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Transcript

The Wolf of Wall Street · The Bechdel Cast

• 0:01
  Speaker 1: On the Bechdecast, the questions asked if movies have women
• 0:04
  Speaker 1: and them, are all their discussions just boyfriends and husbands,
• 0:08
  Speaker 1: or do they have individualism? It's the patriarchy, zeph and
• 0:12
  Speaker 1: best start changing it with the Bechdel Cast.
• 0:16
  Speaker 2: Hello, welcome to the Bechdel Cast. My name is Jamie.
• 0:22
  Speaker 3: My name is Caitlin. I was expecting you to say
• 0:25
  Speaker 3: your last name too. I got really.
• 0:27
  Speaker 2: Oh no, I'm trying to like pivot to like Beyonce. Okay,
• 0:32
  Speaker 2: I'm trying to become what is it eponymous?
• 0:35
  Speaker 3: Oh? Is that what that means?
• 0:37
  Speaker 4: I don't know. No, mononymous, I just oh, mama, monogamous, monogamous.
• 0:48
  Speaker 2: I mean not for everyone, but certainly for me. Not
• 0:53
  Speaker 2: for me, Bregny know. My name is Jamie Loftis what's
• 0:58
  Speaker 2: your name?
• 0:59
  Speaker 1: God?
• 1:00
  Speaker 3: My name is Caitlin Dubronte. Okay, fine. It's our show
• 1:05
  Speaker 3: where we examine movies through an intersectional feminist lens, using
• 1:09
  Speaker 3: the Bechdel test as a jumping off point. This is
• 1:12
  Speaker 3: a special episode because this is our live episode on
• 1:17
  Speaker 3: the Wolf of Wall Street, Yes, which we recorded live
• 1:22
  Speaker 3: in Sacramento at STAB Comedy Theater many many months ago.
• 1:26
  Speaker 3: This was February.
• 1:28
  Speaker 2: It's wild. I feel like, honestly, I was gonna be like,
• 1:31
  Speaker 2: I feel like basically the same person, but like you know,
• 1:35
  Speaker 2: it was a really really fun show.
• 1:37
  Speaker 3: It was Yes, thank you to everyone who came out.
• 1:39
  Speaker 2: It was an absolute blast.
• 1:41
  Speaker 3: Yeah.
• 1:41
  Speaker 2: We covered the Wolf of Wall Street, which you know
• 1:43
  Speaker 2: if you have clicked onto the b Caitlin had this
• 1:48
  Speaker 2: idea to do this, and I think it was rather
• 1:50
  Speaker 2: brilliant because if you were not aware, it was a
• 1:53
  Speaker 2: while ago.
• 1:54
  Speaker 5: Now.
• 1:54
  Speaker 2: We did a tour that was called the Barbie Tour,
• 1:57
  Speaker 2: but in Sacramento we had two show times because the
• 2:01
  Speaker 2: first one sold out because we're so extremely popular, and
• 2:05
  Speaker 2: so we had to think of a second movie to cover,
• 2:07
  Speaker 2: and Caitlin suggested the Wolf of Wall Street? Could you
• 2:11
  Speaker 2: unpack that for us?
• 2:13
  Speaker 3: Well, I was like, okay, Barbie is all about Margot
• 2:16
  Speaker 3: Robbie wearing pink. In what other movies does Margot Robbie
• 2:20
  Speaker 3: wear pink? And the obvious choice was Wolf of Wall Street,
• 2:24
  Speaker 3: a movie that pairs perfectly with Barbie.
• 2:27
  Speaker 2: We can all agree, and I think it is fascinating
• 2:29
  Speaker 2: in terms of career trajectory that often the first movie,
• 2:33
  Speaker 2: especially for like a bombshell actress like Margaret Robbie is,
• 2:38
  Speaker 2: who is also tremendously talented and a really great producer
• 2:43
  Speaker 2: and like very smart. But you'll often see I feel
• 2:47
  Speaker 2: like them burst onto the scene in roles that are
• 2:50
  Speaker 2: fundamentally exploitative in a way that is not their fault.
• 2:54
  Speaker 3: For sure.
• 2:54
  Speaker 2: Margot Robbie is amazing in this movie. She's also quite young,
• 2:58
  Speaker 2: and then seeing almost ten years later, seeing her in
• 3:05
  Speaker 2: the most successful movie of the year that she also
• 3:08
  Speaker 2: produced that she had a huge hand and that is
• 3:11
  Speaker 2: you can listen to our Barbie episode that for the
• 3:14
  Speaker 2: most part, you know, is like a kind of a
• 3:16
  Speaker 2: good feminism one oh one type movie that normally doesn't
• 3:20
  Speaker 2: do as well without a huge star behind it. So
• 3:24
  Speaker 2: and we were doing it in Sacramento, which felt Greta
• 3:27
  Speaker 2: Gerwig coded. You know, it was all it was all
• 3:31
  Speaker 2: kind of connected.
• 3:33
  Speaker 3: Her web connects them all.
• 3:35
  Speaker 2: If Margaret Robbie had been in Madam Web, I mean no,
• 3:41
  Speaker 2: She's only in the DC universe, right, I guess she
• 3:43
  Speaker 2: didn't really fuck with Marvel.
• 3:45
  Speaker 3: Marvel's kind of a liability at this point, I mean true. Well,
• 3:49
  Speaker 3: speaking of Margaret Robbie's career trajectory, the difference between.
• 3:53
  Speaker 2: Thank God, her character back.
• 3:54
  Speaker 3: You brought it up her character in Suicide Squad versus
• 3:59
  Speaker 3: her character in Birds of Prey. She's playing the same character,
• 4:03
  Speaker 3: but the way that character is portrayed and the you know,
• 4:08
  Speaker 3: amount of agency that character has and the way that
• 4:11
  Speaker 3: character is framed, et cetera a huge difference.
• 4:14
  Speaker 2: And it's so interesting that she executive produced one of
• 4:18
  Speaker 2: those movies and not the other.
• 4:20
  Speaker 3: Very interesting.
• 4:21
  Speaker 2: I Margaret, Robbie Stan Sorry, if anyone's upset, get a life.
• 4:27
  Speaker 2: We covered of Wall Street is the point, and we
• 4:31
  Speaker 2: also have covered you know, a number of Martin Scorsese
• 4:35
  Speaker 2: movies in the last year or so, and so we
• 4:38
  Speaker 2: were excited to cover it because it was a movie
• 4:40
  Speaker 2: that we both like. Yes, which if you know that
• 4:45
  Speaker 2: we're a host of the Bechdel Cast, feels confusing. We
• 4:50
  Speaker 2: get into it. Yeah, it was a very fun show.
• 4:53
  Speaker 2: And before you get into our live show recording, and
• 4:58
  Speaker 2: then we have some pickups later on because it is
• 5:01
  Speaker 2: a very complicated movie to talk about. We had more
• 5:04
  Speaker 2: to say that we didn't have time for. But first, Caitlin,
• 5:06
  Speaker 2: what the hell is the Bechdel Test?
• 5:08
  Speaker 3: Tell me ge whiz, I'll tell you. It is a
• 5:12
  Speaker 3: meametric tell Me, created by Alison Bechdel, first appearing in
• 5:17
  Speaker 3: her comic Likes to Watch out For in nineteen eighty five,
• 5:20
  Speaker 3: appearing as a bit a goof. It was never intended
• 5:22
  Speaker 3: to be the media metric that it came to be,
• 5:26
  Speaker 3: and there are many versions of the tests. The one
• 5:29
  Speaker 3: that we have cultivated over the years is this, do
• 5:32
  Speaker 3: two characters of a marginalized gender have names? Do they
• 5:36
  Speaker 3: speak to each other? And is their conversation about something
• 5:40
  Speaker 3: other than a man? If so, it passes the Bechdel test. Also,
• 5:44
  Speaker 3: we like it when it's a substantial conversation and not
• 5:47
  Speaker 3: just throwaway dialogue. So that is what we spend I
• 5:53
  Speaker 3: don't know, one to three minutes of every episode talking
• 5:56
  Speaker 3: about and the rest is other stuff.
• 6:00
  Speaker 2: We just wanted to thank everyone who came to Sacramento
• 6:02
  Speaker 2: almost six months ago now coming to this show. Thank
• 6:07
  Speaker 2: you to STAB and let's get into it.
• 6:11
  Speaker 3: Let's see really quick. Our entry point into the live
• 6:14
  Speaker 3: show is right after we have crawled on stage as
• 6:18
  Speaker 3: if we were God.
• 6:19
  Speaker 2: I forgot on waylots. That was a good idea.
• 6:24
  Speaker 3: That was a great idea. We executed it perfectly and
• 6:28
  Speaker 3: it was awesome.
• 6:28
  Speaker 2: That was a good idea.
• 6:32
  Speaker 3: And then the other thing to do right at the
• 6:35
  Speaker 3: very top here is to place a content slash trigger
• 6:39
  Speaker 3: warning because there is discussion of sexual assault, marital rape,
• 6:46
  Speaker 3: things of that nature that we will be discussing throughout
• 6:50
  Speaker 3: the episode. So please enjoy our live episode of the
• 6:57
  Speaker 3: Wolf of Wall streetcast.
• 7:02
  Speaker 2: Well, welcome, thank you for coming to this very important
• 7:05
  Speaker 2: dissertation on the Wolf of Wall Street. Yes, at nine
• 7:08
  Speaker 2: point thirty on a Friday night. Feels good, feels right.
• 7:12
  Speaker 2: I have my toes out like it's a wiki feed
• 7:15
  Speaker 2: nightmare medals, I know.
• 7:19
  Speaker 3: Just kind of like letting lose, you know. Well, that's
• 7:23
  Speaker 3: what the quayludes will do to you. We're both on
• 7:25
  Speaker 3: so many lutes right now.
• 7:27
  Speaker 2: We'll get you a loose Wow.
• 7:30
  Speaker 3: Okay. Oh. My name is Caitlyn Toronte, my.
• 7:33
  Speaker 2: Name is Shamie Loftus, and this is our our podcast
• 7:37
  Speaker 2: where we talk about your favorite movies from an intersectional
• 7:40
  Speaker 2: feminist lens, and tonight we're operating at a very high
• 7:43
  Speaker 2: difficulty level, so enjoy whatever you're about to here. Give
• 7:49
  Speaker 2: it up if you listen to the show. Okay, wow,
• 7:54
  Speaker 2: free applause.
• 7:55
  Speaker 3: Okay, give it up.
• 7:56
  Speaker 2: If you've been dragged here and you're like, I don't
• 7:58
  Speaker 2: know what's happening. Yeah, okay. I love when someone is
• 8:03
  Speaker 2: confidently unaware of what's happening. That's beautiful. That's Lyude's energy.
• 8:10
  Speaker 2: Hell yeah, well that's uh. You'll you'll get the feel
• 8:13
  Speaker 2: for it. We trust you.
• 8:16
  Speaker 3: Uh.
• 8:16
  Speaker 2: And tonight we were talking about The Wolf of Wall Street.
• 8:21
  Speaker 2: Yes we are, and well I was thinking of how
• 8:25
  Speaker 2: Easter ray and Barbie says, oh, are you guys watching
• 8:28
  Speaker 2: The Godfather? And that was me in college when this
• 8:32
  Speaker 2: movie came out, to all five hundred guys in the
• 8:36
  Speaker 2: fucking filthy punk house I lived in, being like, oh
• 8:39
  Speaker 2: are you all watching The Wolf of Wall Street? And
• 8:43
  Speaker 2: they were like, no, we're playing The Last of Us
• 8:45
  Speaker 2: and it's feminist, Okay, shut up. And I was like, okay, whatever,
• 8:51
  Speaker 2: I don't have PTSD about college at all.
• 8:54
  Speaker 3: Jamie, what's your your relationship?
• 8:56
  Speaker 2: Well, I guess I just gave away about it. Yeah,
• 9:00
  Speaker 2: this movie came out when I was in college. It
• 9:03
  Speaker 2: was for a long time it was my favorite Martin
• 9:06
  Speaker 2: Scuarssese movie, but it was because I had not yet
• 9:08
  Speaker 2: seen Goodfellas and so, which this movie is kind of Fellows.
• 9:16
  Speaker 2: But yeah, I saw it, and I really I mean,
• 9:20
  Speaker 2: as far as our show it does horribly. As far
• 9:24
  Speaker 2: as a movie to watch, I really like it. This
• 9:28
  Speaker 2: movie is fucking wild. It's like it's so long, but
• 9:34
  Speaker 2: and so much happens, and sometimes something so horrible happens
• 9:39
  Speaker 2: that it's like the water so hot, it's cold again,
• 9:41
  Speaker 2: and you're like, I think I'm okay with this, so like,
• 9:45
  Speaker 2: whatever is happening, it's so funny, it's so fucked up. Yeah,
• 9:49
  Speaker 2: I mean this is like, this is a not a
• 9:52
  Speaker 2: comfort movie. It's viscerally upsetting to watch. But this is
• 9:56
  Speaker 2: like a movie I've seen many times. I watched it
• 10:00
  Speaker 2: like on DVD in college, and I'll come back to
• 10:03
  Speaker 2: it every so often. And there's so many iconic moments,
• 10:07
  Speaker 2: one of which we just attempted to.
• 10:09
  Speaker 3: Reinab and we nailed it.
• 10:12
  Speaker 2: I knew exactly what was going on. No, they were like, no,
• 10:16
  Speaker 2: they're going to do performance, all right. No, I didn't
• 10:20
  Speaker 2: sign up for this, but no, I mean, it's a
• 10:24
  Speaker 2: movie I really enjoy watching and I've never been forced
• 10:26
  Speaker 2: to discuss before, and so it's just gonna be it's
• 10:30
  Speaker 2: gonna be an adventure. And the reason that we chose
• 10:33
  Speaker 2: this movie to do the same night as Barbie because
• 10:36
  Speaker 2: we're doing two shows here is because it's another movie
• 10:38
  Speaker 2: where Marcot Robbie wears pink and there's no denying it.
• 10:42
  Speaker 2: And I didn't know that this movie also the same
• 10:45
  Speaker 2: cinematographer as Barbie. So this man has turned various lenses
• 10:52
  Speaker 2: on Margot Robbie over the years. So yeah, Caitlin, was
• 10:55
  Speaker 2: your history with woofl Fall Street?
• 10:58
  Speaker 3: I don't seen it once before prepping for this episode,
• 11:03
  Speaker 3: I think that I was like, it's too long. I
• 11:07
  Speaker 3: can't watch it, b RB. I have to watch Titanic instead,
• 11:11
  Speaker 3: which is longer.
• 11:12
  Speaker 2: It would have been cool if Wall Street sunk? Whoa
• 11:17
  Speaker 2: would have been? Matthew McConaughey turns to the camera and
• 11:21
  Speaker 2: it's like, I think you may get your headline, mister
• 11:24
  Speaker 2: Wall Street Journal, and then Wall Street sinks. Mm hmmm.
• 11:29
  Speaker 2: That would have been fun.
• 11:30
  Speaker 3: Yeah, So I don't know. I saw it once and
• 11:34
  Speaker 3: I was like, this is Goodfellas, but longer, So I'll
• 11:38
  Speaker 3: just keep watching good Fellas, I guess instead. No, I
• 11:41
  Speaker 3: like the movie too. It's it's a ten out of
• 11:44
  Speaker 3: ten on Caitlin's rombometer.
• 11:46
  Speaker 2: We we've been like watching it in our various hotel
• 11:49
  Speaker 2: rooms and just like chuckling to ourselves and be like, hey,
• 11:53
  Speaker 2: you remember the part where he has too many wudes,
• 11:56
  Speaker 2: which is every part, and then we just start laughing.
• 12:01
  Speaker 2: This movie is like funnier than it has any right
• 12:03
  Speaker 2: to be.
