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The Beguiled with Alana Hope Levinson · The Bechdel Cast

• 0:00
  Speaker 1: On the beck Dog Cast. The questions asked if movies
• 0:03
  Speaker 1: have women in them, are all their discussions just boyfriends
• 0:06
  Speaker 1: and husbands, or do they have individualism? The patriarchy zef
• 0:11
  Speaker 1: in best start changing it with the beck Del Cast. Hi,
• 0:15
  Speaker 1: We'll go to the beg Doel Cast. My name is Jamieland.
• 0:18
  Speaker 1: This is our podcast where we talking about the role
• 0:20
  Speaker 1: of women in movies and oftentimes how movies don't treat
• 0:24
  Speaker 1: women very well. Oh rats don't Yeah, as we always
• 0:30
  Speaker 1: say here in the back doonecast, rats and don't. I'm
• 0:33
  Speaker 1: excited for our episode today. I think we uh. I
• 0:36
  Speaker 1: was pushing for this one. I was sending sending texts.
• 0:41
  Speaker 1: I'm gonna be honest. I was ambivalent, but because you
• 0:43
  Speaker 1: wanted it, it made me excited. I'm push sure, I'm
• 0:47
  Speaker 1: gonna pushure. That's what that's a mean girls quote doesn't matter.
• 0:49
  Speaker 1: I push people. I push people, But for this one,
• 0:53
  Speaker 1: I felt like it was worth it. More and more frequently,
• 0:56
  Speaker 1: we have people in our Men shows asking or specific
• 1:00
  Speaker 1: movies that they would like to see disgusted and I
• 1:03
  Speaker 1: saw this movie pop up a number of times, sort
• 1:05
  Speaker 1: of wanted to see it myself and didn't realize at first,
• 1:09
  Speaker 1: So we're okay not to bury the lead because you
• 1:12
  Speaker 1: already clicked on it. You know, you're we're doing the
• 1:14
  Speaker 1: new Bogui Old movie by Sophia Coppola. And I didn't
• 1:18
  Speaker 1: know at first that it had previously been another movie,
• 1:21
  Speaker 1: but my mom was like, oh, I loved the original,
• 1:24
  Speaker 1: So did my mom right, because moms are horny for
• 1:28
  Speaker 1: Clint Eastwood. Yeah, which is you know, there's a generational
• 1:31
  Speaker 1: thing there that will never quite understand. I wonder who
• 1:34
  Speaker 1: that is for our generation, like who, Like when I
• 1:37
  Speaker 1: talked to my kids some day, I'm like, how are
• 1:39
  Speaker 1: you not horny for this guy? And she's gonna be like,
• 1:42
  Speaker 1: I don't get it. I don't see it, and I
• 1:44
  Speaker 1: don't know. When I talked to my kids, I'll be like,
• 1:46
  Speaker 1: why are you still here? I thought I abhorted you.
• 1:48
  Speaker 1: Oh no, I'm gonna have a whole brood and then
• 1:52
  Speaker 1: I'm gonna set them down and make them stare at
• 1:55
  Speaker 1: my frame portrait of alt and be like do you
• 2:00
  Speaker 1: get it? And then if they don't get it, I
• 2:01
  Speaker 1: getta locked the door and we got to stay there
• 2:03
  Speaker 1: until they get it. Well before we get too carried
• 2:06
  Speaker 1: away with that, we should introduce our guests. Are you
• 2:13
  Speaker 1: spitting up a hairball? I's sorry, I just gave birth anyway,
• 2:17
  Speaker 1: So we have a guest, as we always do. She
• 2:20
  Speaker 1: is great. She is a very talented writer and the
• 2:22
  Speaker 1: writer and editor of the men's magazine mel It's show.
• 2:31
  Speaker 1: Thank you excited to be here. Yeah. So, so we
• 2:35
  Speaker 1: all saw the movie together hours ago. Yeah, hours ago.
• 2:39
  Speaker 1: We were discussing it at lunch over Thai food. And
• 2:43
  Speaker 1: also we all saw the first version of the movie
• 2:48
  Speaker 1: that came out in n starring Clinton Eastwood. Well I
• 2:51
  Speaker 1: saw half of it. I kind of fell asleep, but
• 2:54
  Speaker 1: enough enough to get the gist to be angry about
• 2:59
  Speaker 1: the remake, right right, and so and I we were
• 3:02
  Speaker 1: talking about this as well. It's like, I don't know
• 3:04
  Speaker 1: how I would feel about this movie if we had
• 3:06
  Speaker 1: just seen it and it didn't have context of the
• 3:09
  Speaker 1: first movie, because a lot of what we've talked about
• 3:12
  Speaker 1: so far has been pretty like comparative between the two.
• 3:15
  Speaker 1: But the first one better. The first one is so
• 3:19
  Speaker 1: much better. I hated this one. I thought it was
• 3:22
  Speaker 1: not a good movie. I thought a lot of the
• 3:26
  Speaker 1: interesting scenes and interesting characters in the first one were
• 3:29
  Speaker 1: either very glossed over or entirely omitted like the first
• 3:35
  Speaker 1: one handled, just different components of storytelling, so much better
• 3:39
  Speaker 1: rising tension and characters manipulating each other, etcetera. Like, so
• 3:43
  Speaker 1: much better in the first one than in this adaptation.
• 3:47
  Speaker 1: For scenes in the first one, the automatically makes it better.
• 3:52
  Speaker 1: It doesn't pass the factal test if there's not an
• 3:55
  Speaker 1: ancestral orgy scene. I'm pretty sure with the updated terms
• 3:59
  Speaker 1: and conditions. Um, maybe that's the loftest test. Actually is
• 4:03
  Speaker 1: that the loftest test is the baldest woman is in charge? Cool?
• 4:09
  Speaker 1: This movie does not well, there's no bald women. All
• 4:13
  Speaker 1: these women they have elaborate braid they have to yeahs,
• 4:16
  Speaker 1: the braids were a little out of control. The braids
• 4:18
  Speaker 1: come on. Yeah. I was like, we know the civil
• 4:20
  Speaker 1: wars going on, who's braiding your hair? And and and
• 4:23
  Speaker 1: how long? Okay, we will summarize the movie in a moment.
• 4:27
  Speaker 1: But first, who gave l Fanning a crimper in eighteen
• 4:32
  Speaker 1: sixty two? It was so distracted no one else got
• 4:36
  Speaker 1: a crimper. But she's like, I'm the wild and loose gal.
• 4:41
  Speaker 1: She slept with braids in and then it it crimped
• 4:43
  Speaker 1: her hair. But but the crimping didn't happen before. Crimpers
• 4:47
  Speaker 1: you can't do They can't fold your hair like that.
• 4:51
  Speaker 1: You can't do it. She put her hair and braids
• 4:54
  Speaker 1: and then and then and now it's yeah, it looks crimpy.
• 4:59
  Speaker 1: She would had to have folded her hair in very
• 5:02
  Speaker 1: tiny and then she would have had to have another
• 5:04
  Speaker 1: student sit on it, to sit on her face, sit
• 5:07
  Speaker 1: on her hair, sit on her face for several hours
• 5:11
  Speaker 1: to accomplish a look that was for no one except her.
