsels, framing women as frigid shrews. A lot
• 1:17:38
  Speaker 1: of you know, racist stereotypes are employed in this movie,
• 1:17:41
  Speaker 1: a lot of no homo moments, I mean, just runs
• 1:17:44
  Speaker 1: the whole gamut of problematic stuff. Uh and it is
• 1:17:48
  Speaker 1: a Michael Bay movie, so we are not surprised. But
• 1:17:51
  Speaker 1: it is fun. So I hate yeah, yeah, so you
• 1:17:56
  Speaker 1: know not and I think it's mostly fun because of
• 1:17:59
  Speaker 1: Martin Awrence and Will Smith. It's fully the performances that
• 1:18:02
  Speaker 1: make this movie fun. Let's not gives Michael Bead deserves camera.
• 1:18:10
  Speaker 1: You know, you know what, I really think it was
• 1:18:11
  Speaker 1: the extra car exploding that really took it over the
• 1:18:14
  Speaker 1: top for me. But yeah, yeah, it doesn't fare well
• 1:18:17
  Speaker 1: this movie. Um, Lacy, thank you so much for being here.
• 1:18:21
  Speaker 1: Always such a treat. Come back anytime. Where can we
• 1:18:27
  Speaker 1: Where can we find you? Online? Guys, you can find
• 1:18:30
  Speaker 1: me at d I V A l A c I
• 1:18:31
  Speaker 1: DVA Lacey on all platforms. And guys, if you want
• 1:18:35
  Speaker 1: to hear more of my voice, scam got his pot
• 1:18:36
  Speaker 1: um and if you have any scams you want to
• 1:18:38
  Speaker 1: email me. Scam got his pot at gmail dot com
• 1:18:40
  Speaker 1: and scam got his pot on all platform So good.
• 1:18:45
  Speaker 1: You can follow us bad Boys. Oh god, take that
• 1:18:50
  Speaker 1: back right now? Leave it at spectel cast on social
• 1:18:56
  Speaker 1: media platforms. You can subscribe to our Patreon ak Matreon.
• 1:19:02
  Speaker 1: It's five dollars a month. You get two bonus episodes
• 1:19:05
  Speaker 1: plus our entire back log of episodes, bad Boy backlog,
• 1:19:10
  Speaker 1: A bad Boy backlog, Say that three times fast, and
• 1:19:14
  Speaker 1: uh what else? We got? Rate and review us on
• 1:19:17
  Speaker 1: Apple Podcasts or wherever you get your podcast, and check
• 1:19:20
  Speaker 1: for our website for upcoming tour dates March as well.
• 1:19:24
  Speaker 1: March as well, but look out for that bitchy obstacle teacher.
• 1:19:27
  Speaker 1: Someone reminds me to make that um and uh yeah,
• 1:19:31
  Speaker 1: we love you so much. Bad boys, Bad boys. What's
• 1:19:34
  Speaker 1: you gonna do? What's you're gonna do when they come
• 1:19:37
  Speaker 1: for you by