• 12:04
  Speaker 3: Yeah. Yes, and a lot of that humor comes from
• 12:07
  Speaker 3: very problematic sources. Yes, and we'll talk about them.
• 12:10
  Speaker 2: Yes. Wait, what what if you? This is? This is
• 12:17
  Speaker 2: me finding out that not everything that happens in the
• 12:20
  Speaker 2: Wolf of wall Street is good?
• 12:22
  Speaker 3: Nor what nor.
• 12:25
  Speaker 2: The Wolf of Wall Street's my friend Margot Robbie reading
• 12:29
  Speaker 2: the script.
• 12:32
  Speaker 3: Nor he's such a bad wolf. Well, anyway, should I
• 12:41
  Speaker 3: do the recap?
• 12:42
  Speaker 2: Yes? Okay, Oh that's so I want. Okay, I'm going
• 12:46
  Speaker 2: to react as only as Margot Robbie reading me the
• 12:49
  Speaker 2: script for the first time. Oh my god.
• 12:54
  Speaker 3: All right, so here's here's the recap for The Wolf
• 12:57
  Speaker 3: of Wall Street. I am going to gloss over some
• 13:01
  Speaker 3: stuff and leave some stuff out because it is a
• 13:04
  Speaker 3: three hour movie.
• 13:05
  Speaker 2: Yes, please don't come to up to us after this.
• 13:07
  Speaker 2: This is my favorite when we do live shows, or
• 13:09
  Speaker 2: even when we get like emails after episodes come out
• 13:11
  Speaker 2: where someone is like, hey, did you know that there
• 13:14
  Speaker 2: was actually a thirty second scene that you didn't reference,
• 13:18
  Speaker 2: and I was like, thank you so much, Scott, I'm assuming, yes,
• 13:24
  Speaker 2: thank you. The show is free.
• 13:26
  Speaker 3: Fuck up that said, we love all of you. Thank
• 13:31
  Speaker 3: you so much for being here.
• 13:34
  Speaker 2: Yes, please buy merche here.
• 13:38
  Speaker 3: Okay. So this movie is based on a true story
• 13:43
  Speaker 3: about real life person Jordan Belfour. The year is nineteen
• 13:48
  Speaker 3: eighty seven. I have been alive for one year. Me
• 13:54
  Speaker 3: not so much.
• 13:56
  Speaker 2: Don't even exist. Fantasy's young.
• 14:03
  Speaker 6: Uh.
• 14:03
  Speaker 3: So we meet Jordan Belfort played by Leonardo DiCaprio. He
• 14:08
  Speaker 3: is an uber rich stockbroker. He's twenty six years old
• 14:12
  Speaker 3: when we meet him, and.
• 14:14
  Speaker 2: It's like he's like, c W twenty six years old. Oh,
• 14:18
  Speaker 2: I love. I love when someone looks in your face
• 14:21
  Speaker 2: in camera says I'm twenty six, and like I'm looking
• 14:24
  Speaker 2: at you. I you look great, but you're not twenty six.
• 14:31
  Speaker 3: Okay. So he makes nearly a million dollars a week
• 14:35
  Speaker 3: at his money job.
• 14:38
  Speaker 2: Wait, a million dollars a week. I bet his peepy's
• 14:42
  Speaker 2: so bad. Wow, that's like the subtext of every line
• 14:46
  Speaker 2: of dialogue on this He's like, by the way, my
• 14:48
  Speaker 2: peepee huge.
• 14:53
  Speaker 3: He he's got it all. He's got a beautiful his wife.
• 14:57
  Speaker 2: His wife's wife, she's like that's me.
• 15:03
  Speaker 3: Her name is Naomi and she is played by Marcot Robbie.
• 15:06
  Speaker 2: The Wolf is of Wolf straight.
• 15:11
  Speaker 3: They have two kids. They live on a huge estate.
• 15:15
  Speaker 3: There's a bunch of cars and yachts and private jets
• 15:18
  Speaker 3: and all of that. He's also he also has addictions
• 15:21
  Speaker 3: to drugs, especially quayludes. Ever heard of them?
• 15:26
  Speaker 2: Okay, I had not heard of them before I saw
• 15:28
  Speaker 2: the Wolf of bus Street. Really no, I didn't know.
• 15:32
  Speaker 2: I was very sheltered. Wow, the first time I saw
• 15:35
  Speaker 2: someone smoke weed, I cried.
• 15:40
  Speaker 3: And I was like old.
• 15:43
  Speaker 2: I was like sick last week, it was today. I
• 15:49
  Speaker 2: didn't know what ludes were. And then when I learned
• 15:51
  Speaker 2: what ludes were, I just like love to just say
• 15:54
  Speaker 2: it ludes or so. I was just reminding you my
• 15:57
  Speaker 2: dog I used to have like all the ludes lore
• 16:01
  Speaker 2: attached to my dog, where I was like, well, my
• 16:03
  Speaker 2: dog is a millionaire. Here's what he does. He goes
• 16:06
  Speaker 2: to Beverly Hills and he just digs in rich people's
• 16:09
  Speaker 2: yards and gets their hid and ludes, and then he
• 16:11
  Speaker 2: re sells them on the Black market, and the people
• 16:15
  Speaker 2: he sells them to are the lud dudes.
• 16:17
  Speaker 3: Wow.
• 16:19
  Speaker 2: Anyways, I think louds is a fun word, but I
• 16:21
  Speaker 2: don't want to take one.
• 16:23
  Speaker 3: Well, I don't think you can't, but they don't. They
• 16:24
  Speaker 3: don't exp.
• 16:25
  Speaker 2: Well, they didn't stop Leo from getting them.
• 16:29
  Speaker 3: It's true, but that was like thirty ish years ago.
• 16:33
  Speaker 3: I'm like him, I could get them, and then I
• 16:36
  Speaker 3: would sink my boat. There is a boat that sinks
• 16:39
  Speaker 3: in this mood. That's foreshadowing. It's something that's gonna we're
• 16:43
  Speaker 3: gonna see a little later.
• 16:45
  Speaker 2: Just sing spoiling for Titanic and the Wolf lost.
• 16:51
  Speaker 3: Anyway, So he loves ludes and that's one of his
• 16:54
  Speaker 3: main personality traits. He also has three federal agencies after him.
• 17:02
  Speaker 3: He's obsessed with money and gambling and alcohol and all
• 17:05
  Speaker 3: this stuff.
• 17:05
  Speaker 2: Yeah, Friday Night Lights is looking for him. I don't
• 17:09
  Speaker 2: know what that guy.
• 17:10
  Speaker 4: I know.
• 17:10
  Speaker 2: His name is Kyle, Kyle Chandler, two first names. Don't
• 17:14
  Speaker 2: love that and already am ilias, but it's yeah. I
• 17:19
  Speaker 2: was like, oh, Friday Night Ludes love him.
• 17:26
  Speaker 3: So we flashed back a few years prior where we
• 17:29
  Speaker 3: learn how Jordan got to this point. He's a starry
• 17:33
  Speaker 3: eyed twenty two year old. He's newly married, but not
• 17:37
  Speaker 3: to Margot Robbie.
• 17:38
  Speaker 2: To Kristin Miliotti Melatti. I actually Daliatti. No, no one, okay,
• 17:47
  Speaker 2: all right, as long as no one cares in this movie.
• 17:50
  Speaker 2: If you're a brunette, no one cares, don't worry about it.
• 17:55
  Speaker 3: So he shows up on Wall Street in New York City,
• 17:58
  Speaker 3: Ever heard of it? And star it's working for Mark Hannah,
• 18:02
  Speaker 3: played by Matthew McConaughey. Let me just say the sheer
• 18:07
  Speaker 3: panic I experienced when Matthew McConaughey shows up on screen,
• 18:11
  Speaker 3: and I was like, oh my god, I forgot he
• 18:13
  Speaker 3: was in this movie? How much I hate him so much?
• 18:16
  Speaker 3: I hate Matthew McConaughey so deeply, And I was like,
• 18:21
  Speaker 3: is he in this whole movie? I hate it already.
• 18:23
  Speaker 2: But they only yeah, it's like a glorified cameo. Although
• 18:27
  Speaker 2: two things. First, he because I think if there was
• 18:31
  Speaker 2: any Leonardo DiCaprio performance that deserved in Oscar, it was
• 18:35
  Speaker 2: this one. It's so good. But Matthew McConaughey beat him
• 18:40
  Speaker 2: this year for Dallas Buyer's Club, which I've never seen Also,
• 18:44
  Speaker 2: this is my favorite flex in the entire world. For
• 18:46
  Speaker 2: one single week, I knocked Matthew McConaughey off the New
• 18:51
  Speaker 2: York Times bestsellers list, and the week after he was back,
• 19:00
  Speaker 2: and I was gone but for one week. And I
• 19:03
  Speaker 2: did it for you.
• 19:04
  Speaker 3: Thank you, thank you. I did it for you, babe.
• 19:06
  Speaker 2: I did it for you.
• 19:07
  Speaker 3: I appreciate it. Hashtag by raw Dog by Jamie Loftis.
• 19:12
  Speaker 2: But no, thank you, thank you.
• 19:16
  Speaker 3: I wonder a really generous smattering of applause from three people.
• 19:21
  Speaker 2: All I have to say is I am ambivalent to Kandy.
• 19:25
  Speaker 3: I don't know why I hate him so much. He
• 19:26
  Speaker 3: just he irritates me so badly. Anyway, he luckily he's
• 19:31
  Speaker 3: not in the movie that much, but he is there
• 19:33
  Speaker 3: long enough to tell Jordan how to make a shitload
• 19:37
  Speaker 3: of money as a stockbroker, which is break off, jerking off. Yes,
• 19:41
  Speaker 3: that's literally number one. Yeah, doing a lot of cocaine.
• 19:45
  Speaker 3: And Jordan was like, I see your cocaine, and I
• 19:48
  Speaker 3: raise you, ludes.
• 19:50
  Speaker 2: I like that. It's I think this is the right
• 19:53
  Speaker 2: order where he's like, jerk off a lot, do a
• 19:54
  Speaker 2: lot of cocaine, and develop positive business relationships and you're
• 19:59
  Speaker 2: like sure in that.
• 20:00
  Speaker 3: Except he doesn't even say that. He's just like, you're
• 20:02
  Speaker 3: gonna basically want to exploit your clients.
• 20:05
  Speaker 2: Well that's their version of positive business relationship. Yea.
• 20:08
  Speaker 3: Yeah. So then for the next six months, Jordan learns
• 20:12
  Speaker 3: the ropes and then on his first day as a
• 20:14
  Speaker 3: licensed broker, Black Monday happens, which I was only one
• 20:20
  Speaker 3: years old, so I don't remember it, but you.
• 20:21
  Speaker 2: Were affected your boss, baby like, no, my biby stocks.
• 20:30
  Speaker 2: That's that's baby, Margot Rabbie.
• 20:33
  Speaker 3: From what I gather from the movie because I did
• 20:35
  Speaker 3: not bother to look it up. Black Monday was like
• 20:38
  Speaker 3: a mini stock market crash.
• 20:40
  Speaker 2: Yeah, there is a whole mini series about it starring
• 20:43
  Speaker 2: Don Cheatle. Whoa, it's a fact. Okay, moving on.
• 20:48
  Speaker 3: Thank you. Uh So, the firm that he worked for
• 20:52
  Speaker 3: at the time goes out of business, and then he
• 20:54
  Speaker 3: gets another job at a crappy firm in Long Island
• 20:57
  Speaker 3: that trades penny stocks. But he makes a fifty percent
• 21:01
  Speaker 3: commission on these versus the one percent commission he made
• 21:05
  Speaker 3: on Wall Street on the blue stock.
• 21:09
  Speaker 2: He's like, now I'm gonna scam poor people, and we're like, wow,
• 21:13
  Speaker 2: this guy's asses cool.
• 21:17
  Speaker 3: And he's a very persuasive salesman. So he starts making
• 21:20
  Speaker 3: quite a bit of money. And then one day he
• 21:23
  Speaker 3: meets a guy named Donnie Azov played by Jonah Hill.
• 21:29
  Speaker 3: He approaches Jordan because he notices Jordan's expensive car, and
• 21:33
  Speaker 3: he's like, I will work for you and quit my
• 21:34
  Speaker 3: job right now.
• 21:36
  Speaker 2: I love this whole performance is Jonah Hill leading with
• 21:39
  Speaker 2: his veneers. He's just his And I know it is
• 21:43
  Speaker 2: like a character thing because they mentioned that this whoever
• 21:47
  Speaker 2: this guy's based on, had veneers because they're like he
• 21:49
  Speaker 2: his teeth were the same length. Is scary, but like
• 21:54
  Speaker 2: the veneers are so distracting. I just I as I
• 21:58
  Speaker 2: notice veneers, I like.
• 22:00
  Speaker 3: Well, it's the Jerry Brockheimer.
• 22:02
  Speaker 2: It's the Jerry Berckheimer effect. Or if you get or
• 22:05
  Speaker 2: it's like if you are on SNL for a third season,
• 22:09
  Speaker 2: your teeth your mouth changes. It's like I noticed these
• 22:13
  Speaker 2: things and I just don't understand because it's like veneers
• 22:16
  Speaker 2: are so I'm assuming they're so expensive, right, but then
• 22:20
  Speaker 2: it just looks like one continuous tooth, Like why do
• 22:24
  Speaker 2: they look like shit if they cost so much money?
• 22:27
  Speaker 2: And then I whenever you see someone with veneers. You
• 22:29
  Speaker 2: just imagine because you know, to get veneers, have you
• 22:32
  Speaker 2: ever seen a picture with someone without their veneers? It's
• 22:35
  Speaker 2: a little baniicula.
• 22:39
  Speaker 3: It's really bad. Wait what isicula? What is that?
• 22:43
  Speaker 2: It's a it's a series of ya novels about a
• 22:46
  Speaker 2: rabbit that's a vampire.
• 22:47
  Speaker 3: Is that that point?
• 22:48
  Speaker 2: No? Okay, everyone's having a meltdown.
• 22:52
  Speaker 3: We've lost underneath.
• 22:54
  Speaker 2: To get veneers, they shave your normal teeth down to
• 22:56
  Speaker 2: little freaky points and then they put your little doll
• 23:00
  Speaker 2: ty though what and then you're Jonah Hill in the movie,
• 23:05
  Speaker 2: and then you have new like Pete davidson mouth, Look
• 23:10
  Speaker 2: at Pete Davidson's mouth ten years ago. It's different. I'm
• 23:14
  Speaker 2: here to tell you, Okay. Anyways, his veneers.
• 23:18
  Speaker 3: Wow, their prominence shocking. Yes. So anyway, Donnie Azov starts
• 23:23
  Speaker 3: working with Jordan, but he's weird and he has veneers
• 23:27
  Speaker 3: and he married.
• 23:28
  Speaker 2: His cousin, which is true that I'm I know, well,
• 23:34
  Speaker 2: because this is like when you see based on a
• 23:37
  Speaker 2: true story, You're like, chances are that's horseshit. I did
• 23:41
  Speaker 2: like a cursory overview of like comparing fact and truth,
• 23:45
  Speaker 2: and I mean like most of this movie is true
• 23:49
  Speaker 2: and weirdly, and this is like a criticism we have
• 23:52
  Speaker 2: of the movie that we're gonna talk about. But when
• 23:54
  Speaker 2: Jordan Bellefort saw this movie after personally profiting author of
• 23:58
  Speaker 2: it because he got a million dollars in his rights
• 24:01
  Speaker 2: being bought right all this shit, so uh, but he
• 24:04
  Speaker 2: saw it and he was like, oh yeah, and I
• 24:06
  Speaker 2: was worse and so yeah, no, that guy did marry
• 24:11
  Speaker 2: his first cousin. Wow, So now you know that oop oops,
• 24:18
  Speaker 2: I don't think think on purpose, Yeah.