• 5:16
  Speaker 1: I mean she did it for herself. Who gave her
• 5:18
  Speaker 1: a crimper? That is an important question. Thank you for
• 5:22
  Speaker 1: raising it. And it would be cool in the in
• 5:25
  Speaker 1: the light that this was supposed to have been a
• 5:28
  Speaker 1: kind of pulpy movie. Um, but the pulpy is this
• 5:32
  Speaker 1: movie gets is you get a lot of tight shots
• 5:34
  Speaker 1: on Colin Farrell's fucked up leg. Yeah, you see like
• 5:42
  Speaker 1: a little bit of and that is gross and I
• 5:44
  Speaker 1: could not look at it. But some notes I took
• 5:47
  Speaker 1: during the movie include l Fanning and her crimped hair
• 5:49
  Speaker 1: is triggering me. How did el Fanning crimper hair? Crimper
• 5:53
  Speaker 1: as weapon? That would have been cool? She did have
• 5:57
  Speaker 1: electricity or a cripper that happens in the movie Sleepaway Camp.
• 6:01
  Speaker 1: Let's not talk about that. Let's talk about The Beguiled.
• 6:05
  Speaker 1: I just read out the movie because it was so bad.
• 6:08
  Speaker 1: I need a reminder of what happened in there. I'll
• 6:10
  Speaker 1: do the recap, right, So this is the version recap correct.
• 6:15
  Speaker 1: So a young girls in the woods picking mushrooms and
• 6:18
  Speaker 1: she stumbles upon a wounded Union Civil War soldier. He
• 6:24
  Speaker 1: has an Irish accent. Why wait an hour, they'll make
• 6:27
  Speaker 1: up a reason, right, And she's like, I belong to
• 6:31
  Speaker 1: this seminary for girls, this school. I'll take you there
• 6:35
  Speaker 1: because he's wounded, his legs all sucked up. So he
• 6:38
  Speaker 1: goes with this girl and they go to the school,
• 6:40
  Speaker 1: which is run by Miss Martha. And then there's a
• 6:42
  Speaker 1: teacher named Edwena, and there's like something like six other
• 6:47
  Speaker 1: like teenager ish girls. There were the students, with the
• 6:51
  Speaker 1: exception of one child actor. They're all blonde on gin
• 6:55
  Speaker 1: right an. The one that isn't blonde is chubby, right yeah,
• 6:58
  Speaker 1: And it's like, and is a worst child actor I've
• 7:01
  Speaker 1: ever said, Because we've got to take her and bring
• 7:05
  Speaker 1: her into the ocean. I feel bad for her. No, no no, no, no,
• 7:10
  Speaker 1: I actually think she's super cute. I was just saying
• 7:12
  Speaker 1: that is like they just loved like blonde ei kyper thin,
• 7:19
  Speaker 1: like might fall over keep cough around them, kind of
• 7:22
  Speaker 1: a Vibel Fanning. You've got some thought if you Well, no,
• 7:26
  Speaker 1: I'm just saying she like is I feel like one
• 7:29
  Speaker 1: of the more recent incarnations of that exactly Well, when
• 7:34
  Speaker 1: when we're leaving the theater, I do believe, and I
• 7:38
  Speaker 1: love Kristen Dunce and Nicole Kidman in movies that are
• 7:41
  Speaker 1: not this movie and in things that are not this thing.
• 7:44
  Speaker 1: But I do believe that l Fanning, should she actually
• 7:47
  Speaker 1: go on to like have a lifelong movie career, will
• 7:51
  Speaker 1: play a part exactly like Kristen Dunce at some point.
• 7:54
  Speaker 1: And we'll play a part exactly like Nicole Kidman's at
• 7:57
  Speaker 1: some point. Because this is like the path forged for
• 8:00
  Speaker 1: the ethereal blond, they will get you know, yeah, just
• 8:03
  Speaker 1: through the generations, right, it was like sort of three
• 8:05
  Speaker 1: generations of I mean, and you know, depending on what
• 8:09
  Speaker 1: how old is Nicole Kiman impossible to tell, but she
• 8:12
  Speaker 1: doesn't age. She's just like a mythic figure to me.
• 8:15
  Speaker 1: I don't like, I don't know, it could be like
• 8:17
  Speaker 1: she'st so she's great. I wish they didn't put that
• 8:22
  Speaker 1: wig on her in Big Little Lies, But I love
• 8:24
  Speaker 1: that show because I wish we watched that. Big Little
• 8:27
  Speaker 1: Eyes was the best show ever Nicole, which is insane,
• 8:31
  Speaker 1: I know. Um anyways, what we're talking about, who knows?
• 8:35
  Speaker 1: So he arrives at this house that they all have
• 8:39
  Speaker 1: this school in and they're like, well, did we turn
• 8:42
  Speaker 1: him over to our soldiers? But he's wounded in he'll
• 8:44
  Speaker 1: just die in prison. Maybe we should nurse him back
• 8:46
  Speaker 1: to health and then we'll turn him over. And then
• 8:49
  Speaker 1: they decided to bring him in tend to his wound,
• 8:52
  Speaker 1: and over the course of probably a few weeks, he
• 8:55
  Speaker 1: starts to kind of seduce different of these women, from
• 9:01
  Speaker 1: Miss Martha to Edwina the teacher, to one of the
• 9:05
  Speaker 1: older students, although that that's a little tricky because she
• 9:10
  Speaker 1: sort of goes for him first and then he but
• 9:13
  Speaker 1: that he does not resist in any you know. True,
• 9:16
  Speaker 1: that's a tricky and the seduction attempts I think happened
• 9:20
  Speaker 1: more clearly in the n version than they do in
• 9:24
  Speaker 1: this version. But basically everyone's very horny. There's a lot
• 9:27
  Speaker 1: of horny depths to this movie We're back. It's a
• 9:31
  Speaker 1: tone poem. It's a tone poem horny Depp. And you'll
• 9:35
  Speaker 1: find the movies that we apply these tags too are
• 9:38
  Speaker 1: rarely good movies. A tone poe with a lot of
• 9:42
  Speaker 1: horny depth is a way of saying, probably don't see
• 9:45
  Speaker 1: this one, maybe skip it. So different of these girls
• 9:49
  Speaker 1: get jealous and they're like, you like her? I thought
• 9:52
  Speaker 1: you liked me, and Edwina catches him in bed with
• 9:57
  Speaker 1: the Alicia character l Fanning, so she gets very furious
• 10:01
  Speaker 1: because he had been courting her kind of and so
• 10:04
  Speaker 1: she pushes him down the stairs and it sucks his
• 10:06
  Speaker 1: leg up even more. As part is great in both movies. Yeah,
• 10:10
  Speaker 1: it's fun to see an A list actor take a
• 10:12
  Speaker 1: serious tumble. So they decided to amputate his leg and
• 10:18
  Speaker 1: he gets really upset that they cut his leg off me.
• 10:24
  Speaker 1: He gets piste. He well, And also this is a
• 10:29
  Speaker 1: fun call in Ferrell moment in the movie he trashes
• 10:33
  Speaker 1: the whole upper floor of their of their house and
• 10:36
  Speaker 1: makes elephant noises as he does. So he's like, right,
• 10:41
  Speaker 1: he does, He's pissed. Then tension is running thick in
• 10:45
  Speaker 1: the house. Let's say the waist and let me leave.