• 24:22
  Speaker 3: Trus oops, I married my cousin. Yeah.
• 24:26
  Speaker 2: When you're at the end, when you're saying your valves,
• 24:29
  Speaker 2: you can't just say I do you say? Oops? I
• 24:33
  Speaker 2: mean that's any marriage though.
• 24:34
  Speaker 3: True. All right, So they're buds now and they open
• 24:39
  Speaker 3: a firm together and hire some dudes, some lude dudes
• 24:45
  Speaker 3: dude mostly weed dealers, uh, and they all become brokers.
• 24:51
  Speaker 3: And then we see that the first scene where he's like,
• 24:54
  Speaker 3: sell me a pen and he's like okay, and he doesn't,
• 24:58
  Speaker 3: and we're like wow, and we're.
• 25:00
  Speaker 2: Like wow, it's a metaphor for future moments in the movie.
• 25:05
  Speaker 3: So then Jordan's his first wife, Teresa Brunette you know
• 25:10
  Speaker 3: she's done for She's Kristin Miliotti is what we've decided.
• 25:17
  Speaker 2: Maybe not sure. I love her. I think she's like
• 25:20
  Speaker 2: an incredible character actor, and I until today have never
• 25:24
  Speaker 2: had to say her last name out loud.
• 25:26
  Speaker 3: Yeah, she's great. Yes. So she has reservations about Jordan's
• 25:31
  Speaker 3: job because he mostly sells these penny stocks to working
• 25:35
  Speaker 3: in middle class people, and she would feel better if
• 25:39
  Speaker 3: he sold them to rich people who can afford to
• 25:41
  Speaker 3: lose money if those companies go under, and.
• 25:44
  Speaker 2: She has every woman in this movie has an incredible
• 25:48
  Speaker 2: Long Island accent. But my favorite line from her specifically
• 25:52
  Speaker 2: is when right before Jordan was like Leonardo DiCaprio goes
• 25:58
  Speaker 2: to like the penny stocks. He's like, I don't know,
• 26:02
  Speaker 2: maybe I should just be a stock boy. I'm a loser.
• 26:05
  Speaker 2: And then she's like, you're not a stock boy, you're
• 26:07
  Speaker 2: a stockbroker. And then he's like, you're right, my wife,
• 26:14
  Speaker 2: I'm going to work at toilet like you said. It's nice.
• 26:19
  Speaker 3: Yeah, love for And then he takes her advice and
• 26:24
  Speaker 3: he reinvents the company. It's now called Stratton Oakmont and
• 26:29
  Speaker 3: they're going to target rich people but still stell crappy
• 26:33
  Speaker 3: penny stocks.
• 26:34
  Speaker 2: Do we know why it's called Stratton Oakmont because it
• 26:37
  Speaker 2: just sounds like something that sounds like a company.
• 26:40
  Speaker 3: I don't know. Yeah, he doesn't explain where the name
• 26:43
  Speaker 3: comes from. Also, the mascot is a lion, and it's like,
• 26:46
  Speaker 3: the movie isn't called The Lion of Wall Street. No,
• 26:51
  Speaker 3: good point, kateline, Thank you so much.
• 26:53
  Speaker 2: I'm so smart as the medium, but.
• 26:59
  Speaker 3: Please by our merch No, I'm kidding, all right. So
• 27:03
  Speaker 3: Stratton Oakmont grows as a company and before long they
• 27:08
  Speaker 3: are making many, many millions of dollars. And then Forbes
• 27:12
  Speaker 3: does a profile on Jordan and the company, which is
• 27:16
  Speaker 3: not flattering, but his appearance in Forbes like legitimizes the company.
• 27:21
  Speaker 2: Yeah, they're like, oh, he's he's a true scammer. He's
• 27:24
  Speaker 2: he's a newsworthy criminal. We want to work for him.
• 27:28
  Speaker 2: So then there's like a million guys that are like,
• 27:30
  Speaker 2: my baby is big at his door, and he's like, yes.
• 27:34
  Speaker 3: Yes, great, And then Jordan hires his dad, Max, played
• 27:40
  Speaker 3: by Rob Reiner.
• 27:41
  Speaker 2: I love that sentence. You can't talk me out of
• 27:45
  Speaker 2: loving that sentence. It's great.
• 27:47
  Speaker 3: And he's giving a great performance and his job is
• 27:51
  Speaker 3: to be the accountant.
• 27:54
  Speaker 2: I don't want to walk around and be like, Jordan,
• 27:57
  Speaker 2: don't do that.
• 27:58
  Speaker 3: What the fuck are you doing?
• 28:00
  Speaker 2: And I love that they're just like paying Rob Reiner
• 28:02
  Speaker 2: to almost have a heart attack in every scene. I
• 28:06
  Speaker 2: think he is supposed to be like keeping track of
• 28:08
  Speaker 2: the finances, some sort of I don't know. I've worked
• 28:12
  Speaker 2: at the Massachusetts Comptroller's office for three years and I
• 28:16
  Speaker 2: don't know what they were doing over there, but it
• 28:19
  Speaker 2: seems something like that. Sure, something financial.
• 28:24
  Speaker 3: Yeah, he's like, I guess monitoring the company's expenses. And
• 28:28
  Speaker 3: what they're spending money on is very expensive dinners, parties,
• 28:32
  Speaker 3: sex workers, drugs, especially coeludes. And the workplace is just
• 28:38
  Speaker 3: like a complete circus. Men are screaming, they're breaking things.
• 28:43
  Speaker 2: Everyone's fucking each other.
• 28:45
  Speaker 3: Yes, they're treating little people and women like objects and animals.
• 28:52
  Speaker 3: There's a chimpanzee. It felt so bad for it. And yeah,
• 28:55
  Speaker 3: the whole place is a mess. And then one day
• 28:58
  Speaker 3: at a company Partyjordan meets Naomi. That's again Margot Robbie's character.
• 29:03
  Speaker 2: That's my gool Roby's character.
• 29:06
  Speaker 3: You're welcome, and she is so hot that Donnie takes
• 29:12
  Speaker 3: out his penis and jerks off with it in the
• 29:21
  Speaker 3: middle of the party.
• 29:22
  Speaker 2: Yes, ludes were involved.
• 29:26
  Speaker 3: And then Jordan starts having an affair with Naomi he
• 29:29
  Speaker 3: takes out to dinner. His wife Teresa finds out pretty quickly,
• 29:35
  Speaker 3: so then Jordan files for a divorce and.
• 29:37
  Speaker 2: Starts to don't see her anymore.
• 29:39
  Speaker 3: She's no longer in the movie. Yes, he starts living
• 29:43
  Speaker 3: with Naomi pretty much immediately. They get married soon after.
• 29:47
  Speaker 3: We also learn about all the very illegal things that
• 29:51
  Speaker 3: Jordan is getting up to at Stratton Oakmont.
• 29:54
  Speaker 2: We sort of do I do appreciate it if like,
• 29:56
  Speaker 2: this movie paved the way for oh gosh, what's the
• 30:00
  Speaker 2: other money movie? The movie the money movie where they're
• 30:04
  Speaker 2: like looking and being like money is so weird, right,
• 30:07
  Speaker 2: what's that movie?
• 30:08
  Speaker 3: Oh?
• 30:09
  Speaker 2: The Big Yeah, yeah, that's every five seconds they're like money,
• 30:13
  Speaker 2: what and you're like, yeah, yeah, I get it. Well.
• 30:18
  Speaker 3: Then there's also the one that came up pretty recently
• 30:21
  Speaker 3: called Dumb Money And did I see it in theaters?
• 30:24
  Speaker 3: I did?
• 30:24
  Speaker 2: You did?
• 30:25
  Speaker 3: Are they are?
• 30:25
  Speaker 2: They always looking at the screen and being like, what
• 30:28
  Speaker 2: the hell is up with money? They are the whole
• 30:32
  Speaker 2: genre of movie. It's just like white guys being like
• 30:35
  Speaker 2: money is so weird.
• 30:39
  Speaker 3: In this movie.
• 30:39
  Speaker 2: I mean, well, and I like The Big Short, but yeah,
• 30:42
  Speaker 2: it's I feel like I appreciate as someone with three
• 30:45
  Speaker 2: brain cells, uh that the the crimes like you sort
• 30:49
  Speaker 2: of know what they are. But sometimes like they'll just
• 30:51
  Speaker 2: break the fourth wall and be like, so what's happening
• 30:53
  Speaker 2: is like bad? I'm like, that should happen in every movie.
• 30:59
  Speaker 2: That would be so helpful for me, Like I would
• 31:01
  Speaker 2: really get through, like I don't know, it really would
• 31:04
  Speaker 2: have helped me get through Anatomy of a Fall if
• 31:06
  Speaker 2: they if they just were like whatever the French version
• 31:10
  Speaker 2: for this is bad. I'm like, I'm not smarted. I
• 31:13
  Speaker 2: need you to tell me.
• 31:14
  Speaker 3: Yeah. Yeah, he does that a lot. But the things
• 31:17
  Speaker 3: that they're doing, I think are like insider trade, yeare
• 31:22
  Speaker 3: and other things, and it's like involving Steve Madden shoes.
• 31:26
  Speaker 3: It's very yeah yeah, yes, but all of these shady
• 31:30
  Speaker 3: dealings earned him enough money to like buy that estate
• 31:34
  Speaker 3: and a yacht and all of that stuff. And then
• 31:36
  Speaker 3: we cut to eighteen months later, Jordan and Naomi have
• 31:40
  Speaker 3: a baby, a boss baby.
• 31:42
  Speaker 2: If you will, a Greg Greg.
• 31:44
  Speaker 3: She gets Gregnan and has a Greg yes, and there's
• 31:48
  Speaker 3: a scene where Naomi suspects him of cheating, she threatens
• 31:52
  Speaker 3: to withhold sex. She puts her shoe on his head.
• 31:56
  Speaker 2: Right, and we know this scene and it's a scene.
• 32:00
  Speaker 2: It's a scene, and we love it. And that is
• 32:03
  Speaker 2: the same cinematographer that framed all of Barbie.
• 32:06
  Speaker 3: And uh huh.
• 32:07
  Speaker 2: And so the human experience is so complicated you could say.
• 32:11
  Speaker 3: You know he has range.
• 32:15
  Speaker 2: He does, he does, and so does Margaret Robbie and
• 32:18
  Speaker 2: of so true.
• 32:20
  Speaker 3: Okay, So the next big move for Stratton Oakmont is
• 32:23
  Speaker 3: finding companies that they can take public, and they do
• 32:26
  Speaker 3: that with Steve Madden and they make.
• 32:29
  Speaker 2: You ever have is Steve Madden? I think I still
• 32:31
  Speaker 2: see him at the mall.
• 32:33
  Speaker 6: The mall.
• 32:34
  Speaker 3: Yeah, he's got those chunky shoes at the mall.
• 32:37
  Speaker 2: That's nice.
• 32:37
  Speaker 3: He's expanded. Also, I bought a pair of Steve Actually,
• 32:42
  Speaker 3: well you guys at the at the live show. You'll
• 32:45
  Speaker 3: get this. Maybe I'll cut this out of the what.
• 32:48
  Speaker 2: Are You about? Episode?
• 32:51
  Speaker 3: So a few months ago I went to the mall,
• 32:54
  Speaker 3: the Glendale Galleria, the famous mall, and I went in
• 33:00
  Speaker 3: to Steve Madden because I needed a pair of shoes
• 33:03
  Speaker 3: and for a party. And then I went to the
• 33:06
  Speaker 3: sales person and I said I need a pair of
• 33:08
  Speaker 3: shoes for a party, and she's like, how about these ones?
• 33:11
  Speaker 3: How about these? And I was like yeah, I don't know.
• 33:14
  Speaker 3: I'm looking for like this kind of more specific thing
• 33:16
  Speaker 3: and she's like, well, what kind of party is it?
• 33:17
  Speaker 3: And I was like it's a sex party.
• 33:20
  Speaker 2: Oh, I know this right, yes.
• 33:22
  Speaker 3: And then she was so freaking cool. She didn't even care.
• 33:26
  Speaker 3: She was like, Oh, we'll talk about to Steve Madden
• 33:28
  Speaker 3: about this all the time. It's kind of a Steve
• 33:32
  Speaker 3: Madden regular thing, even bat and eyelash. I was like
• 33:37
  Speaker 3: so scandalized to tell her, and she was just like, oh, well, okay,
• 33:39
  Speaker 3: what about those ones? And I was like.
• 33:42
  Speaker 2: I love that. I also love you and that you
• 33:47
  Speaker 2: told her what you were getting them, because.
• 33:49
  Speaker 3: Igot need to say that at all. In fact, it
• 33:52
  Speaker 3: was me flexing and be like, yeah, I'm going to
• 33:54
  Speaker 3: a fuck party.
• 33:57
  Speaker 2: I like at the same mom I regular I frequent
• 33:59
  Speaker 2: the croc store and if anyone ever was like I
• 34:04
  Speaker 2: was like, hey, I'm looking for something to walk in circles.
• 34:07
  Speaker 2: Do you have a recommendation? And they're like, yeah, there's
• 34:09
  Speaker 2: only one shoe here, pick a fucking collar, get out
• 34:14
  Speaker 2: of my face, get a gibbet, get a widget, whatever.
• 34:18
  Speaker 2: I have Barbie crocks everything.
• 34:20
  Speaker 3: Oh yeah, they're really nice.
• 34:22
  Speaker 2: They're just dirty. Sorry, anyways, shoes are anyway.
• 34:25
  Speaker 3: I bought my sex party shoes and she was not impressed.
• 34:29
  Speaker 2: And I mean, that's really cool on both of your parts.
• 34:33
  Speaker 2: I think everyone's operating at a very high level.
• 34:35
  Speaker 3: Thank you so much.
• 34:36
  Speaker 2: They're not doing it like that over the Croc store.
• 34:38
  Speaker 3: I say that what if you They're like, look, what
• 34:42
  Speaker 3: function do you need these crocs for in your party?
• 34:47
  Speaker 2: I do have crocs with heels, so I'm not saying
• 34:49
  Speaker 2: it's impossible. Whoa, Yeah, I wore Croc platforms to a
• 34:53
  Speaker 2: wedding and I was the best man at the weddings.
• 34:59
  Speaker 3: Wow, this was a good tangent. I think I'm keeping
• 35:03
  Speaker 3: it in that we're shoes now. They're at my house,
• 35:08
  Speaker 3: my home.
• 35:09
  Speaker 2: I don't know what answer I was expecting.
• 35:13
  Speaker 3: No, I brought them with me.
• 35:14
  Speaker 2: They're still they got lost in the tangle, is I
• 35:18
  Speaker 2: think what I expected? I lost them fucking I lost
• 35:24
  Speaker 2: air pods, fucking ones. Oh not because not because they
• 35:29
  Speaker 2: were in I don't know you anything there, but that
• 35:39
  Speaker 2: actually reminds me of a Lener DiCaprio story. Wait, does
• 35:42
  Speaker 2: everyone know we're going with this? There's a oh gosh,
• 35:45
  Speaker 2: I'm gonna need I'm gonna need an assist from the
• 35:47
  Speaker 2: audience remembering. But there is a DiCaprio because you know,
• 35:51
  Speaker 2: this movie doesn't make sense in that I think that
• 35:54
  Speaker 2: Christian Melode is over twenty five years old, so of
• 35:56
  Speaker 2: course he has to break up with her. It makes sense,
• 35:59
  Speaker 2: Margaret ib he's twenty two in this movie. Of course
• 36:01
  Speaker 2: he has to marry her. That's the DiCaprio way. He
• 36:04
  Speaker 2: is a bit evil, Yeah, but there is some like
• 36:07
  Speaker 2: weird folk tale about him that he only fucks wearing headphones. Whoa, Yeah,
• 36:13
  Speaker 2: he's like wearing headphones whilst fucking listening to I think, like,
• 36:18
  Speaker 2: is there like it's what wait?