• 10:49
  Speaker 1: I'm going to kill you all. He's got the only gun. Yeah,
• 10:52
  Speaker 1: he takes their gun, and they're like, oh god, how
• 10:56
  Speaker 1: do Let's just let him go, But also he's dangerous,
• 11:00
  Speaker 1: he might kill us, So they decigned to use his
• 11:03
  Speaker 1: love of mushrooms, not like shrooms, but just that would
• 11:08
  Speaker 1: actually be amazing, that would like this whole move was
• 11:11
  Speaker 1: just about like tripping. So they decided to they like,
• 11:17
  Speaker 1: form this plot to murder him by feeding him poisonous mushrooms. Meanwhile,
• 11:22
  Speaker 1: Edwina is like, but I still love him even though
• 11:25
  Speaker 1: I sucked his leg up. She goes and had sex
• 11:27
  Speaker 1: with him, and then he eats the poison mushrooms and
• 11:32
  Speaker 1: he dies, and that's pretty much it here. Take this
• 11:37
  Speaker 1: body the Confederacy, right, They do sew him a shroud?
• 11:42
  Speaker 1: What was that about? That was weird? In the original version,
• 11:46
  Speaker 1: there's like a full circle moment where it begins with
• 11:49
  Speaker 1: them singing that song. I think it's Clint Eastwood, breath
• 11:52
  Speaker 1: aly singing like, don't go to war, don't fall in
• 11:56
  Speaker 1: love with the soldier. He'll hurt your feeling and war
• 12:01
  Speaker 1: is not good and it's supposed to be creepy, and
• 12:05
  Speaker 1: I think the way I did it was too beautiful.
• 12:09
  Speaker 1: I have tears in my eyes us so much. But
• 12:12
  Speaker 1: then at the end of the movie there take the
• 12:14
  Speaker 1: women in the first movie are taking Clint Eastwood's shroom
• 12:18
  Speaker 1: poisoned body to bury it, as opposed to leaving it
• 12:22
  Speaker 1: out for the Confederacy. I think that in the first movie,
• 12:25
  Speaker 1: the implication is they are just like, this never happened,
• 12:29
  Speaker 1: because technically, who's going to come looking for him there? So,
• 12:33
  Speaker 1: But in the second one, for whatever reason let's just
• 12:36
  Speaker 1: call it laziness, they do not very hop They leave
• 12:40
  Speaker 1: them out. Um, and then there's an excruciatingly long final
• 12:44
  Speaker 1: shot because a few couple of feels that we need it.
• 12:48
  Speaker 1: I did not like this movie. Well, a lot of
• 12:51
  Speaker 1: you pointed out that the plot in this movie is
• 12:53
  Speaker 1: very similar to like it could be like a porn
• 12:56
  Speaker 1: movie where it's just like this hot hand some soldier
• 13:01
  Speaker 1: goes into this house of all ladies and what's gonna
• 13:05
  Speaker 1: happen next? It's like the pizza delivery guy story all
• 13:09
  Speaker 1: over totally. Yeah, I feel like and that's one of
• 13:12
  Speaker 1: its strengths. The first one at least really leans into
• 13:15
  Speaker 1: that element where it's like, what is this. I mean,
• 13:18
  Speaker 1: Sofia Coppola like rewrote it the second one, but the
• 13:21
  Speaker 1: first one was written by a man. The first one
• 13:23
  Speaker 1: was written by a man, and it was adapted by
• 13:25
  Speaker 1: a book that let me double triple check. But was
• 13:28
  Speaker 1: I believe written by a man, right, because I feel
• 13:31
  Speaker 1: like they're like a woman wouldn't dream up this plot, right.
• 13:34
  Speaker 1: It's like there's this house of like starved women because
• 13:37
  Speaker 1: it's wartime. They haven't seen a man in ten years.
• 13:40
  Speaker 1: And then this soldier who's like bloodied and hot, it like,
• 13:43
  Speaker 1: comes hobbling into their home and then convalesces. They nurse
• 13:46
  Speaker 1: him back to health and then just like are immediately
• 13:49
  Speaker 1: just like need the d and all of all of them,
• 13:52
  Speaker 1: even child. I thought she loved me. Oh my god.
• 13:57
  Speaker 1: This reminds me of the part in Monty Python and
• 14:01
  Speaker 1: the Holy Grail where I forget which they're great women,
• 14:05
  Speaker 1: just kidding, No, it's a terrible movie to women. But
• 14:08
  Speaker 1: there's a scene where one of the knights finds this
• 14:10
  Speaker 1: castle with all these horny asked women in it and
• 14:13
  Speaker 1: they're like, oh, you put out the thing. It's just
• 14:17
  Speaker 1: like a bunch of horny women who are trying to
• 14:19
  Speaker 1: fund this one night and he's like, I have a
• 14:22
  Speaker 1: quest to get on I gotta go. And then um,
• 14:26
  Speaker 1: it's it's really funny, good story, cal I love it.
• 14:31
  Speaker 1: I want to know why this story for Sofia Coppola
• 14:36
  Speaker 1: as we discuss it, I will also actively seek out
• 14:39
  Speaker 1: the answer. But, um, why is this a story that
• 14:43
  Speaker 1: Sofia Coppola is like, you know, who needs to update
• 14:47
  Speaker 1: this and whitewash the funk out of it? Me Also,
• 14:52
  Speaker 1: just I do have the Wikipedia page for the Boguil
• 14:56
  Speaker 1: two thousand seventeen pulled up right now, just to put
• 14:59
  Speaker 1: my it resting. It's not making a lot of money,
• 15:02
  Speaker 1: it isn't. But see also film remakes, whitewashing in films
• 15:09
  Speaker 1: attached to this and we and we should talk about that.
• 15:12
  Speaker 1: But this talking about Sofia Coppola is tricky. It's hard
• 15:15
  Speaker 1: to It's just it's hard. This movie debuted at CAN
• 15:20
  Speaker 1: and Sofia Coppola won the Best Director Award at CAN
• 15:25
  Speaker 1: for this movie. For some reason, she has confusing this
• 15:29
  Speaker 1: is it's not a good movie. But she was the
• 15:33
  Speaker 1: first woman in fifties six years to have that distinction
• 15:37
  Speaker 1: and so and and it's only the second woman ever
• 15:39
  Speaker 1: to have it. So it's it's hard because the movie
• 15:43
  Speaker 1: objectively blows. But well, right, good for her for winning
• 15:50
  Speaker 1: an award that does not often go to women. That's nice.
• 15:55
  Speaker 1: Does she handle different parts of the movie, Well, no,
• 16:00
  Speaker 1: she doesn't well a lot of what's your experience of
• 16:03
  Speaker 1: Sofia Coppola in general? I guess yeah. I mean, I
• 16:06
  Speaker 1: growing up was a huge fan because of Virgin Suicides
• 16:09
  Speaker 1: Lost in Translation, Like I think those came out when
• 16:12
  Speaker 1: I was coming of age and I felt really important
• 16:15
  Speaker 1: to me and still are especially Lost in Translation. But
• 16:19
  Speaker 1: I don't know. I kind of was like looking back
• 16:21
  Speaker 1: at her filmography and was she really hasn't made that
• 16:24
  Speaker 1: many movies, especially like since I mean, so there was
• 16:28
  Speaker 1: Marie Antoinette bling Ring, which I didn't know it was
• 16:32
  Speaker 1: a movie, um, and I know that like her entire career.