• 36:22
  Speaker 3: Wait he listens to his own movies?
• 36:28
  Speaker 2: Which ones? Is he like blasting the aviator?
• 36:33
  Speaker 3: Like what is he?
• 36:35
  Speaker 2: What?
• 36:36
  Speaker 3: Wait?
• 36:36
  Speaker 2: Does anyway I find I thought it was like scary
• 36:39
  Speaker 2: industrial music or something. I thought it was like clang
• 36:42
  Speaker 2: clang clank, like he's like, yeah, it's like me fucking
• 36:47
  Speaker 2: what if?
• 36:48
  Speaker 3: I was like, oh wait, when I go to these
• 36:50
  Speaker 3: sex parties, I have headphones, and I'm listening to the
• 36:53
  Speaker 3: Bechtel Cast, the horniest show.
• 37:00
  Speaker 2: In the wear Well, Okay, wait, keep summerizing. I'm gonna
• 37:03
  Speaker 2: just google Leonardo DiCaprio headphones.
• 37:05
  Speaker 3: Okay, okay. So there's a whole Steve Madden thing that
• 37:09
  Speaker 3: make a bunch of money off of it on this agent.
• 37:12
  Speaker 2: Okay, okay, okay, yeah, yeah yeah.
• 37:15
  Speaker 3: Meanwhile, the FBI has launched an investigation. Did you find
• 37:18
  Speaker 3: something out?
• 37:19
  Speaker 2: Yes, okay, okay, this is from the mirror, so grain
• 37:24
  Speaker 2: of salt. Leonardo DiCaprio uses headphones and vapes during sex?
• 37:29
  Speaker 3: Well, is the other thing? Vapes?
• 37:31
  Speaker 2: Vape sex?
• 37:32
  Speaker 3: Okay?
• 37:33
  Speaker 2: Yes, Tabloid articles are so impossible. Although the Oscar winning
• 37:37
  Speaker 2: actor forty seven had appeared in other blockbuster movies such
• 37:40
  Speaker 2: as What It's Eating, Gilbert Grape and This Boy's Life
• 37:45
  Speaker 2: Is a Younger teen, I'm like, I don't need to
• 37:47
  Speaker 2: know how he became famous. What's in the headphones? What's
• 37:51
  Speaker 2: in the headphones?
• 37:52
  Speaker 3: Folks?
• 37:54
  Speaker 2: Okay, he's.
• 37:57
  Speaker 3: Keep going, Okay, I'll.
• 37:59
  Speaker 2: Provide live update, okay, okay.
• 38:02
  Speaker 3: Meanwhile, the FBI has launched an investigation of Jordan and
• 38:06
  Speaker 3: the company sty update.
• 38:08
  Speaker 2: Okay, Mgmt.
• 38:19
  Speaker 3: Wow.
• 38:20
  Speaker 2: I feel tremendous relief just knowing the truth. Everyone was wrong.
• 38:25
  Speaker 2: The answer was shitty early twenty tens music. It was MGMT.
• 38:32
  Speaker 2: He's listening to Time to pretend, well he's having sex,
• 38:41
  Speaker 2: you know, walk home with that really think about that. Wow,
• 38:46
  Speaker 2: I don't know, like why, I do feel like a
• 38:49
  Speaker 2: weight has been lifted from me.
• 38:51
  Speaker 3: I mean, I'm glad that he doesn't listen to his
• 38:54
  Speaker 3: monologues from Titanic. I guess I don't know.
• 38:57
  Speaker 2: And I'm also glad that he doesn't listen to pipes
• 38:59
  Speaker 2: clanking like I for some reason that he did MGMT.
• 39:03
  Speaker 2: I'm like, oh, so he's a fucking loser. Like that's
• 39:06
  Speaker 2: no offense to MGMT. It's just like a weird thing
• 39:09
  Speaker 2: to listen to while fucking you know whatever.
• 39:13
  Speaker 3: They had hid well anyway, So the FBI has launched
• 39:19
  Speaker 3: an investigation of the company. Kyle Chandler is leading it.
• 39:23
  Speaker 3: Jordan meets with him to be like, TI, he I'm
• 39:25
  Speaker 3: not doing anything illegal, but Chandler Nope, Kyle Chandler is like.
• 39:31
  Speaker 2: Coach Friday night lights. Yes, yes, He's like, these Friday
• 39:35
  Speaker 2: nights are about to light you better be careful, ye
• 39:38
  Speaker 2: and he's like, okay, Titanic and then movie continues.
• 39:43
  Speaker 3: Then Jordan goes to Switzerland to hide some money in
• 39:47
  Speaker 3: a Swiss bank account. He uses Naomi's British aunt, Emma.
• 39:52
  Speaker 2: Okay, she's awesome.
• 39:54
  Speaker 3: She's awesome, and she plays a character in Say It
• 39:58
  Speaker 3: with Me Now patting to too?
• 40:03
  Speaker 2: Who is she? And Paddington too does she also almost
• 40:07
  Speaker 2: fuck her niece's husband.
• 40:09
  Speaker 3: No, but she is Phoenix Buchanan's agent. Oh, that of
• 40:14
  Speaker 3: course is the huge brant character for all of the
• 40:18
  Speaker 3: Paddington heads out there. Doesn't seem to be anyone here
• 40:20
  Speaker 3: in the audience, but the Late.
• 40:22
  Speaker 2: Show loves Paddington.
• 40:26
  Speaker 3: Okay, So they move all this money into Swiss bank accounts.
• 40:29
  Speaker 3: Then we get the famous quaylude scene where Jordan and
• 40:32
  Speaker 3: Donnie takes some like very rare, extra powerful fifteen year
• 40:36
  Speaker 3: old quayludes. They're crawling around, Jordan's crashing his car into
• 40:42
  Speaker 3: everything they're worried about, like FBI has tapped their phones
• 40:46
  Speaker 3: and Donnie's on the touch devhone.
• 40:51
  Speaker 2: Yeah, it is so funny to me because it's like,
• 40:53
  Speaker 2: I think that his performance is amazing, and then whenever
• 40:57
  Speaker 2: his choice is whenever he gets too high, he starts
• 41:01
  Speaker 2: to sound like Cartman. He's like default, Like He's like,
• 41:07
  Speaker 2: I can't do a Cartman, but he sounds like Cartman.
• 41:09
  Speaker 3: Yeah, he's like cheese poops too.
• 41:13
  Speaker 2: Okay, you do like that, right? I kind of forget
• 41:18
  Speaker 2: this is another DiCaprio being a fucking creep thing. But
• 41:21
  Speaker 2: there is like a clip I've seen many times where
• 41:24
  Speaker 2: Leonardo DiCaprio for some reason can like summarize the entire
• 41:28
  Speaker 2: first season of Euphoria on the red carpet and everyone
• 41:31
  Speaker 2: was like, wait, why does he know that? And then
• 41:35
  Speaker 2: they're like, because he dates twenty three year olds, he
• 41:38
  Speaker 2: dates the target demographic for Euphoria. But he was like, yeah,
• 41:42
  Speaker 2: you know Euphoria. I think when ru Rue is really
• 41:45
  Speaker 2: going through it, and you're like, what the fuck is
• 41:48
  Speaker 2: going on with him?
• 41:50
  Speaker 3: Fucked up guy, truly all right. So to avoid going
• 41:54
  Speaker 3: to jail, he's about to cut a deal with the SEC,
• 41:59
  Speaker 3: which would require him to step down as head of
• 42:02
  Speaker 3: his company. But then he's like, just kidding, bitch, I'm
• 42:05
  Speaker 3: gonna stay.
• 42:07
  Speaker 2: I like that speed, I'm not.
• 42:10
  Speaker 3: You're like okay. Everyone's like, woo, we love our boss
• 42:13
  Speaker 3: so much.
• 42:14
  Speaker 2: We love our boss.
• 42:15
  Speaker 3: And lou.
• 42:17
  Speaker 2: The loud Duds were wild for that.
• 42:19
  Speaker 3: They loved it, and this means that the Fed's start
• 42:24
  Speaker 3: subpoena ing is that a word?
• 42:26
  Speaker 5: Uh?
• 42:27
  Speaker 3: Jordan and his colleagues, but they're all very uncooperative. Jordan
• 42:32
  Speaker 3: and Donnie go to Italy then on Jordan's yacht, but
• 42:36
  Speaker 3: then they learn the Aunt Betty dies and the twenty
• 42:41
  Speaker 3: million dollars in the Swiss bank account that's under her name.
• 42:45
  Speaker 3: That money is now kind of like stuck there unless
• 42:47
  Speaker 3: they get to Switzerland immediately. So they take the yacht
• 42:51
  Speaker 3: through some treacherous seawater.
• 42:55
  Speaker 2: Yeah, Iceberg, get codd, I mean water.
• 43:00
  Speaker 3: Hello, we've got Leo in the water.
• 43:03
  Speaker 2: Nothing goes well and so things you know to be expected.
• 43:09
  Speaker 3: Yes, exactly. The yacht capsizes, they almost die, and this
• 43:13
  Speaker 3: is a wake up call for Jordan. He realizes he
• 43:16
  Speaker 3: needs to kind of straighten out his life.
• 43:18
  Speaker 2: Yes, because he's begging Jonah Hill to get ludes from
• 43:21
  Speaker 2: the yacht basement and then Jonah Hill brings up I
• 43:25
  Speaker 2: really like this scene. Jonahill brings up this like ziploc
• 43:29
  Speaker 2: bag of wet luds.
• 43:31
  Speaker 3: It's brutal and he's just like mainlining them as they're
• 43:35
  Speaker 3: crashing into the ocean y. So then he gets sober
• 43:38
  Speaker 3: and he starts doing these like how to Get rich seminars,
• 43:42
  Speaker 3: but the FBI eventually busts him. There's this whole like
• 43:47
  Speaker 3: Benny Hanna thing that I didn't really understand, but everyone's
• 43:51
  Speaker 3: basically ratting each other out. There's a scene where Naomi
• 43:54
  Speaker 3: tells him that she's gonna leave him and take their kids.
• 43:58
  Speaker 3: There's a lot to unpack there, but it all kind
• 44:02
  Speaker 3: of culminates with Jordan ratting on his friends. He goes
• 44:06
  Speaker 3: to jail for a few years in like a white
• 44:08
  Speaker 3: collar resort prison, and then the movie ends the tennis jail, yes,
• 44:17
  Speaker 3: And then the movie ends with a cameo from the
• 44:19
  Speaker 3: real Jordan Belfort introducing Leonardo DiCaprio. Jordan Belfort at a
• 44:24
  Speaker 3: seminar in New Zealand where he's going to teach people
• 44:28
  Speaker 3: how to sell pens or something.
• 44:31
  Speaker 2: They're bad at it the Caitlin's famous Freecy.
• 44:37
  Speaker 6: Then gosh, three hour movie, Oh God Exhausted.
• 44:55
  Speaker 2: So where should we start?
• 44:58
  Speaker 3: Oh my gosh, Well, okay, this is another one of
• 45:03
  Speaker 3: Martin Scorsese, or as I like to call him, Marty scores.
• 45:08
  Speaker 3: One of his movies. It was. I thought it was
• 45:12
  Speaker 3: hilarious when I wrote it down. You wrote it down, Yeah,
• 45:15
  Speaker 3: I did. Okay, he tends to make movie. Well, there's
• 45:19
  Speaker 3: two movies in particular which we reference that. It's about
• 45:23
  Speaker 3: an kind of ordinary but ambitious guy from New York.
• 45:27
  Speaker 3: He gets rich, he builds an empire, he does a
• 45:29
  Speaker 3: bunch of drugs, he cheats on his wife, and then
• 45:33
  Speaker 3: kind of loses everything because he's doing a bunch of
• 45:36
  Speaker 3: illegal stuff, but he doesn't rot in jail because he's
• 45:40
  Speaker 3: still rich. And then he also like rats out all
• 45:42
  Speaker 3: of his friends. These are this is the same plot
• 45:45
  Speaker 3: for Wolf of wall Street and Goodfellas, except that I
• 45:48
  Speaker 3: don't think that the filmmaking and slash the movie of
• 45:55
  Speaker 3: Wolf of wall Street is as critical of the horrible
• 45:57
  Speaker 3: things that Jordan Belford does in wolfel wall Street as
• 46:01
  Speaker 3: they are of the horrible things that Henry Hill does
• 46:04
  Speaker 3: in Goodfellas. Like I think that Martin Scorsese generally does
• 46:08
  Speaker 3: a pretty good job of being like, look, how these
• 46:11
  Speaker 3: men might seem really like cool and powerful at first
• 46:15
  Speaker 3: because they have money and drugs and access to women
• 46:19
  Speaker 3: and all the things that like men are conditioned to
• 46:21
  Speaker 3: think make them cool and powerful. And like good at
• 46:25
  Speaker 3: being a man. But then as the story goes on,
• 46:28
  Speaker 3: we learn that, oh, they're actually horrible people. They're greedy,
• 46:32
  Speaker 3: they're misogynists, they're homophobic, they're racists, they're ablest, all this,
• 46:36
  Speaker 3: you know, the list goes on, and then after some
• 46:38
  Speaker 3: combination of like male hubris and male fragility, we see
• 46:43
  Speaker 3: their empire in their lives like completely crumble around them.
• 46:47
  Speaker 2: Right, But it doesn't even I mean, I think like
• 46:50
  Speaker 2: the difference. It's so frustrating because I feel like when
• 46:53
  Speaker 2: we were talking about Goodfellas on the Matreon do we
• 46:56
  Speaker 2: have Matrons And we were talking about Goodfellas six months
• 47:01
  Speaker 2: or so ago. A lot of the points we were
• 47:03
  Speaker 2: talking about had to do with the fact that, like
• 47:07
  Speaker 2: with Scorsese movies and with a lot of these movies
• 47:10
  Speaker 2: that like feature these really like central toxic male characters
• 47:15
  Speaker 2: that sometimes they are very good movies that are making
• 47:18
  Speaker 2: good commentary, but it's the audience takeaway and the fan
• 47:22
  Speaker 2: culture that surrounds this movie that is genuinely doing its
• 47:26
  Speaker 2: due diligence of making a point that it becomes this
• 47:29
  Speaker 2: really complicated thing. And so we both really love Goodfellas
• 47:32
  Speaker 2: and felt like we're like, well, this like there's a
• 47:35
  Speaker 2: lot of fucking misogynist assholes who love Goodfellas because they
• 47:39
  Speaker 2: didn't hear what we heard from it and what it
• 47:42
  Speaker 2: seems like, and like Scorsese has made points are the
• 47:46
  Speaker 2: point of the movie, but I can't I can't quite
• 47:49
  Speaker 2: get there for this movie. I don't see that same
• 47:51
  Speaker 2: level of criticism or message. And it feels connected to
• 47:56
  Speaker 2: the fact that Jordan Belford is like involved in the production.
• 47:59
  Speaker 3: Right, because it feels to me, it feels like the
• 48:02
  Speaker 3: Wolf of Wall Street basically shares the same like disrespect
• 48:06
  Speaker 3: and contempt for women that the characters do ye because
• 48:11
  Speaker 3: like the way the movie just generally treats women. It's
• 48:13
  Speaker 3: like set dressing, they're naked all the time, they're giving
• 48:17
  Speaker 3: blow jobs. There's uh, you know, the headless women of
• 48:20
  Speaker 3: Hollywood cinematography is like the way we see it most
• 48:24
  Speaker 3: of the time on screen. They're either they're nagging, they're
• 48:26
  Speaker 3: being withholding or conniving or spiteful, often without contact. I
• 48:31
  Speaker 3: mean with Marko Ratt, like the most prominent women we
• 48:33
  Speaker 3: have in the movie, or Margaret Robbie character, like we
• 48:36
  Speaker 3: meet her.