• 16:37
  Speaker 1: My friend Alana Massey, who just wrote a great book
• 16:40
  Speaker 1: called All the Lives I Want Um shout out, writes
• 16:43
  Speaker 1: a chapter about the Virgin Suicides, and something I remember
• 16:46
  Speaker 1: was just how harsh Sofia Coppola has been treated like
• 16:49
  Speaker 1: by the press, even though you know, she had all
• 16:52
  Speaker 1: these advantages knowing who her father is, but like people
• 16:56
  Speaker 1: didn't take her movies seriously because they were about women,
• 16:58
  Speaker 1: especially Virgin Suicides, which was about teenage girls. But I
• 17:01
  Speaker 1: don't know, I feel like now is the time though,
• 17:04
  Speaker 1: for her to like, like, she can't just rest on that,
• 17:08
  Speaker 1: right right, It's it's hard because I I I the
• 17:12
  Speaker 1: Virgin Suicide was one of my favorites growing up. I
• 17:15
  Speaker 1: I for some reason didn't see Lost in Translation until
• 17:18
  Speaker 1: like very recently. But and then Marie Antoinette is the
• 17:21
  Speaker 1: best music video I've ever seen, even though nothing happens
• 17:26
  Speaker 1: and it's expensive. But like that, she's very she she's
• 17:29
  Speaker 1: very visual. She tells, for the most part what can
• 17:33
  Speaker 1: technically be classified as women's stories, and is part of
• 17:38
  Speaker 1: such a small group of people who have achieved mainstream
• 17:42
  Speaker 1: success as a female director that it's like. But that said,
• 17:47
  Speaker 1: this movie stinks. I hope to one day live in
• 17:52
  Speaker 1: a world where there are you know, just because we're
• 17:55
  Speaker 1: women and she's a woman. We don't have to be
• 17:57
  Speaker 1: like God or some slack like it. I'm not a
• 18:00
  Speaker 1: fan of her work. I don't remember Virgin Suicides that well.
• 18:04
  Speaker 1: I remember being pretty bored by Loss in Translation. Sorry
• 18:08
  Speaker 1: I didn't see well. I don't think I also don't
• 18:12
  Speaker 1: think her movies really age. Well there's another thing. It
• 18:16
  Speaker 1: happened a lot. Yeah, well, but it's like Lost in
• 18:19
  Speaker 1: Translation felt like when you saw it at that time.
• 18:22
  Speaker 1: Now there have been so many movies like that that
• 18:24
  Speaker 1: if you see anything like, I don't get why this
• 18:26
  Speaker 1: is and even like improvements upon that same sort of formula.
• 18:30
  Speaker 1: Where I mean, at the at the time I saw
• 18:33
  Speaker 1: Virgin Suicides for the first time, I was like, you know,
• 18:35
  Speaker 1: because like I've never seen a movie like that before,
• 18:39
  Speaker 1: and it was just like a cool like the ethereal
• 18:43
  Speaker 1: blond is very appealing when you're young and you're especially
• 18:47
  Speaker 1: when you're like the same age as those characters, and
• 18:49
  Speaker 1: you're like, oh, I want to see myself as like
• 18:52
  Speaker 1: this very complicated, tragic like you know whatever. Also, you know,
• 18:56
  Speaker 1: she's she is in her forties now, she's in her
• 19:01
  Speaker 1: twenties when she when she directed Virgin Suicides, and it's
• 19:04
  Speaker 1: like there, I don't know, I just felt like there
• 19:06
  Speaker 1: wasn't a lot of you watch Virgin Suicides, you watch
• 19:09
  Speaker 1: Loss in Translation, and then you watch this movie and
• 19:11
  Speaker 1: there's just like not a lot of growth, right, And
• 19:15
  Speaker 1: I mean for her in her position, I mean maybe
• 19:18
  Speaker 1: this is just me. I don't know, but I feel
• 19:22
  Speaker 1: like she has a responsibility as like one of the
• 19:24
  Speaker 1: very few kind of household name female directors to like
• 19:30
  Speaker 1: make better movies that well, that's a hard thing too
• 19:34
  Speaker 1: then because it's like that, because then we're like doubling
• 19:37
  Speaker 1: down on Yeah, I don't want to make her responsible
• 19:41
  Speaker 1: for all women directors, and like there's so many, you know,
• 19:45
  Speaker 1: it's okay for a female director to have a crummy
• 19:47
  Speaker 1: movie like right and gonna happen in an ideal world,
• 19:50
  Speaker 1: there would just be so many female directors that she's
• 19:53
  Speaker 1: just one of the ones that I don't like, And
• 19:54
  Speaker 1: then there's a bunch of others I do like that
• 19:57
  Speaker 1: because she's one of the more notable ones. She has
• 20:01
  Speaker 1: a lot of attention on her son Ny, where we
• 20:03
  Speaker 1: may be criticize her work more, but also like her
• 20:06
  Speaker 1: stick doesn't really work as well like in seventeen right now,
• 20:09
  Speaker 1: like you just feel you're like really like these like
• 20:13
  Speaker 1: ethereal blonde white women, like it just doesn't it doesn't
• 20:16
  Speaker 1: like work in the current like administration world. It doesn't
• 20:21
  Speaker 1: feel like it's grappling with issues that feel urgent right now,
• 20:24
  Speaker 1: right what I mean right where. I guess that, yeah,
• 20:26
  Speaker 1: because virgin suicides came out at the end of the
• 20:29
  Speaker 1: Clinton era, where it's like maybe maybe we're feeling a
• 20:32
  Speaker 1: little more safe, uh, we're feeling uh and and yeah,
• 20:37
  Speaker 1: like this is I don't understand why this was the
• 20:40
  Speaker 1: moment for her to say, I want to, first of all,
• 20:43
  Speaker 1: make a civil war picture, but I don't want anyone
• 20:46
  Speaker 1: who isn't white to be in it because I don't
• 20:48
  Speaker 1: feel like that's and that's you know, a whole discussion.
• 20:52
  Speaker 1: And it just didn't make sense for me for this
• 20:55
  Speaker 1: to be the story that she felt the need to tell,
• 20:59
  Speaker 1: because for yeah, her signature style isn't super relevant to
• 21:04
  Speaker 1: the world right now, or I don't really think so.
• 21:08
  Speaker 1: But you know, if you're going to if you're determined
• 21:11
  Speaker 1: to use that same format, then find a story where
• 21:13
  Speaker 1: that makes sense. Like, at least for Marie Antoinette, that
• 21:18
  Speaker 1: format works because there's nothing pushing up against it and
• 21:22
  Speaker 1: and and there's not really that much that she had
• 21:25
  Speaker 1: to ignore and actively cut out in order to accomplish
• 21:29
  Speaker 1: the whole you know, pretty music video. I just I
• 21:32
  Speaker 1: didn't understand why this was the source material she wanted
• 21:34
  Speaker 1: to use, right, I don't either, especially because, like you
• 21:41
  Speaker 1: hinted at, she totally deleted. So in the nineteen seventy
• 21:45
  Speaker 1: one version, I'm guessing also in the book, and who
• 21:47
  Speaker 1: knows how many other characters from the book either adaptation
• 21:51
  Speaker 1: left out. But in the Clint Eastwood film there's or
• 21:54
  Speaker 1: the one that he's in, there's a slave character named
• 21:57
  Speaker 1: Hallie and she is the only or person of color
• 22:02
  Speaker 1: in the whole movie. But that character gets completely erased
• 22:05
  Speaker 1: in this version. And there's an article that I already
• 22:10
  Speaker 1: linked to on our Twitter page that I recommend people
• 22:14
  Speaker 1: read by Clarkeisha Kent. It says Coppola explained that she
• 22:18
  Speaker 1: wanted to focus on the gender dynamics rather than the
• 22:22
  Speaker 1: racial ones of this movie. And then the writer goes
• 22:25
  Speaker 1: on to say that I call bullshit on this, mostly
• 22:28
  Speaker 1: because black women find themselves at the intersection of both,
• 22:31
  Speaker 1: and because white women are not devoid of race, no
• 22:34
  Speaker 1: matter how badly they want to be. And then she
• 22:37
  Speaker 1: goes on to say that couple of removing uh, a
• 22:42
  Speaker 1: couple of removing the black female characters ensures that she
• 22:45
  Speaker 1: doesn't have to deal with how white women were complicit
• 22:48
  Speaker 1: in slavery. The counterpoint that she provides to this because
• 22:53
  Speaker 1: people have asked her this question. First of all, we
• 22:55
  Speaker 1: would also like to remind you that Sophia Coupla does
• 22:58
  Speaker 1: not know what the bagdel test us or has in
• 23:00
  Speaker 1: the past two weeks. Whatever. I get that, you know,
• 23:03
  Speaker 1: sensationalism and and click path, that's the whole thing. But
• 23:06
  Speaker 1: her response to that was to paraphrase, and when we'll
• 23:10
  Speaker 1: post the surces for this as well, but that because
• 23:13
  Speaker 1: she is a white woman of privilege, that she felt
• 23:16
  Speaker 1: that she was not equipped to write a character who
• 23:21
  Speaker 1: was black and who was a slave. And I understand that,
• 23:26
  Speaker 1: but I also feel that her job is to tell
• 23:30
  Speaker 1: a story. No one is forcing her to tell this
• 23:33
  Speaker 1: particular story, but it's the one she's deciding to tell.
• 23:37
  Speaker 1: And so if you're deciding to tell a story about
• 23:40
  Speaker 1: the Civil War that takes place in the South in
• 23:43
  Speaker 1: eighteen sixty two, then you're gonna have to fucking do
• 23:47
  Speaker 1: your research. You can't just cut out the parts that
• 23:49
  Speaker 1: aren't immediately relevant to your personal experience. If you know
• 23:53
  Speaker 1: you have to do research, you have to find someone
• 23:57
  Speaker 1: to write the story with you. You have to find
• 24:00
  Speaker 1: someone who has perspective on this issue. You can't just
• 24:03
  Speaker 1: say like, well, you know, I'm a white lady, so
• 24:07
  Speaker 1: I can only write movies that were the ladies who
• 24:10
  Speaker 1: are just like me, or which is what I was
• 24:12
  Speaker 1: trying to say hard thing to But she's wrong. That's
• 24:15
  Speaker 1: when I was that's the point I was trying to make,
• 24:18
  Speaker 1: when I was like, it's her responsibility to make better movies,
• 24:20
  Speaker 1: and I mean better is in like better quality, although
• 24:22
  Speaker 1: she could stand to do that as well, especially considering
• 24:25
  Speaker 1: this big guiled movie. But I meant like she, I think,
• 24:29
  Speaker 1: just has the responsibility because she's like, I have influence
• 24:33
  Speaker 1: in this world. I can get movies made. I can
• 24:37
  Speaker 1: make movies that a lot of people are going to see.
• 24:39
  Speaker 1: I think, then she has a responsibility to do what
• 24:42
  Speaker 1: you're saying, do the research, include the characters that are
• 24:45
  Speaker 1: relevant to the story and put them in there, and
• 24:48
  Speaker 1: or pick a different pick a different story that's more important.
• 24:52
  Speaker 1: Or I mean, if you don't want to make films
• 24:54
  Speaker 1: like that, that's fine. Well it's also weird to take
• 24:57
  Speaker 1: a movie that is essentially like all about race and
• 24:59
  Speaker 1: then say I can't handle this in the movie, like
• 25:02
  Speaker 1: it's set in the middle of the Civil War. So
• 25:04
  Speaker 1: like she can't really take it out of the movie
• 25:06
  Speaker 1: and try. But there's not like a non white character
• 25:09
  Speaker 1: in this whole movie. Yeahs, So you know, maybe she
• 25:12
  Speaker 1: should have just said it in a different time period
• 25:14
  Speaker 1: or something, if she wanted to do that, or like
• 25:16
  Speaker 1: done a different Exactly, it's like an apartment in Bushwick.
• 25:22
  Speaker 1: They're stuck there for some reason. I don't know, because
• 25:24
  Speaker 1: it's about global warming. Like, yeah, I'm trying. The trailer
• 25:29
  Speaker 1: for Manhattan Sinking was stuck and I don't know, I've
• 25:36
  Speaker 1: just spitballing here. No, but yeah, you can't. And I
• 25:40
  Speaker 1: mean also, the reason why I think her reaction has
• 25:43
  Speaker 1: really bothered people and why it really bothers me is like,
• 25:45
  Speaker 1: this is the problem with white feminism is like, oh, well,
• 25:49
  Speaker 1: race and gender. I don't want to handle the race
• 25:52
  Speaker 1: thing because they're not related. It's like, no, they're totally related.
• 25:56
  Speaker 1: And the fact that you deny that is really problematic
• 26:00
  Speaker 1: and just another way of being privileged and not having
• 26:03
  Speaker 1: to do it because you don't exactly deal with And
• 26:06
  Speaker 1: so I mean, for me, it just boils down to
• 26:09
  Speaker 1: regardless of gender, raise anything, do your fucking job, like,
• 26:16
  Speaker 1: and her job is to tell a story. Competently and
• 26:20
  Speaker 1: in a way that because she's choosing to adapt, is
• 26:23
  Speaker 1: faithful to the source material, and she fails to do
• 26:26
  Speaker 1: that in this movie. So no matter, like, you know,
• 26:29
  Speaker 1: she sucked up. And I think that because like some
• 26:33
  Speaker 1: of the major themes of the movie, our agency and
• 26:37
  Speaker 1: the idea of being a prisoner, what that means, etcetera, etcetera,
• 26:41
  Speaker 1: she actually does a disservice to a movie by not
• 26:43
  Speaker 1: including it, Like the character's motivations don't make sense, you
• 26:46
  Speaker 1: don't really understand what's at stake for these people, like
• 26:48
  Speaker 1: their backstory, Like she cuts all that out because I
• 26:51
  Speaker 1: think she's trying to like I don't know, she's trying
• 26:54
  Speaker 1: to get around this, and I think she kind of
• 26:56
  Speaker 1: shot herself in the foot because now just like it
• 27:00
  Speaker 1: just feels like a movie where women are wearing like
• 27:02
  Speaker 1: shirts all the way to their neck and just like
• 27:04
  Speaker 1: are walking around in their house Like I don't know,
• 27:06
  Speaker 1: I just lost all like the depth. Yeah, well, let's
• 27:11
  Speaker 1: let's talk about the way it is adapted a little bit,
• 27:13
  Speaker 1: because I feel like she is, you know, she chooses
• 27:16
  Speaker 1: this story for reasons. I cannot find a concrete reason
• 27:20
  Speaker 1: that she was, Like this is I must I'm whatever.
• 27:24
  Speaker 1: But she has the interesting opportunity of she's adapting a
• 27:27
  Speaker 1: story that was written by a man, that was then
• 27:29
  Speaker 1: adapted by a man, and she's adapting that. So she's
• 27:34
  Speaker 1: in some ways kind of the first female major creative
• 27:38
  Speaker 1: hand to even be involved in this story. But you know,
• 27:43
  Speaker 1: cuts out so much and and I mean most notably
• 27:46
  Speaker 1: cuts out the only non white character in the entire story.