• 48:37
  Speaker 2: When she's like giving road head. You don't even see
• 48:41
  Speaker 2: her face like it's ridiculous, and then when you do
• 48:43
  Speaker 2: see her, it's shot like a commercial and I don't know,
• 48:47
  Speaker 2: im Yeah, like I would guess that the explanation that
• 48:51
  Speaker 2: you would be given is like, well, we're seeing women
• 48:54
  Speaker 2: like they do, but it's never meaningfully challenged and it's
• 48:57
  Speaker 2: not like I feel like the thing I love about
• 48:59
  Speaker 2: Good Fellas is that you do get insight. You do
• 49:02
  Speaker 2: get into the women's heads in multiple points. You know
• 49:06
  Speaker 2: how they're feeling, even when they're being treated like shit,
• 49:10
  Speaker 2: which they were within the context of the movie and
• 49:12
  Speaker 2: within the culture of the movie, Like you've got a
• 49:15
  Speaker 2: chance to understand how they were feeling, and you've got
• 49:18
  Speaker 2: like whole scenes where they were responding to their treatment,
• 49:22
  Speaker 2: and you it's just like you just don't you get
• 49:24
  Speaker 2: it a little bit in this movie, but it's far
• 49:27
  Speaker 2: less and it just doesn't seem fair. And I also
• 49:31
  Speaker 2: think like Casino is another kind of version of this
• 49:35
  Speaker 2: narrative that I like better.
• 49:37
  Speaker 3: I don't remember it at all. Shrine Stone incredible, but
• 49:43
  Speaker 3: but you're right, like there's a whole sequence in Goodfellows
• 49:46
  Speaker 3: and we're only talking about Goodfellows so much because of
• 49:48
  Speaker 3: like the very obvious parallels between the two movies, and
• 49:52
  Speaker 3: because again, like there's a whole sequence in Goodfellows where
• 49:55
  Speaker 3: the point of view completely shifts from Henry Hill to
• 49:59
  Speaker 3: Karen Hill. Yeah, and we hear her voiceover, and we
• 50:02
  Speaker 3: hear her thoughts and feelings on what like her husband
• 50:06
  Speaker 3: is doing. And that same perspective of like the Naomi
• 50:10
  Speaker 3: character is not afforded to her in Wolf Wall Street
• 50:13
  Speaker 3: at all. It just is mostly hyper sexualizing her, hyper
• 50:18
  Speaker 3: objectifying her. We don't know all that much about her
• 50:23
  Speaker 3: and her interests and stuff like that.
• 50:25
  Speaker 2: There are scenes where she stands up for herself and
• 50:27
  Speaker 2: we know she's right, like when she's accusing Jordan of
• 50:30
  Speaker 2: cheating on her. We know she's right, and she knows
• 50:32
  Speaker 2: she's right, Like, she's not made to be so like
• 50:35
  Speaker 2: I at least I can't even say I appreciate, but
• 50:38
  Speaker 2: like when she is upset with him, it's not like
• 50:41
  Speaker 2: the movie is presenting her as unreasonable, Like we know
• 50:45
  Speaker 2: that she's right.
• 50:47
  Speaker 3: I I So I would kind of argue that to
• 50:50
  Speaker 3: say that in that scene, yes, she's she's she's calling
• 50:52
  Speaker 3: him out, she's being like, you're cheating on me, and
• 50:56
  Speaker 3: she is, and she's absolutely right, But then he he
• 51:00
  Speaker 3: kind of like gets the upper hand on her because
• 51:02
  Speaker 3: she's doing that thing where she's like saying that she's
• 51:04
  Speaker 3: gonna withhold sex from him. And she's like, I'm gonna
• 51:08
  Speaker 3: put my I'm gonna show you my puss all the time,
• 51:11
  Speaker 3: but you can't touch it. I'm sorry I said all
• 51:14
  Speaker 3: of that just now.
• 51:16
  Speaker 2: It just adds a why. But there was to say puss.
• 51:21
  Speaker 3: I couldn't think of any better way to phrase it.
• 51:24
  Speaker 3: So she's like, here's my puss, and but you don't
• 51:26
  Speaker 3: touch it. And it seems like wow, this is like
• 51:29
  Speaker 3: she's like exercising autonomy and power over him. But then
• 51:34
  Speaker 3: he's like, oh, you think you're so clever. Well, I
• 51:38
  Speaker 3: actually have this hidden camera and the two guys named Rocco,
• 51:42
  Speaker 3: who are my security guys.
• 51:44
  Speaker 2: I've never met it never come back.
• 51:46
  Speaker 3: Yeah, they're actually watching you right now and they can
• 51:49
  Speaker 3: see your vulva and she's like, oh no. And then
• 51:53
  Speaker 3: it kind of like the way the movie frames that,
• 51:56
  Speaker 3: it's it's almost like the you see the power dynamic
• 51:59
  Speaker 3: shifting within that scene. And then I feel like, because
• 52:01
  Speaker 3: she gets humiliated, the movie almost frames that is like
• 52:06
  Speaker 3: and she was wrong to try to withhold sex from
• 52:08
  Speaker 3: this awesome guy.
• 52:09
  Speaker 2: I disagree with that, but I also like, I don't know.
• 52:13
  Speaker 2: I mean, I think that the reason we're having this
• 52:15
  Speaker 2: disagreement is because we're not given enough to make a
• 52:18
  Speaker 2: meaningful decision. I feel like what we're what we're getting
• 52:22
  Speaker 2: with her character is we are getting hyper sexualization. We're
• 52:27
  Speaker 2: getting and then we're getting like small moments of clear
• 52:32
  Speaker 2: domestic abuse and that is like and I and we're
• 52:35
  Speaker 2: getting that verbally like to me, that scene of like
• 52:38
  Speaker 2: you're actually being surveilled and she gets upset and leaves,
• 52:41
  Speaker 2: like that's clear domestic abuse. And I don't know, Like
• 52:44
  Speaker 2: I feel like everyone's gonna apply their own lens onto that.
• 52:47
  Speaker 2: But there are moments where it's like she is trying
• 52:49
  Speaker 2: to regain the upper hand and then she loses it
• 52:53
  Speaker 2: because he has so much more than she does, and
• 52:56
  Speaker 2: it's she's like she's trapped there, and it's infuriating to
• 52:59
  Speaker 2: see her be trapped there, and every time she tries
• 53:02
  Speaker 2: to extract herself, he throws whatever he can at her
• 53:07
  Speaker 2: to make her stay. And I wish that there was
• 53:11
  Speaker 2: care taken in that story because it feels very real.
• 53:15
  Speaker 2: The movie is not very interested in it because the
• 53:17
  Speaker 2: movie to an extent needs you to stay invested in
• 53:21
  Speaker 2: him being cool. But I don't know I would. I'm
• 53:25
  Speaker 2: very like, I can't really upset watching the scenes between them,
• 53:28
  Speaker 2: because it does seem like and I don't know, like
• 53:31
  Speaker 2: I feel like these are like domestic violence depictions and
• 53:36
  Speaker 2: like emotional coercion. There's a scene towards the end where
• 53:39
  Speaker 2: she is saying she doesn't want to have sex with him,
• 53:41
  Speaker 2: and then you know, he's being like, come on, come on,
• 53:45
  Speaker 2: come on, come on, come on, and then they do.
• 53:48
  Speaker 3: I think that that's a rape scene that the movie
• 53:49
  Speaker 3: does realizes a rape scene, though.
• 53:52
  Speaker 2: Well, the thing is like, I don't think that the
• 53:55
  Speaker 2: I don't know what the movie thinks at a lot
• 53:57
  Speaker 2: of points, and it's and and that is that's bad.
• 54:00
  Speaker 2: If you don't know how the movie's stance on marital rape,
• 54:04
  Speaker 2: that's really bad. I think that, like in Margot Robbie's performance,
• 54:09
  Speaker 2: you can feel like that there is a lot of
• 54:13
  Speaker 2: pain and frustration, but that's not where the movie's interests lie,
• 54:16
  Speaker 2: which is frustrating because, like we're saying, there are Scarsese
• 54:20
  Speaker 2: movies about similar themes where that interest does exist and
• 54:24
  Speaker 2: so I was curious. I don't know, like I couldn't
• 54:27
  Speaker 2: fully figure this out. My suspicion is that it has
• 54:31
  Speaker 2: to do with Jordan Belfort, right, because this was based
• 54:35
  Speaker 2: on his memoir also called The Wolf of Wall Street,
• 54:40
  Speaker 2: and I know that, like, there there are a lot
• 54:43
  Speaker 2: of opinions on this movie that is like, this is
• 54:46
  Speaker 2: like a takedown of the excesses of capitalism, all this shit.
• 54:50
  Speaker 2: You know, there's a lot of quotes from DiCaprio and
• 54:52
  Speaker 2: Scorsese to this effect. But at the end of the day,
• 54:56
  Speaker 2: Jordan Belfort made a million dollars off of this movie. Exists,
• 55:00
  Speaker 2: He's in the movie. He publicly likes the movie, and
• 55:04
  Speaker 2: you're like, well, then probably the movie's not accomplishing what
• 55:07
  Speaker 2: it should have if he loves it. On the other hand,
• 55:12
  Speaker 2: Naomi is based on his ex wife. His ex wife Nadine,
• 55:19
  Speaker 2: who also likes the movie. She has an interesting second
• 55:25
  Speaker 2: act if you're interested. She got remarried. She's been remarried
• 55:29
  Speaker 2: happily for over twenty years. Amazing. Good for her. But
• 55:34
  Speaker 2: her name's Nadine Mcaluso, and she is now a TikTok.
• 55:39
  Speaker 7: Therapist question mark, which is like, wow, okay, but she
• 55:48
  Speaker 7: has seen the movie and has commented on it extensively
• 55:52
  Speaker 7: on her therapy TikTok.
• 55:54
  Speaker 2: But she also did enjoy the movie. She said, quote,
• 55:58
  Speaker 2: my ex husband exploited our life and the way he
• 56:00
  Speaker 2: wanted to. And I'm using that engine to help people,
• 56:02
  Speaker 2: to empower them and teach them and to break the
• 56:05
  Speaker 2: stigma of mental health, and that I don't know. She'd
• 56:09
  Speaker 2: like met with Margot Robbie when Margat Robbie was preparing
• 56:12
  Speaker 2: for the part. Felt like it was that the instances
• 56:15
  Speaker 2: of domestic violence were shown authentically, but the movie's attention
• 56:20
  Speaker 2: did not stay with it. And it's so frustrating because
• 56:24
  Speaker 2: it's like, you know that this director is capable of that,
• 56:26
  Speaker 2: but he's not doing it here. Damn exactly. Shoot, can
• 56:34
  Speaker 2: we talk about Teresa really quick?
• 56:36
  Speaker 3: Sure? Sure? I love her truly justice for Teresa. I
• 56:42
  Speaker 3: love Teresa.
• 56:43
  Speaker 2: I want the best for her. She I uh god,
• 56:45
  Speaker 2: Brunette wives are always getting divorced. It's just it's not good.
• 56:50
  Speaker 2: I felt like that that was more shrewd comment of
• 56:54
  Speaker 2: like how horrible and like completely vapid Jordan was. Is
• 57:02
  Speaker 2: he's still alive and he's into crypto now shocking?
• 57:05
  Speaker 3: No, one.
• 57:07
  Speaker 2: Although, wait, you know what's the wildest thing I learned
• 57:09
  Speaker 2: about him when I was researching his life and times
• 57:12
  Speaker 2: I tried to listen to his audiobook and then I
• 57:14
  Speaker 2: quickly wanted to run into the ocean, so I didn't
• 57:17
  Speaker 2: get very far. But so when he went to tennis jail,
• 57:22
  Speaker 2: his tennis jail cellmate was Tommy Chong, and he and
• 57:28
  Speaker 2: Tommy Chong are hanging out in Tennis jail, and Tommy
• 57:31
  Speaker 2: Chong is like, you should write a book about this,
• 57:34
  Speaker 2: and that's why we have Wolf of Wall Street. It's
• 57:36
  Speaker 2: all Tommy Chong's fault, isn't that tom I don't have
• 57:40
  Speaker 2: a strong I don't know anything about it. Whatever. Anyways,
• 57:43
  Speaker 2: that's why that is. But I don't know. I feel
• 57:47
  Speaker 2: like it's very inherent to who Jordan is and who
• 57:50
  Speaker 2: to who Leonardo DiCaprio is to view women as status symbols,
• 57:58
  Speaker 2: to the extent that this person who has stood by
• 58:01
  Speaker 2: him through virtually everything, he is so willing to discard
• 58:05
  Speaker 2: her for something that for someone who he views as
• 58:08
  Speaker 2: a status symbol, and then he goes on to ruin
• 58:11
  Speaker 2: her life because he is incapable of seeing women as people.
• 58:15
  Speaker 3: He also basically steals her idea to when he like
• 58:19
  Speaker 3: reinvents the company to be like, I'm gonna target rich
• 58:22
  Speaker 3: people and sell penny stocks to them. That was her idea.
• 58:27
  Speaker 2: She could have been involved. I mean, I guess I'm not.
• 58:29
  Speaker 2: I'm like, she should have been involved in his crimes.
• 58:33
  Speaker 3: Yeah, that's that option.
• 58:36
  Speaker 2: She should have girl bossed her way to hell as well.
• 58:41
  Speaker 3: But yeah, I don't know.
• 58:41
  Speaker 2: Just to like close the loop on Jordan, I guess,
• 58:43
  Speaker 2: like the A, I think what the movie does well
• 58:46
  Speaker 2: is that he is clearly this like portrait of like
• 58:51
  Speaker 2: hyper masculine panic where everything he does is like please
• 58:57
  Speaker 2: think about my, my gigantic peep. Like it's so clearly
• 59:02
  Speaker 2: entrenched in insecurity and a need to prove himself, and
• 59:06
  Speaker 2: he will hurt anyone, including himself. And I think that
• 59:09
  Speaker 2: like the way the addiction is shown in this movie
• 59:11
  Speaker 2: is often played for laughs the lutsies, they are funny,
• 59:16
  Speaker 2: and then also you're like, this guy is suffering all
• 59:21
  Speaker 2: but he's like built himself up on this masculine platform
• 59:24
  Speaker 2: where no one will say no to him. So I
• 59:28
  Speaker 2: don't know, I just the way that masculinity is shown
• 59:30
  Speaker 2: and a lot of different insecurity, like I feel like
• 59:32
  Speaker 2: you don't get a lot in the way of anything
• 59:35
  Speaker 2: but white men in this movie.
• 59:37
  Speaker 3: For sure.
• 59:37
  Speaker 2: There's no way around that you do get I think
• 59:41
  Speaker 2: the full gradient of white man insecurity, and that you
• 59:47
  Speaker 2: get a lot of different shades of gray in terms
• 59:49
  Speaker 2: of like the way Jonah Hill is insecure about being
• 59:53
  Speaker 2: married to his cousin is different than the way that
• 59:57
  Speaker 2: Leonardo DiCaprio kidnaps his own daughter. They're like, it's just
• 1:00:01
  Speaker 2: all it's it's all very very fucked up. But I
• 1:00:04
  Speaker 2: don't know, you do get to see a lot of
• 1:00:05
  Speaker 2: flavors of the worst man in the world.
• 1:00:09
  Speaker 3: It's true, I mean, and I think to the movie's credit,
• 1:00:12
  Speaker 3: it does. Yeah, it shows many examples of like look
• 1:00:15
  Speaker 3: how pathetic and embarrassing men?
• 1:00:19
  Speaker 2: Yes see, like yes, Like.