• 27:51
  Speaker 1: And there is in the book halle uh. The slave
• 27:54
  Speaker 1: character was altered from the book to the first movie.
• 27:58
  Speaker 1: But she's still there. You know, she's there, and I
• 28:01
  Speaker 1: would argue is the most interesting character from the film
• 28:05
  Speaker 1: for sure. I mean it's like, you know, she she
• 28:09
  Speaker 1: I mean, she's there. And then there there are a
• 28:11
  Speaker 1: few great scenes between her. I want to make sure
• 28:14
  Speaker 1: I get the actress's name. May Mercer plays her in
• 28:17
  Speaker 1: the nineteen seventy one movie, and there are several scenes
• 28:20
  Speaker 1: between her and Clint Eastwood's character John McBee that are,
• 28:26
  Speaker 1: you know, if not perfectly done, at least thought provoking,
• 28:30
  Speaker 1: and her character is given looking screen time in perspective.
• 28:35
  Speaker 1: There's the scene where she's helping him out with whatever.
• 28:40
  Speaker 1: His leg is always bleeding. It seems like and they
• 28:44
  Speaker 1: have this conversation about being a prisoner and and freedom.
• 28:49
  Speaker 1: Oh and then he's all, he's like, you and I
• 28:51
  Speaker 1: should be friends. We because Clint he's always like a
• 28:54
  Speaker 1: for allies. Hey, that's Clint's hall game. It's basically he's like,
• 28:59
  Speaker 1: who's on my side, implying that like I'm fighting for you,
• 29:02
  Speaker 1: like I'm fighting for the union. So we're trying to
• 29:05
  Speaker 1: end slavery. And she's like, white men aren't killing each
• 29:09
  Speaker 1: other because you care about us, And then she says
• 29:11
  Speaker 1: the N word, which I'm not going to repeat. So
• 29:14
  Speaker 1: because you care about us, black people will say. But
• 29:17
  Speaker 1: she's the best character in the in that version. She's
• 29:20
  Speaker 1: like the truth teller that actually, like she connects all
• 29:24
  Speaker 1: the characters, like the ideas back to the state or
• 29:27
  Speaker 1: the politics, which I think is really important. Like I'm
• 29:29
  Speaker 1: trying to think it's so relevant to like the time
• 29:32
  Speaker 1: and the place that they're in that not having her
• 29:35
  Speaker 1: is crazy. Like there's this one conversation where like he says,
• 29:38
  Speaker 1: we're both prisoners, which is interesting because he sees himself
• 29:42
  Speaker 1: as like a prisoner in that house even though they've
• 29:44
  Speaker 1: nursed him back to health and she's the only different
• 29:47
  Speaker 1: treatment is that I can run away, which is an
• 29:50
  Speaker 1: interesting thing to say because it's like, well, she can't
• 29:52
  Speaker 1: really either, but what does it mean to be like
• 29:55
  Speaker 1: physically held in a place? First? Just right? Right? And
• 30:00
  Speaker 1: I don't know, So it's like all of those. And
• 30:02
  Speaker 1: she's also the only one right that like shoots him down. Yes,
• 30:07
  Speaker 1: So there's a scene late in the movie and this,
• 30:10
  Speaker 1: this exact character switch happens to both Clint Eastwood and
• 30:14
  Speaker 1: then Colin Farrell, who plays his character in the modern movie,
• 30:18
  Speaker 1: but it makes sense in the nine movie and is
• 30:21
  Speaker 1: completely out of nowhere borderline confusing in this adaptation. But
• 30:26
  Speaker 1: towards the end of the movie, mcbee's leg is amputated. Uh,
• 30:31
  Speaker 1: and we are led to believe in both movies rightfully
• 30:34
  Speaker 1: so like they had to do it, but he doesn't
• 30:36
  Speaker 1: believe that. He thinks that they amputated his like for revenge.
• 30:40
  Speaker 1: He realizes his leg is amputated, he freaks the funk out,
• 30:44
  Speaker 1: takes the only gun in the house and basically, you know,
• 30:47
  Speaker 1: now all the women in the house are the prisoner
• 30:50
  Speaker 1: and he's not anymore, and he's yelling, and he's in
• 30:53
  Speaker 1: the first movie, I mean, he is like pretty, he's
• 30:55
  Speaker 1: like I'm gonna rape everybody. Yeah, he becomes like a
• 30:58
  Speaker 1: Farrell beast, like it's extremely he goes Okay. The best
• 31:06
  Speaker 1: scene in the first movie is Little Amy, who rescues him. Also,
• 31:11
  Speaker 1: we haven't talked about how he franches her, but he'll
• 31:14
  Speaker 1: get there, get there. But little Amy, who is in
• 31:19
  Speaker 1: the first movie, especially in love and has like the
• 31:22
  Speaker 1: this crush on Clint Eastwood, has a pet turtle and
• 31:26
  Speaker 1: for some and in both movies, it's like, why would
• 31:30
  Speaker 1: you do that? But she is holding her turtle and
• 31:33
  Speaker 1: Clint Eastwood yanks the turtle from her and flings it
• 31:36
  Speaker 1: across the kitchen and it dies, and and then this
• 31:40
  Speaker 1: and I feel like for that audience, that's the point
• 31:42
  Speaker 1: where we're like, maybe he's not a good guy, after all,
• 31:45
  Speaker 1: he threw that turtle. But after he basically says, okay,
• 31:49
  Speaker 1: you're my prisoners. Now I'm going to have sex with
• 31:51
  Speaker 1: whoever I want or I'll kill you, and then the
• 31:56
  Speaker 1: white women disperse, it's like okay, so he and uh.
• 32:01
  Speaker 1: And then there's another scene between Clint Eastwood and May
• 32:05
  Speaker 1: Mercer where he says basically it's like, well your first
• 32:10
  Speaker 1: like calm down to the basement. We're doing this right now.
• 32:13
  Speaker 1: And she is the only person in the entire movie
• 32:18
  Speaker 1: to openly defy him as opposed to all the you
• 32:21
  Speaker 1: know tricks that the movie is based around, and uh
• 32:26
  Speaker 1: she you know, she basically says, you'd better like it
• 32:29
  Speaker 1: with a dead black woman because that's the only way
• 32:32
  Speaker 1: you're going to get it from from me. Is like,
• 32:34
  Speaker 1: you know, over my dead body, basically, and then he
• 32:37
  Speaker 1: folds and leaves, and that is the last major interaction
• 32:41
  Speaker 1: those two characters have, And that felt like an important
• 32:46
  Speaker 1: thing to happen, not just because we needed more of
• 32:49
  Speaker 1: that character, but also because she's the only character who
• 32:52
  Speaker 1: doesn't probably manipulating, and she's just like, no, all these
• 32:56
  Speaker 1: other women and these stupid white women are like falling
• 32:59
  Speaker 1: for is there'd be no movie if the white women
• 33:04
  Speaker 1: weren't so dumb, right, that's yeah. So she's the only
• 33:09
  Speaker 1: one who like sees right through him, doesn't fall for
• 33:12
  Speaker 1: his tricks and his manipulations. And then all the other
• 33:16
  Speaker 1: women are like, I haven't seen a man and for
• 33:20
  Speaker 1: years the Southern bill and I just want to fuck
• 33:24
  Speaker 1: that's what they say, right, I mean both both versions.