• 1:00:21
  Speaker 3: My favorite example of this is the first time he
• 1:00:24
  Speaker 3: has sex with Naomi. First of all, he like goes
• 1:00:27
  Speaker 3: to drop her off and his voiceover is like, how
• 1:00:30
  Speaker 3: do I get invited into her apartment? Oh my god,
• 1:00:33
  Speaker 3: I don't know. And then she's like, do you want
• 1:00:35
  Speaker 3: to come up for some tea? And then he's like hot,
• 1:00:38
  Speaker 3: hot tea, Oh god. And then he goes up to
• 1:00:41
  Speaker 3: her apartment and then she comes out and she's naked,
• 1:00:44
  Speaker 3: and he's like, as you can imagine, I fucked her
• 1:00:47
  Speaker 3: brains out for eleven seconds. It's you know, and no
• 1:00:53
  Speaker 3: shame in that if that's when you come.
• 1:00:58
  Speaker 2: Kayla's standing here and there's Steve Madden.
• 1:01:01
  Speaker 3: She's like, I say that to all the people that
• 1:01:09
  Speaker 3: I talked to at my sex parties, and I say,
• 1:01:11
  Speaker 3: if you come after eleven seconds, that's okay.
• 1:01:14
  Speaker 2: But but it's I think that, like that's to me.
• 1:01:18
  Speaker 2: Like what Martin Scorsese does better than almost any director
• 1:01:22
  Speaker 2: is like show how embarrassing masculinity is to watch in practice.
• 1:01:29
  Speaker 2: Like he is great at embarrassing some of our greatest
• 1:01:33
  Speaker 2: movie stars. Like there's like I mean, there's the whole thing,
• 1:01:36
  Speaker 2: and we'll talk about this and pickups, but how like
• 1:01:39
  Speaker 2: you know, capitalism is the central cult and religion that
• 1:01:42
  Speaker 2: this movie revolves around, and it's like made so embarrassing
• 1:01:47
  Speaker 2: by like the Matthew McConaughey like.
• 1:01:53
  Speaker 7: Like yeah, later, like you're just.
• 1:01:58
  Speaker 2: Like this is so gross, so and that like some
• 1:02:03
  Speaker 2: of the most privileged, violent, cruel people in the world
• 1:02:06
  Speaker 2: are also just like you just like physically recoil watching
• 1:02:10
  Speaker 2: them navigate the world like they're fucking gross, and he's
• 1:02:15
  Speaker 2: really good at showing that. But unfortunately in this movie,
• 1:02:19
  Speaker 2: I feel like it's just where I've seen it argued
• 1:02:23
  Speaker 2: that women are objectified beyond reproach in some of his movies.
• 1:02:30
  Speaker 2: That actually kind of does feel true for this one,
• 1:02:32
  Speaker 2: and I can't get my boy Marty out of this one.
• 1:02:36
  Speaker 2: Like it's just really really bad for every woman in
• 1:02:39
  Speaker 2: this movie. But you know, more to come. It's getting late,
• 1:02:43
  Speaker 2: so let's have some fun.
• 1:02:45
  Speaker 3: Let's do it. Hi, everyone, it's future and Future Jamie
• 1:03:01
  Speaker 3: here coming in with those pickups that we promised. Ye freakin' ha,
• 1:03:06
  Speaker 3: And it was right here during the live show that
• 1:03:09
  Speaker 3: we presented a super cut that I edited of Leonardo
• 1:03:15
  Speaker 3: DiCaprio fully clothed in water, something that you may have
• 1:03:19
  Speaker 3: also seen if you came to our Titanic shows on
• 1:03:23
  Speaker 3: the Shrek Tannic tour.
• 1:03:24
  Speaker 2: It's an absolutely evergreen piece of media. It's perfect, Thank
• 1:03:29
  Speaker 2: you so much, perfect vibe.
• 1:03:31
  Speaker 3: It's my pride and joy, it's my magnum opus, my
• 1:03:34
  Speaker 3: mona Lisa. But it didn't translate well to the audio
• 1:03:39
  Speaker 3: medium of podcasting. So instead we're jumping in here just
• 1:03:43
  Speaker 3: to pick up with extra discussion we wanted to have
• 1:03:48
  Speaker 3: that we didn't have time for in the live show.
• 1:03:50
  Speaker 3: I do want to start by clarifying what I meant
• 1:03:53
  Speaker 3: in that scene where Jordan and Naomi have sex for
• 1:03:57
  Speaker 3: the first time. I don't want to sound like I
• 1:04:00
  Speaker 3: am shaming anyone who experiences premature ejaculation or anything like that.
• 1:04:05
  Speaker 3: What I was referring to was this sort of obsession
• 1:04:09
  Speaker 3: with like male virility and stamina that many men use
• 1:04:15
  Speaker 3: to sort of measure their masculinity or their quote unquote manhood, right,
• 1:04:21
  Speaker 3: and certainly someone like Jordan Belfort would be concerned with that.
• 1:04:26
  Speaker 3: People like this are like, oh I can fuck for hours,
• 1:04:29
  Speaker 3: blah blah blah, the same way that men like Jordan
• 1:04:32
  Speaker 3: Belfort are obsessed with like dick measure and contests, either
• 1:04:37
  Speaker 3: literal or figurative. Like we were kind of alluding to
• 1:04:41
  Speaker 3: that earlier in the episode, and it all stems from,
• 1:04:44
  Speaker 3: you know, their interpretation and performance of masculinity, their kind
• 1:04:49
  Speaker 3: of like idea of cultural markers of what makes a
• 1:04:55
  Speaker 3: manly man. And so that's just what I was commenting on.
• 1:05:00
  Speaker 3: I don't want to have that be misinterpreted. Is like
• 1:05:02
  Speaker 3: any judgment passing, it's more just like these are the
• 1:05:06
  Speaker 3: type of men who are obsessed with like these markers
• 1:05:10
  Speaker 3: of masculinity.
• 1:05:11
  Speaker 2: Well, and for what it's worth, I mean, I think
• 1:05:14
  Speaker 2: that that was clear, and also that that ties into
• 1:05:18
  Speaker 2: what we were talking about in the episode where Scorsese's
• 1:05:21
  Speaker 2: movies are uniquely good at making this like versus you know,
• 1:05:27
  Speaker 2: the amount of time that you can last during sex
• 1:05:31
  Speaker 2: being a reflection on who you are as just the
• 1:05:35
  Speaker 2: idea that the masculine ideal is to be able to
• 1:05:41
  Speaker 2: fuck for forty five hours in a row, just like
• 1:05:44
  Speaker 2: the absurdity of masculinity, and how there is like this
• 1:05:49
  Speaker 2: insecurity and ego that factors into so many of his characters,
• 1:05:54
  Speaker 2: and that's like very much present in Jordan, which brings
• 1:05:58
  Speaker 2: me to something that we reference talking about in the
• 1:06:01
  Speaker 2: episode that I just wanted to sort of put a
• 1:06:04
  Speaker 2: little bow on, which is something that I think this
• 1:06:08
  Speaker 2: movie does very well before we get to a few
• 1:06:11
  Speaker 2: things that we didn't have time for that maybe did
• 1:06:14
  Speaker 2: not do as well. Is I think that this movie
• 1:06:17
  Speaker 2: does a good job in showing, you know, and portraying
• 1:06:22
  Speaker 2: in a way that's like very funny and entertaining, which
• 1:06:25
  Speaker 2: it's a movie it should like showing capitalism as a
• 1:06:30
  Speaker 2: death cult essentially, and like not just a death cult,
• 1:06:33
  Speaker 2: but a really embarrassing death cult with rituals that are
• 1:06:37
  Speaker 2: essentially really humiliating to watch. We were talking about like
• 1:06:42
  Speaker 2: the Matthew McConaughey beating his chest in the middle of
• 1:06:45
  Speaker 2: like his liquid lunch, and again I think that as
• 1:06:51
  Speaker 2: we were discussing the tools and the ways that we
• 1:06:56
  Speaker 2: are shown in the movie, that capitalism is an embarreeing
• 1:07:00
  Speaker 2: death cult for those at the top. The way that
• 1:07:03
  Speaker 2: we're showing it is sometimes a little too tongue in cheek,
• 1:07:06
  Speaker 2: you know, and takes advantage of making jokes at the
• 1:07:10
  Speaker 2: expense of people struggling with addiction, amongst many, many, many
• 1:07:15
  Speaker 2: other things. This movie makes light of a lot of
• 1:07:17
  Speaker 2: things that I think that it makes total sense to
• 1:07:19
  Speaker 2: not be okay with. They not want to engage with
• 1:07:21
  Speaker 2: the movie for that reason. But on a fundamental level,
• 1:07:25
  Speaker 2: I do feel like this movie makes capitalism look embarrassing,
• 1:07:30
  Speaker 2: and that's something that you know, it shouldn't be a
• 1:07:34
  Speaker 2: big ask from a movie, but you know, we see
• 1:07:38
  Speaker 2: so many biopicks because at the end of the day,
• 1:07:41
  Speaker 2: like we were talking about, I think one of the
• 1:07:43
  Speaker 2: weaknesses of this movie is or like, the biggest weakness
• 1:07:46
  Speaker 2: of this movie is that it is a biopic that
• 1:07:49
  Speaker 2: involved the subject, which almost never gives you a good biopick.
• 1:07:55
  Speaker 2: And I like this movie, but you know, the involvement
• 1:07:59
  Speaker 2: of the person, particularly when they are the villain of
• 1:08:02
  Speaker 2: the movie is I just think it's just like at
• 1:08:06
  Speaker 2: odds with making a movie. I would almost rather this
• 1:08:11
  Speaker 2: movie have created a Jordan Belfoort type character that wouldn't
• 1:08:17
  Speaker 2: have required him being involved, right whatever, you know, I
• 1:08:22
  Speaker 2: understand why there is. You have the advantage of connecting
• 1:08:26
  Speaker 2: it to a specific moment in history, and you get
• 1:08:29
  Speaker 2: a lot of more cultural specificity by not having to
• 1:08:33
  Speaker 2: YadA YadA. But the monkey pop of that is that
• 1:08:37
  Speaker 2: you then have to have Jordan Pelfort's consent. You have
• 1:08:40
  Speaker 2: to involve him, you have to compensate him, and you
• 1:08:44
  Speaker 2: have to have his approval on certain things, which means
• 1:08:47
  Speaker 2: that you're not going to be able to have an adequate,
• 1:08:49
  Speaker 2: you know, come to Jesus moment about anything about his life,
• 1:08:52
  Speaker 2: including his involvement in the capitalism death cult that was
• 1:08:58
  Speaker 2: Wall Street at this time. All the things considered, though,
• 1:09:02
  Speaker 2: I do feel like it did better than your average movie.
• 1:09:05
  Speaker 2: It's a Martin Scorsese movie. He's really good at that,
• 1:09:07
  Speaker 2: and so I tepit thumbs up to that.
• 1:09:11
  Speaker 3: I think, right, I was thinking about how a movie
• 1:09:15
  Speaker 3: that might be either an interesting companion piece to Wolf
• 1:09:20
  Speaker 3: of Wall Street or just a movie that you might
• 1:09:23
  Speaker 3: want to watch instead that kind of takes place in
• 1:09:26
  Speaker 3: a similar world but focuses on a different set of
• 1:09:32
  Speaker 3: people who sort of occupy this world is Hustlers, which
• 1:09:35
  Speaker 3: we've also covered on the show totally because you know,
• 1:09:38
  Speaker 3: one of our gripes that we discussed during the live
• 1:09:41
  Speaker 3: show portion of this is that this movie fails to
• 1:09:46
  Speaker 3: give any kind of interiority to any of the women,
• 1:09:49
  Speaker 3: especially Naomi, that would be the character that would make
• 1:09:51
  Speaker 3: most sense, or Teresa even too.
• 1:09:54
  Speaker 2: Yeah, I mean, I think both of them are made
• 1:09:56
  Speaker 2: out to be. You know, it's like an almost not
• 1:10:00
  Speaker 2: on the Donna horror complex explicitly, like there is more
• 1:10:03
  Speaker 2: nuance to their story than that, but like the Scorned
• 1:10:08
  Speaker 2: and the home Wrecker, you.
• 1:10:09
  Speaker 3: Know, and both just as people who were married to
• 1:10:13
  Speaker 3: this guy and what their experience was like. And you
• 1:10:20
  Speaker 3: can criticize wealthy white women and their complicity in capitalism
• 1:10:26
  Speaker 3: and stuff like that. But I also, if you're gonna
• 1:10:29
  Speaker 3: make this movie, I would have liked to see more
• 1:10:32
  Speaker 3: about who these characters are, how they are affected by
• 1:10:37
  Speaker 3: the rampant, toxic masculinity that surrounds them. But the movie, again,
• 1:10:43
  Speaker 3: as we've discussed, doesn't really have much interest in that.
• 1:10:48
  Speaker 3: So anyway, watch Hustlers, is what I'm saying. I wanted
• 1:10:53
  Speaker 3: to talk a little bit about just some of the
• 1:10:55
  Speaker 3: other women who we see on the screen in a
• 1:11:00
  Speaker 3: vaguely significant way. It's not many of them, but I
• 1:11:05
  Speaker 3: wanted to mention the sales assistant Daniel Harrison at Stratton Oakwant.
• 1:11:12
  Speaker 3: She's the person who agrees to have her head shaved
• 1:11:16
  Speaker 3: for ten thousand dollars and then has also agreed to
• 1:11:19
  Speaker 3: use that money for breast implants number one. She's the
• 1:11:23
  Speaker 3: baldest woman in charge, except that she is not in charge.
• 1:11:26
  Speaker 3: Oh God, I wish too. I was like, Okay, can
• 1:11:30
  Speaker 3: we learn anything else about her? She's really only in
• 1:11:33
  Speaker 3: that one scene, and I was curious, like, Okay, was
• 1:11:36
  Speaker 3: this a case of a woman doing whatever she felt
• 1:11:39
  Speaker 3: she needed to do to be respected by the men
• 1:11:44
  Speaker 3: around her. Because sacrifices like that, especially in this era
• 1:11:48
  Speaker 3: of women in the workplace that was often the only
• 1:11:52
  Speaker 3: way to survive in the workplace as a woman in
• 1:11:55
  Speaker 3: a predominantly male space. And you know, I could see
• 1:11:59
  Speaker 3: something like that motivating her choices to have her head
• 1:12:02
  Speaker 3: shaved and make that choice, But the movie doesn't have
• 1:12:06
  Speaker 3: any interest in exploring her motivation in that situation, right,
• 1:12:09
  Speaker 3: and again, it could have been like another way to
• 1:12:11
  Speaker 3: criticize the capitalist machine that this movie criticizes otherwise, But
• 1:12:19
  Speaker 3: I don't know, just it felt like a missed opportunity
• 1:12:21
  Speaker 3: to me. I would have liked to have a little
• 1:12:23
  Speaker 3: bit more insight there.
• 1:12:24
  Speaker 2: I agree again, just knowing that Scorsese has like I
• 1:12:28
  Speaker 2: think with some directors you sort of have the like, well,
• 1:12:32
  Speaker 2: but that would never happen. But with Scorsese, you know
• 1:12:35
  Speaker 2: that it can and has happened, you know, and that
• 1:12:38
  Speaker 2: he also has a knack for I wouldn't say he's
• 1:12:41
  Speaker 2: the best at it, but has a knack for and
• 1:12:44
  Speaker 2: an instinct to include people who are swept up in
• 1:12:50
  Speaker 2: this fucking nightmare. And you're you're totally right, that is
• 1:12:53
  Speaker 2: like a great end to discuss, like attempting to survive
• 1:12:57
  Speaker 2: in that environment as a woman, and especially you know,
• 1:13:00
  Speaker 2: there's a million examples of this in you know, girl
• 1:13:04
  Speaker 2: boss culture at large, right, but of you know, the
• 1:13:09
  Speaker 2: humiliations and extreme moral compromises one has to make to
• 1:13:15
  Speaker 2: be able to participate as a woman, and then also
• 1:13:19
  Speaker 2: the moral compromises you make on the other end of
• 1:13:22
  Speaker 2: dismissing people and dismissing marginal people more marginalized than yourself,
• 1:13:26
  Speaker 2: and dismissing people exactly like yourself in order to continue
• 1:13:30
  Speaker 2: to like participate in this fucked up So yeah, there,
• 1:13:32
  Speaker 2: this movie feels littered with interesting opportunities to explore. Characters
• 1:13:38
  Speaker 2: that are going through are arguably a more complicated, you know,
• 1:13:43
  Speaker 2: moral dilemma than any of the men in this movie
• 1:13:45
  Speaker 2: you are, I feel like another example of that is
• 1:13:47
  Speaker 2: Aunt Emma. We didn't really have time to get into
• 1:13:51
  Speaker 2: in this movie. What did you think of Aunt Emma?
• 1:13:54
  Speaker 2: What did you make of.
• 1:13:56
  Speaker 3: I don't know. I was too distracted by the fact
• 1:14:00
  Speaker 3: that actor is in Paddington too.
• 1:14:02
  Speaker 2: But yes, I don't know.
• 1:14:04
  Speaker 3: I'd like to me The most memorable scene is when
• 1:14:07
  Speaker 3: they're sitting on the park bench together on Emma and
• 1:14:10
  Speaker 3: Jordan Belfort and he's like, oh my god, is she
• 1:14:14
  Speaker 3: hitting on me? Like the language she's using she seems
• 1:14:17
  Speaker 3: like she's coming on to me, and then it's obviously
• 1:14:21
  Speaker 3: him misinterpreting the situation the way that men often misinterpret
• 1:14:27
  Speaker 3: sexual interest. Then he starts to come on to her,
• 1:14:30
  Speaker 3: and then you get her voice over to be like,
• 1:14:33
  Speaker 3: oh my god, is he hitting on me? And I
• 1:14:36
  Speaker 3: thought it was like an interesting and like decent demonstration
• 1:14:40
  Speaker 3: of like a man who is so entitled assuming things
• 1:14:46
  Speaker 3: kind of based on nothing, and then like the sort
• 1:14:50
  Speaker 3: of thought process that the recipient of that has to
• 1:14:54
  Speaker 3: go through. And then you know, you see her being like, no, thanks,
• 1:14:58
  Speaker 3: please don't kiss me, because he's he tries to surprise
• 1:15:01
  Speaker 3: kiss her, and then she's like, don't do that though,
• 1:15:07
  Speaker 3: And yeah, I thought that scene was handled pretty well.
• 1:15:12
  Speaker 3: But other than that, I mean, we don't really get
• 1:15:14
  Speaker 3: much of that character, So I don't know, what do
• 1:15:18
  Speaker 3: you think?
• 1:15:18
  Speaker 2: Yeah, I thought again, like there are missed opportunities. I
• 1:15:23
  Speaker 2: don't expect the movie to like pivot to be like
• 1:15:27
  Speaker 2: what is going on with Aunt Emma? Because but I
• 1:15:30
  Speaker 2: think that's another example of a character who is knowingly
• 1:15:33
  Speaker 2: complicit in a lot and still treated in this very
• 1:15:36
  Speaker 2: both misogynists and agist way, and that that is an
• 1:15:42
  Speaker 2: opportunity to explore this character. But like we were saying,
• 1:15:46
  Speaker 2: and it is hard to not compare this to Scorsese's
• 1:15:51
  Speaker 2: other movies because there is this through line of like,
• 1:15:55
  Speaker 2: how masculinity is embarrassing and ruining your life. Again, We're
• 1:16:02
  Speaker 2: good Fellas stands over here, and I guess it's it's
• 1:16:05
  Speaker 2: just hard to not get past the pivot to Karen's
• 1:16:08
  Speaker 2: perspective because it just makes you want that level of
• 1:16:12
  Speaker 2: care put into all of these Like I don't object
• 1:16:16
  Speaker 2: to Scorsese's you know, clear affinity for wanting to examine
• 1:16:21
  Speaker 2: these nucleuses of male power, but there are examples of
• 1:16:28
  Speaker 2: him having care for people who exist within that little
• 1:16:34
  Speaker 2: bubble in complicated ways, and this movie is just like
• 1:16:38
  Speaker 2: not a great example of it. Yeah, ant Ema, I
• 1:16:41
  Speaker 2: think again, it's just ultimately a missed opportunity. I think
• 1:16:43
  Speaker 2: it's a great performance, but I feel like her character
• 1:16:47
  Speaker 2: is almost used as a way to show how Jordan
• 1:16:54
  Speaker 2: is embarrassing versus actually fleshing out her character, which is
• 1:16:59
  Speaker 2: a shame because we're given a lot of interesting like nuggets, right.
• 1:17:05
  Speaker 3: So yeah, yeah, I felt kind of the same way
• 1:17:08
  Speaker 3: about the character, who I think is Donnie's his wife, Hildy.
• 1:17:15
  Speaker 3: But every time she's on screen, I'm like, I think
• 1:17:17
  Speaker 3: that's the same woman we've seen before there, and I
• 1:17:19
  Speaker 3: think that's Donnie's his wife, but I'm not totally sure
• 1:17:25
  Speaker 3: because she's never given anything memorable enough to say or
• 1:17:29
  Speaker 3: do when she does show up that you know who
• 1:17:31
  Speaker 3: that character is. Exactly.
• 1:17:34
  Speaker 2: Same goes for Chantal who wait, I don't even know
• 1:17:38
  Speaker 2: who she is? The Swiss woman. Oh yeah, like they tape.
• 1:17:45
  Speaker 2: But again it's like good performance, a funny beat. I
• 1:17:50
  Speaker 2: don't expect the movie to like pivot to her, but
• 1:17:52
  Speaker 2: like she is a body and a plot point and
• 1:17:55
  Speaker 2: that's it, right, the.
• 1:17:57
  Speaker 3: Way that every sex worker in this movie.
• 1:18:03
  Speaker 2: Not even a plat point, just set dressing.
• 1:18:05
  Speaker 3: Right for sure. And I was also upon my rewatch
• 1:18:10
  Speaker 3: to like do these pickups. I was especially noticing how
• 1:18:14
  Speaker 3: there is almost no woman on screen in the entire
• 1:18:17
  Speaker 3: movie who Jordan especially, but you can extend that to oh,
• 1:18:22
  Speaker 3: I think pretty much all the male characters that that
• 1:18:26
  Speaker 3: woman is not sexually harassed or assaulted in some way.
• 1:18:31
  Speaker 2: Or just shown. And I want to like carefully phrase
• 1:18:34
  Speaker 2: this because I'm not like every woman needs to be
• 1:18:37
  Speaker 2: wearing clothes, but right, most women are not wearing clothes,
• 1:18:42
  Speaker 2: most men are. True, we let's say it like that
• 1:18:44
  Speaker 2: there is Yeah, it is a clear again, It's just
• 1:18:47
  Speaker 2: like and I knew we were talking about this extensively
• 1:18:50
  Speaker 2: in the live show, but the fact that this movie
• 1:18:52
  Speaker 2: has the same cinematographers Barbie is just like, Wow, the
• 1:18:55
  Speaker 2: range you really can respect women or not it is
• 1:19:01
  Speaker 2: It's interesting. I mean, yeah, I guess ultimately with this movie,
• 1:19:06
  Speaker 2: I am grateful that it was in the hands of
• 1:19:10
  Speaker 2: a good director, because in the hands of a bad director,
• 1:19:14
  Speaker 2: I think everything we'd be talking about would be ten
• 1:19:17
  Speaker 2: times worse.
• 1:19:18
  Speaker 3: Definitely.
• 1:19:19
  Speaker 2: But I would also love to see the Wolf of
• 1:19:21
  Speaker 2: Wall Street directed by I mean, this is something that,
• 1:19:24
  Speaker 2: oh may I know someone is gonna send us a
• 1:19:27
  Speaker 2: message being like this movie. But I don't feel like
• 1:19:31
  Speaker 2: there are movies of this budget and this cast that
• 1:19:34
  Speaker 2: are this critical of capitalism directed by women Like I
• 1:19:38
  Speaker 2: would love to see a big budget critique of capitalism
• 1:19:42
  Speaker 2: with a director who is not a white guy anyone.
• 1:19:44
  Speaker 2: I mean, Sorry to Bother You comes to mind in
• 1:19:47
  Speaker 2: terms of like a a more star studed cast of
• 1:19:50
  Speaker 2: movie that did very well, very critically successful. But I'm
• 1:19:53
  Speaker 2: just like, where is the big budget woman's critique of capitalism.
• 1:19:57
  Speaker 2: If it was Barbie, I'm not pleased.
• 1:19:59
  Speaker 3: That that was not critiquing capitalism at all. Ip, the
• 1:20:05
  Speaker 3: closest thing I can think of is not a dissimilar
• 1:20:08
  Speaker 3: movie to the Wolf of Wall Street, but American Psycho,
• 1:20:11
  Speaker 3: right directed by a woman, you know, could be more
• 1:20:14
  Speaker 3: critical of capitalism. Yes, I suppose, but.
• 1:20:17
  Speaker 2: I mean not a bad start. I guess I was
• 1:20:19
  Speaker 2: just thinking, like ground up not adapted from a man's book,
• 1:20:24
  Speaker 2: Like is there a ground up?
• 1:20:27
  Speaker 3: I mean?
• 1:20:27
  Speaker 2: But also I mean, I don't know whatever. I'm just
• 1:20:29
  Speaker 2: talking speculatively now, but I think Scorsese is is really
• 1:20:34
  Speaker 2: good with this specific material. But where all of the
• 1:20:38
  Speaker 2: stumbling blocks feel like they come from are either his
• 1:20:41
  Speaker 2: personal inability to understand the nuanced spots of this movie
• 1:20:49
  Speaker 2: and and something that we haven't talked about yet or
• 1:20:52
  Speaker 2: didn't touch on extensively in the live show, which is
• 1:20:55
  Speaker 2: the you know, tremendous amount of casual racism, casual ableism.
• 1:21:00
  Speaker 3: Oh yes, stuff that spesual homophobia, you name it, everything.
• 1:21:05
  Speaker 2: You name a marginalized identity. This movie is making a
• 1:21:08
  Speaker 2: joke of it. And on one hand, I don't feel
• 1:21:12
  Speaker 2: that the movie is endorsing any of these views, and
• 1:21:17
  Speaker 2: that I would guess the intention is to demonstrate how
• 1:21:22
  Speaker 2: tremendously callous and hateful the people who are driving the
• 1:21:27
  Speaker 2: plot of this movie are. But on the other hand, again,
• 1:21:31
  Speaker 2: there's just a number of movies and Scorsese movies that
• 1:21:37
  Speaker 2: make that more clear by giving marginalized people a say
• 1:21:43
  Speaker 2: in the plot, which this movie again just fails to
• 1:21:47
  Speaker 2: do on a huge scale.
• 1:21:49
  Speaker 3: I agree where there are many scenes where slurs are
• 1:21:53
  Speaker 3: being thrown around, and I want to kind of zero
• 1:21:55
  Speaker 3: in on one in particular in a moment, But there's
• 1:21:58
  Speaker 3: so many scenes where Jordan Beuf and his minions, Okay,
• 1:22:01
  Speaker 3: he's the grow obviously.
• 1:22:03
  Speaker 2: Kevin innocent, Kevin was working for like Ronald Reagan or
• 1:22:08
  Speaker 2: whoever this, Oh god, that's even worse than I know.
• 1:22:13
  Speaker 3: But he was the most evil one, that's true anyway.
• 1:22:17
  Speaker 3: You know, Jordan and his guys are being so casually
• 1:22:22
  Speaker 3: again misogynist, racist, homophobic, ablest, hateful of sex workers, you know,
• 1:22:28
  Speaker 3: everything in a way that is presented to me too
• 1:22:34
  Speaker 3: neutrally in many cases where I'm just like, again, the
• 1:22:37
  Speaker 3: movie isn't necessarily endorsing or agreeing with these horrible views
• 1:22:43
  Speaker 3: that they have, but it's also not criticizing them quite enough.
• 1:22:48
  Speaker 2: Yeah, the scene I want.
• 1:22:49
  Speaker 3: To zero in on is the scene where Jordan and
• 1:22:54
  Speaker 3: his boys are talking about little people. They are speaking
• 1:22:58
  Speaker 3: about them as if people are not even human.
• 1:23:02
  Speaker 5: Yeah.
• 1:23:03
  Speaker 3: The language they are using, the like pronouns they're using
• 1:23:07
  Speaker 3: to refer to little people is so dehumanizing. It's a
• 1:23:11
  Speaker 3: really long scene too, and I'd imagine that the intention
• 1:23:17
  Speaker 3: of this scene is to demonstrate how horrible these Wall
• 1:23:22
  Speaker 3: Street guys are. But it's also a scene that if
• 1:23:26
  Speaker 3: you're like a nineteen year old dude, bro, like you're
• 1:23:30
  Speaker 3: probably watching it and laughing along with them, and like
• 1:23:34
  Speaker 3: the movie is giving you no perspective or any kind
• 1:23:38
  Speaker 3: of tools to examine. Oh, maybe what they're saying is wrong,
• 1:23:43
  Speaker 3: I guess so.
• 1:23:44
  Speaker 2: I just it's so tricky in that situation because I
• 1:23:48
  Speaker 2: think that, like I've struggled with this as a show
• 1:23:52
  Speaker 2: as the show goes on, because I don't necessarily think
• 1:23:54
  Speaker 2: it is the job of the director to tell you
• 1:23:59
  Speaker 2: this is the right versus this is the wrong view.
• 1:24:02
  Speaker 2: Sure to speak to your part, like it's a matter
• 1:24:04
  Speaker 2: of showing without telling. And I feel like there were.
• 1:24:08
  Speaker 3: The first rolls of screenwriting obviously.
• 1:24:10
  Speaker 2: Exactly exactly, but like when we started the show in
• 1:24:12
  Speaker 2: the mid twenty tens, like there was more of a
• 1:24:15
  Speaker 2: demand to be explicitly told this is wrong in a
• 1:24:19
  Speaker 2: way that does stifle creativity and coherent storytelling. Sure, but
• 1:24:24
  Speaker 2: to speak to your part because I agree with you is
• 1:24:26
  Speaker 2: like it is not shown adequately, Like I'm not necessarily
• 1:24:31
  Speaker 2: asking to be told that Jordan Belfort is wrong to
• 1:24:35
  Speaker 2: be racist and ableist, Like I trust the audience enough
• 1:24:40
  Speaker 2: to know that, But what you need to be doing?
• 1:24:42
  Speaker 2: And again, I you can argue what happens in this
• 1:24:46
  Speaker 2: movie because things don't end well for Jordan Belfort, you know,
• 1:24:52
  Speaker 2: he ends up humiliated. It reminds me actually a lot
• 1:24:55
  Speaker 2: of tar almost ten years later, of like, you know
• 1:24:59
  Speaker 2: how they are just holding on because they have all
• 1:25:04
  Speaker 2: of these benefits of whiteness and money and reputation and
• 1:25:08
  Speaker 2: power and all this stuff, but they are significantly diminished.
• 1:25:12
  Speaker 2: But again, it's like if we're pitt in this with Goodfellas,
• 1:25:16
  Speaker 2: I feel like that movie shows the consequence of those
• 1:25:20
  Speaker 2: prejudices and the effect of that on other people in
• 1:25:26
  Speaker 2: a way that this movie doesn't. For most And because
• 1:25:30
  Speaker 2: this movie is cast such a wide net, and I'm
• 1:25:32
  Speaker 2: guessing that this comes from the source material of just
• 1:25:36
  Speaker 2: Jordan Belfourt being the most tremendous piece of shit you
• 1:25:39
  Speaker 2: can imagine. And the movie doesn't make doesn't even create
• 1:25:44
  Speaker 2: a moment for the little people that they are repeatedly
• 1:25:49
  Speaker 2: making light of and dehumanizing for the racist comments they're making,
• 1:25:54
  Speaker 2: because you don't get any moments with the characters that
• 1:25:57
  Speaker 2: are being humiliated and spoken down to. Yeah, like, it
• 1:26:03
  Speaker 2: does end up not being adequately critical of what the
• 1:26:07
  Speaker 2: character is.