• 33:28
  Speaker 1: I was just like, this guy ain't ship like he's
• 33:32
  Speaker 1: not like he does, like it would be one thing
• 33:34
  Speaker 1: if they set him up, is like really true? He
• 33:37
  Speaker 1: doesn't even He's not even that charming right right. Seems
• 33:45
  Speaker 1: crazy from moment one in the first movie because he
• 33:50
  Speaker 1: first scene makes out with a kid. Yes, he makes
• 33:54
  Speaker 1: out with a kid. Here's what happens. She finds him
• 33:59
  Speaker 1: some other soldiers, like he hears them off in the distance,
• 34:03
  Speaker 1: and he doesn't want to get caught, so he's like,
• 34:04
  Speaker 1: I have to kiss this kid as a diversion. I'm
• 34:10
  Speaker 1: about to die. And he was like, oh, I'm going
• 34:12
  Speaker 1: in and I was thinking of it, like to invoke
• 34:16
  Speaker 1: a past episode of the cast. I was thinking of
• 34:19
  Speaker 1: it like, oh, random, like oh, this is kind of scary,
• 34:22
  Speaker 1: like when Brendan Fraser lunges at Rachel Wise when he's
• 34:26
  Speaker 1: in that cage and the money and it was just
• 34:28
  Speaker 1: like you because I want to do and then you're
• 34:30
  Speaker 1: like that it might have been that, but I think
• 34:32
  Speaker 1: that was motivated by there were soldiers running past. So
• 34:35
  Speaker 1: he's like, if we're just kissing, they won't bother us.
• 34:38
  Speaker 1: I guess year old man French and child. He goes yeah,
• 34:42
  Speaker 1: He's like, here's the soldiers approaching and then he goes,
• 34:46
  Speaker 1: how old are you? And she's like thirteen and sipped him.
• 34:50
  Speaker 1: But and then he's like old enough to kiss and
• 34:53
  Speaker 1: then grabs her face and kisses her old enough for
• 34:59
  Speaker 1: kisses or something like. And then and then from that
• 35:03
  Speaker 1: moment on, because she's, you know, twelve, she's like, I
• 35:06
  Speaker 1: love him because character actually makes the most sense in mind.
• 35:10
  Speaker 1: I agree, But she's the only one where you're like, Okay,
• 35:12
  Speaker 1: I get why you're in love with him because you're twelve,
• 35:14
  Speaker 1: and like this is and he's weird being led to
• 35:17
  Speaker 1: believe a charming, handsome man even though no one's really
• 35:20
  Speaker 1: proved that to us in either movie. But sure sometimes
• 35:25
  Speaker 1: he's irish and well, like Amy, I like character well,
• 35:30
  Speaker 1: and I think outside of that is like the new
• 35:33
  Speaker 1: movie basically just kind of takes out all of the sexuality.
• 35:36
  Speaker 1: I mean it's there a little bit, but in the
• 35:39
  Speaker 1: first movie, part of what makes it so great is
• 35:41
  Speaker 1: it's just like like they're all these like sexual fantasy
• 35:44
  Speaker 1: scenes and flashbacks and stuff. And it's interesting that when
• 35:48
  Speaker 1: when Sophia Coppola adapted it, she took away like all
• 35:52
  Speaker 1: of the female sexuality, Like why would you do that?
• 35:55
  Speaker 1: Unless her argument is like, oh that was because men
• 35:57
  Speaker 1: wrote it and they were like trying to like write
• 35:59
  Speaker 1: in these like porny things. But I think it's just
• 36:01
  Speaker 1: like that now now we just have a boring movie
• 36:05
  Speaker 1: and it's like, for example, l Fanning her character and
• 36:07
  Speaker 1: the first one is like incredibly hot and also just
• 36:11
  Speaker 1: like really really like she does like a like a
• 36:15
  Speaker 1: full blown seduction. Is like you won't like I know
• 36:18
  Speaker 1: more than you think, like I would be his royal
• 36:21
  Speaker 1: penis cleaner called back to coming to America. Wow, I
• 36:26
  Speaker 1: love because she's like I'd clean in places that you wouldn't,
• 36:29
  Speaker 1: and I like, you're such a hussy. She was hussy
• 36:33
  Speaker 1: shamed and I don't care for that. But that's what
• 36:36
  Speaker 1: I'm going to call shaming from now on. But again,
• 36:38
  Speaker 1: that's like another character where Okay, first of all, I
• 36:42
  Speaker 1: this is a fucking Southern Gothic story, and the point
• 36:47
  Speaker 1: of Southern Gothic stories is that most of the people
• 36:51
  Speaker 1: in them are like deluded and strung out. Like that's
• 36:55
  Speaker 1: like a hallmark of of this genre of like you know,
• 36:59
  Speaker 1: and we we have the ingredients for that where it's
• 37:02
  Speaker 1: like these women have been stuck with each other for
• 37:05
  Speaker 1: a long period of time. They're always in danger, but
• 37:08
  Speaker 1: they're also extremely bored. You can see why, and and
• 37:11
  Speaker 1: the book in the nineteen seventy one it's too much.
• 37:14
  Speaker 1: It's like the miss Martha apparently used to fuck her
• 37:19
  Speaker 1: brother and and thinks about that a lot and then
• 37:23
  Speaker 1: goes to Clint Eastwood and is like, well, it won't
• 37:25
  Speaker 1: be the same, but but you'll do sort of. And
• 37:30
  Speaker 1: I mean, but there's like you see the sexuality like
• 37:34
  Speaker 1: play out, because that's really what the story is about.
• 37:38
  Speaker 1: It's a softcore porn well, I mean, it's core. I
• 37:44
  Speaker 1: have a big problem with any rendition of the story.
• 37:47
  Speaker 1: I haven't read the book, but with both versions of
• 37:50
  Speaker 1: the film, it's basically suggesting that there's a group of
• 37:55
  Speaker 1: women and they're getting along fine in its civil war,
• 38:00
  Speaker 1: but they're still trucking along and learning French and everything's
• 38:04
  Speaker 1: great until a man shows up and they just all
• 38:09
  Speaker 1: want to suck him. So they're all they're jealous of
• 38:11
  Speaker 1: each other, and they're like basically everyone's world falls apart
• 38:15
  Speaker 1: because of the introduction of this man. So I think
• 38:19
  Speaker 1: a better version of this story is he comes along,
• 38:23
  Speaker 1: he's an enemy. They take him as like a prisoner
• 38:26
  Speaker 1: of war, and they feel compassion for him, so we're like, well,
• 38:28
  Speaker 1: nurse him back to health. We don't want him to
• 38:30
  Speaker 1: die per se. But then he as as he starts
• 38:33
  Speaker 1: to try to manipulate these women. A better version of
• 38:35
  Speaker 1: the story would be if they don't fall for it,
• 38:38
  Speaker 1: and then they have to retaliate and be like, yeah,
• 38:41
  Speaker 1: if at least one of them doesn't fall for it.