• 1:26:07
  Speaker 3: Saying, right because in an earlier scene, one that like
• 1:26:12
  Speaker 3: I think might open the movie or like it's toward
• 1:26:15
  Speaker 3: the beginning, they're doing the thing that they had been
• 1:26:19
  Speaker 3: planning in that later scene about basically like catapulting little
• 1:26:24
  Speaker 3: people onto a target. And that's the only representation of
• 1:26:29
  Speaker 3: little people we see in the entire movie. There's no
• 1:26:32
  Speaker 3: characterization given to the little people that you do see
• 1:26:35
  Speaker 3: on screen for very brief blips. It was just a
• 1:26:40
  Speaker 3: really gross way to handle that. And then I mean
• 1:26:45
  Speaker 3: there's also that ablest tirade that Donnie goes on where
• 1:26:49
  Speaker 3: he's talking about what he would do if his children
• 1:26:53
  Speaker 3: were disabled, and he's throwing around.
• 1:26:56
  Speaker 2: Slurs, presented completely uncredited, right, and we hate Donnie, but
• 1:27:02
  Speaker 2: I mean it's the same thing with any of these
• 1:27:04
  Speaker 2: and this is it brings me back to like The
• 1:27:07
  Speaker 2: Social Network, another movie that I like. But when you
• 1:27:11
  Speaker 2: are applying real name, evil people to this and presenting
• 1:27:16
  Speaker 2: them in a remotely like I feel like it is
• 1:27:20
  Speaker 2: it doubles down your responsibility as an artist to demonstrate
• 1:27:26
  Speaker 2: that these people are pieces of shit, because it's not
• 1:27:30
  Speaker 2: like you can be like, well, it's a fictional like
• 1:27:33
  Speaker 2: they're real, they exist, they are alive, and you have
• 1:27:37
  Speaker 2: cast a charming actor to play them, and so it
• 1:27:42
  Speaker 2: is on you to show the consequences of this trum
• 1:27:48
  Speaker 2: and and again it's like, the way you can best
• 1:27:50
  Speaker 2: show that consequence is by giving voice and humanity to
• 1:27:54
  Speaker 2: the people that you're marginalizing, which this refew doescent right.
• 1:27:58
  Speaker 3: So that is Pepe poop pooh. I didn't have a
• 1:28:04
  Speaker 3: whole lot else to say that we haven't already talked about.
• 1:28:09
  Speaker 3: Do you have anything else?
• 1:28:10
  Speaker 2: No? I think ultimately we'll talk about this in the conclusion.
• 1:28:14
  Speaker 2: But this movie is just like I really liked it
• 1:28:16
  Speaker 2: when I first saw it, and then I saw other
• 1:28:18
  Speaker 2: Martin Scorsese movies that are doing the same thing better.
• 1:28:22
  Speaker 2: And now I would say it is my lower ranking
• 1:28:26
  Speaker 2: of Scorsese movies and just critique of capitalism movies. Sure,
• 1:28:31
  Speaker 2: because it makes a lot of it feels like rookie mistakes.
• 1:28:36
  Speaker 2: And I would guess that that has to do with
• 1:28:39
  Speaker 2: the involvement of the subject. Yeah, never involve the villain
• 1:28:44
  Speaker 2: of your movie as a paid employee of the movie.
• 1:28:49
  Speaker 2: Seems to be a no brainer. But for whatever reason,
• 1:28:53
  Speaker 2: didn't happen here. We don't talk about this in the show.
• 1:28:57
  Speaker 2: We are honestly unsure if this movie passes the Bechdel
• 1:29:01
  Speaker 2: test or not. It seems to in my notes. I mean,
• 1:29:05
  Speaker 2: it seems to have like casually passed.
• 1:29:10
  Speaker 3: But yeah, I'm sure there's an exchange between like Naomi
• 1:29:15
  Speaker 3: and Hildy, which is the name of Donnie's his wife,
• 1:29:20
  Speaker 3: because there are some scenes where they interact, I think.
• 1:29:25
  Speaker 3: But again, like in this three hour movie, there are
• 1:29:29
  Speaker 3: women interacting for maybe accumulative ninety seconds or something like
• 1:29:36
  Speaker 3: barely anything at all. Maybe there's a scene where Naomi
• 1:29:39
  Speaker 3: talks to her aunt Emma at the wedding or something,
• 1:29:42
  Speaker 3: but it's basically nothing. Even if there might be a
• 1:29:45
  Speaker 3: quick technical pass, I would say, spiritually, this movie does not.
• 1:29:49
  Speaker 2: Pass at all, nowhere near, nowhere near, and so on
• 1:29:54
  Speaker 2: that note, we will toss you back to our live show.
• 1:29:59
  Speaker 3: Yeah, we will pick up right as we are about
• 1:30:04
  Speaker 3: to do the famous Bechdel cast nipple scale, where we
• 1:30:08
  Speaker 3: rate the movie zero to five nipples based on examining
• 1:30:12
  Speaker 3: it through an intersectional feminist lens. And I'll give the
• 1:30:17
  Speaker 3: movie a dot dot dot one nipple for its examination
• 1:30:24
  Speaker 3: of toxic male behavior and not being afraid to show
• 1:30:30
  Speaker 3: the type of men that society like puts on a
• 1:30:33
  Speaker 3: pedestal of, like, oh my god, they're so successful. They're
• 1:30:36
  Speaker 3: self made, they're millionaires. Look how cool. And they have
• 1:30:40
  Speaker 3: all these cars and they have so much sex with women.
• 1:30:44
  Speaker 3: Aren't they so cool? Wait? And boat, not to mention boat,
• 1:30:50
  Speaker 3: and who cares if the boat crashes because of just
• 1:30:53
  Speaker 3: getting to the point, right, So I appreciate that the
• 1:30:58
  Speaker 3: movie is willing to to be like, actually, people like
• 1:31:02
  Speaker 3: that can be huge losers. However, as we've discussed, it
• 1:31:07
  Speaker 3: kind of has no interest in how that toxic male
• 1:31:11
  Speaker 3: behavior affects women, and that's usually who is victimized by
• 1:31:17
  Speaker 3: that behavior the most. So it is curious why the
• 1:31:20
  Speaker 3: movie wouldn't examine it more, but also, as we've speculated,
• 1:31:24
  Speaker 3: it's probably because Jordan Belfort kind of like seems like
• 1:31:28
  Speaker 3: he vague. I don't know if he signed off on it,
• 1:31:30
  Speaker 3: but they were like, do you want to be in
• 1:31:32
  Speaker 3: the movie, and he's.
• 1:31:32
  Speaker 2: Like, yeah, yes, And he also got he's just like
• 1:31:36
  Speaker 2: truly a scammer for as long as he lives, because
• 1:31:40
  Speaker 2: he was saying because in the movie, it's like he
• 1:31:43
  Speaker 2: owes all of these people, particularly from the penny stocks,
• 1:31:46
  Speaker 2: he owes a lot of vulnerable people money. And so
• 1:31:49
  Speaker 2: when his memoir started doing well, he's like, I'm going
• 1:31:52
  Speaker 2: to give all of my royalties to the people I've wronged.
• 1:31:55
  Speaker 2: Of course he did not do that. No, Like Jordan
• 1:31:58
  Speaker 2: Belford gave twelve dollars to someone once and meanwhile he's
• 1:32:02
  Speaker 2: fucking chilling. So I'm yeah.
• 1:32:05
  Speaker 3: Yeah, so he sucks and he's a loser. Wow, brave
• 1:32:09
  Speaker 3: of me to say God is act God. But yeah,
• 1:32:13
  Speaker 3: the movie has no interest in women or how they
• 1:32:17
  Speaker 3: feel about.
• 1:32:18
  Speaker 2: We're intersectionality at all.
• 1:32:22
  Speaker 3: Yes, So yeah, I'm gonna go one nipple and I'll
• 1:32:25
  Speaker 3: give it to Teresa. Justice for Teresa.
• 1:32:29
  Speaker 2: You know, a stock boy or a stock broken Wow poetry,
• 1:32:33
  Speaker 2: and that was the beginning of the end. Yeah, I
• 1:32:36
  Speaker 2: will go I'll go one nipple as well. I think
• 1:32:39
  Speaker 2: that this movie like does to some extent, I don't know.
• 1:32:43
  Speaker 2: It brings me back to conversations we've had about Goodfellows
• 1:32:47
  Speaker 2: as well as about I think about our episode on
• 1:32:49
  Speaker 2: the social network where it's like, are we seeing this
• 1:32:52
  Speaker 2: real life, very very wealthy person and a lot of
• 1:32:56
  Speaker 2: the movie we're seeing them as like cool And does
• 1:32:59
  Speaker 2: the movie end well for fictional Mark Zuckerberg. Does a
• 1:33:02
  Speaker 2: movie end well for fictional Jordan Belford? No, But the
• 1:33:07
  Speaker 2: takeaway from the majority of people is that it was
• 1:33:12
  Speaker 2: cool to watch.
• 1:33:13
  Speaker 5: Including me when I'm watching it and it's like, you know,
• 1:33:17
  Speaker 5: I think there should be a feminist militia in the woods,
• 1:33:19
  Speaker 5: and I am like, I like this movie.
• 1:33:22
  Speaker 2: It's like yeah, yeah, I don't know what to make
• 1:33:27
  Speaker 2: of it. I had a really difficult time putting my
• 1:33:29
  Speaker 2: thoughts together to talk about it in this context. I mean,
• 1:33:32
  Speaker 2: in a basic way, it's obviously an extremely It's a
• 1:33:36
  Speaker 2: movie that is very invested in the patriarchal, capitalistic interests
• 1:33:42
  Speaker 2: of very wealthy white men, and so that is mostly
• 1:33:44
  Speaker 2: who we're seeing. We're seeing them abuse a tremendous amount
• 1:33:46
  Speaker 2: of women, and we're seeing them from their perspective, so
• 1:33:49
  Speaker 2: it is just like the camera and the story has
• 1:33:52
  Speaker 2: basically no interest in women.
• 1:33:55
  Speaker 3: Unless they're naked.
• 1:33:56
  Speaker 2: Unless I'm kidding muky Steve Madden, She's easy. That is
• 1:34:04
  Speaker 2: how I behave when I go to sex parties, clumping up.
• 1:34:10
  Speaker 2: I'm just a horny little devil. I'm walking.
• 1:34:17
  Speaker 1: Yeah.
• 1:34:17
  Speaker 2: Meanwhile, I'm walking the streets at night in my crocs,
• 1:34:21
  Speaker 2: listening to audio books about the economy.
• 1:34:24
  Speaker 3: Wow.
• 1:34:25
  Speaker 2: Yeah, I'm gonna give it one nipple. This movie does
• 1:34:28
  Speaker 2: not do much in the way of anything we talk about,
• 1:34:32
  Speaker 2: but it has its moments and it is like trying
• 1:34:36
  Speaker 2: to do some stuff, but it's just not doing as
• 1:34:38
  Speaker 2: well as a lot of movies trying to do the
• 1:34:39
  Speaker 2: same things are true, including a lot of Martin's Garsses movies.
• 1:34:43
  Speaker 2: So I give it one nipple, and I'm going to
• 1:34:45
  Speaker 2: give it to Maco Robi. Yeah. I love her, and
• 1:34:48
  Speaker 2: I was like, at very least if this movie launched
• 1:34:51
  Speaker 2: her career, then I'll take it.
• 1:34:54
  Speaker 3: True.
• 1:34:54
  Speaker 2: She's great.
• 1:34:55
  Speaker 3: It's true. Well, friends, that's our show, I think.
• 1:35:00
  Speaker 2: With our show Wow, I think we did it.
• 1:35:02
  Speaker 3: Thank you for coming. There you have it, listeners. That's
• 1:35:08
  Speaker 3: our Wolf of Wall Street episode. Thank you once again
• 1:35:11
  Speaker 3: for everyone who came to the live show in Sacramento.
• 1:35:15
  Speaker 3: Thanks again to STAB Comedy Theater for having us, and
• 1:35:21
  Speaker 3: Jamie y'all, hey sell me this Matreon subscription?
• 1:35:26
  Speaker 2: Well, Kitlyn, I'm glad to do so. For five dollars
• 1:35:30
  Speaker 2: a month, you can get access to our Matreon aka Patreon.
• 1:35:36
  Speaker 2: I usually did it in the reverse, but not today.
• 1:35:39
  Speaker 2: It's patreon dot com slash backdalcast where every month Kitlin
• 1:35:43
  Speaker 2: and I cover two bonus episodes, just the two of
• 1:35:47
  Speaker 2: us on a theme, usually of our listeners voting. It's
• 1:35:51
  Speaker 2: really fun. This month we are covering action movies directed
• 1:35:57
  Speaker 2: by women that were voted on by our life listeners.
• 1:36:00
  Speaker 2: Were covering tank Girl and because her Web certainly connects
• 1:36:04
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• 1:36:08
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• 1:36:11
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• 1:36:14
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• 1:36:21
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• 1:36:25
  Speaker 2: and it helps support the show. We really appreciate it.
• 1:36:28
  Speaker 2: And not only do you get access to new episodes,
• 1:36:31
  Speaker 2: you get access to in a backlog of over one
• 1:36:35
  Speaker 2: hundred and fifty past episodes, because we've had this going
• 1:36:38
  Speaker 2: since twenty seventeen. Get in there.
• 1:36:42
  Speaker 3: That was such a good sales pitch, Jamie final, I'll subscribe. Okay,
• 1:36:47
  Speaker 3: I'll do it. Thank you, you're a regular, Jordan Bellefort.
• 1:36:52
  Speaker 3: Thank you. So cue. Now, now let me sell you
• 1:36:55
  Speaker 3: our merch shall I? Yes? Well, first of all, all
• 1:36:59
  Speaker 3: you gotta do is go to teapublic dot com slash
• 1:37:03
  Speaker 3: the Bechdel Cast. So simple, so easy, And then you
• 1:37:06
  Speaker 3: just find the designs that a one Jamie loftis designed,
• 1:37:13
  Speaker 3: and so you know you're supporting Jamie's art. Okay, hello.
• 1:37:18
  Speaker 3: And then there's t shirts, there's pillows, there's mugs, there's stickers,
• 1:37:23
  Speaker 3: all kinds of stuff that you need and you want
• 1:37:27
  Speaker 3: so treat yourself and uh and do it? Is that
• 1:37:33
  Speaker 3: a good sale?
• 1:37:33
  Speaker 2: I think that's good. I think that's good.
• 1:37:36
  Speaker 3: Thank you.
• 1:37:37
  Speaker 2: I'm buying that damn peg.
• 1:37:40
  Speaker 7: Bye bye bye.
• 1:37:46
  Speaker 3: The Bechdel Cast is a production of iHeartMedia, hosted by
• 1:37:49
  Speaker 3: Caitlin Derante and Jamie loftis produced by Sophie Lichterman, edited
• 1:37:53
  Speaker 3: by Mola Board. Our theme song was composed by Mike
• 1:37:56
  Speaker 3: Kaplan with vocals by Catherine Vosskrosenski. Our logo and merch
• 1:38:01
  Speaker 3: is designed by Jamie Loftus and a special thanks to
• 1:38:04
  Speaker 3: Aristotle Acevedo. For more information about the podcast, please visit
• 1:38:08
  Speaker 3: link Tree slash Bechtelcast