• 38:44
  Speaker 1: For three quarters of the movie, it just goes on
• 38:47
  Speaker 1: for so long, scene after scene after scene. Even in
• 38:50
  Speaker 1: the Good One, it's scene after scene of like a
• 38:53
  Speaker 1: different girl goes into his room, he seduces them. Now
• 38:57
  Speaker 1: he has another ally and then we see a bun
• 39:00
  Speaker 1: to near misses of the women talking to each other,
• 39:02
  Speaker 1: and it's like, are they gonna find out? No, not
• 39:05
  Speaker 1: this time, but at least there's some suspense. This I
• 39:08
  Speaker 1: couldn't stand it. There's no suspense. There's not really any
• 39:12
  Speaker 1: major there's not a major character that has a lot
• 39:15
  Speaker 1: of doubt in him, which I thought was interesting shout
• 39:18
  Speaker 1: out to my favorite movie Doubt. Uh. But there I
• 39:24
  Speaker 1: feel like that, I mean, and this would go all
• 39:26
  Speaker 1: the way back to when the story was originally written,
• 39:29
  Speaker 1: but like, there's you know, six, there's seven women in
• 39:33
  Speaker 1: this house, I think, and not you know, and I
• 39:36
  Speaker 1: feel like there's one of them, like the little girl
• 39:38
  Speaker 1: who plays the fiddle is sometimes like yeah, that's she
• 39:42
  Speaker 1: was the one. Like there is one girl who sort
• 39:44
  Speaker 1: of had some doubts, but she was in no way
• 39:46
  Speaker 1: a major character and was always just there like no,
• 39:49
  Speaker 1: we want to fuck him, shut up, Like it would
• 39:53
  Speaker 1: have been interesting if there was like a little a
• 39:55
  Speaker 1: little agent of chaos trying to figure out what he
• 39:58
  Speaker 1: was actually up to, versus like trying to thug him.
• 40:00
  Speaker 1: But that's a that's a note for everybody, not just
• 40:04
  Speaker 1: for some handco oh. Another scene that was in the
• 40:09
  Speaker 1: original version that was taken out of this one was
• 40:14
  Speaker 1: again Sofia Coppola just erasing any moment of tension that
• 40:17
  Speaker 1: might be. Was when the Confederate soldiers come to the
• 40:21
  Speaker 1: house at night and they're like we we're here to
• 40:24
  Speaker 1: protect you. And they're like, actually, we're okay, and they're like, no,
• 40:27
  Speaker 1: we really think you should be protected by us, and
• 40:32
  Speaker 1: they're giving up very rape vibes and Miss Martha keeps
• 40:35
  Speaker 1: insisting like no, we're fine, please leave now, good night,
• 40:38
  Speaker 1: thank you, and then they're just like they're very persistent,
• 40:41
  Speaker 1: and it's extremely uncomfortable, and it's very tense because all
• 40:44
  Speaker 1: the girls are like scared, and rightfully so, because they're
• 40:47
  Speaker 1: presumably coming into rape them all. I think that, I mean,
• 40:51
  Speaker 1: it seems like they're right like, no matter what soldier
• 40:55
  Speaker 1: comes to the house, regardless of what's eide they're on,
• 40:57
  Speaker 1: they're afraid of all of them. Right, Yeah, I'm pretty
• 41:00
  Speaker 1: sure that. Sofia Coppola, like, do they ever say the
• 41:02
  Speaker 1: word rape? And the new one? They may say rape
• 41:05
  Speaker 1: one time, like maybe in the first scene where someone's like, oh,
• 41:08
  Speaker 1: you know that all those Yankees are good? I think
• 41:11
  Speaker 1: they do say that one time. And then there's another
• 41:14
  Speaker 1: scene where when the soldiers do show up, but Sophia
• 41:18
  Speaker 1: couple is like, you know what moment of attention, You're
• 41:21
  Speaker 1: not going to show it? Don't like where are they?
• 41:24
  Speaker 1: She's like, they're in the kitchen night getting the mike
• 41:26
  Speaker 1: to eat. You know what, I'm Sammy, you know what
• 41:27
  Speaker 1: I feel like? I feel like she it wasn't even
• 41:30
  Speaker 1: that she was like her answer of I just didn't
• 41:31
  Speaker 1: write it in because I don't know the perspective. It's
• 41:33
  Speaker 1: almost like she took that original script and was like
• 41:36
  Speaker 1: I'm going to write out any like I'm not going
• 41:38
  Speaker 1: to touch anything that's gonna get me in trouble on
• 41:40
  Speaker 1: the internet, like I'm going to write out the rape.
• 41:41
  Speaker 1: I'm going to write out and herself and she just
• 41:45
  Speaker 1: kind of like every idea, every kind of thing in
• 41:48
  Speaker 1: the movie that was like interesting and sort of edgy,
• 41:51
  Speaker 1: she just decides to not address, which is super weird
• 41:53
  Speaker 1: because it ends up being just the least edgy or
• 41:55
  Speaker 1: interesting movie in the world. It's weird what she keeps
• 41:57
  Speaker 1: him when she doesn't. And there is like Nicole Kimman
• 41:59
  Speaker 1: does say at one point after she makes the soldiers
• 42:03
  Speaker 1: Sammy's and they're downstairs and we never even see them leave.
• 42:06
  Speaker 1: They're never referenced again that I remember, but there's like
• 42:10
  Speaker 1: one of the little girls leaving and saying like, oh,
• 42:11
  Speaker 1: can I go downstairs and say hi? And then she's like, no,
• 42:14
  Speaker 1: don't tempt them as like remove temptation, right, And the
• 42:19
  Speaker 1: other one you see them like leering around and they
• 42:22
  Speaker 1: look like but right. So there, so it's a very
• 42:26
  Speaker 1: tense and I was like, yeah, I was worried for
• 42:29
  Speaker 1: those girls, and because I was like, they force their
• 42:32
  Speaker 1: way into that, by the way. Then you get the
• 42:34
  Speaker 1: context of like why it's so hot that they have
• 42:36
  Speaker 1: this guy that's kind of their prisoner, because the way
• 42:39
  Speaker 1: that sexuality is framed in every other context in the
• 42:41
  Speaker 1: movie is like them being raped. So it's like kind
• 42:43
  Speaker 1: of cool that, like you you understand, like, oh, there's
• 42:46
  Speaker 1: this guy, he can't walk and he's safe at the
• 42:49
  Speaker 1: very last until I'm threatening for now, and then then
• 42:53
  Speaker 1: I started throwing turtles around now and now we're all
• 42:56
  Speaker 1: in trouble. The old turtle talk back to back to
• 42:58
  Speaker 1: the crimping was any know, it's like the turtles, those
• 43:01
  Speaker 1: pets back there where the fun where they get turtle
• 43:04
  Speaker 1: from the swamp from the swamp. I mean I got
• 43:06
  Speaker 1: my turtle in like San Diego back in the day.
• 43:08
  Speaker 1: I got my turtle at Uh. I got like some
• 43:11
  Speaker 1: boardwalk there's yeah, like I bought it on the side
• 43:13
  Speaker 1: of the street. Anyway. It's a little crazy to me that,
• 43:16
  Speaker 1: you know, during the Civil War there pet turtles who
• 43:18
  Speaker 1: knew uh something that Sofia Coppola kept that that bothered
• 43:23
  Speaker 1: me about the first movie and was like one of
• 43:25
  Speaker 1: those things where I was like, oh, yeah, this movie
• 43:27
  Speaker 1: and its source material is written by a man, So
• 43:30
  Speaker 1: there is that major moment where Edwina catches l Crimped
• 43:36
  Speaker 1: Fanning Alicia Alicia Carol in the first movie and mcbe
• 43:41
  Speaker 1: in bed this is a huge moment and then after
• 43:46
  Speaker 1: uh we we break Colin Ferrell's leg and it's all
• 43:50
  Speaker 1: funked up and grows. There is a brief exchange in
• 43:53
  Speaker 1: both movies where l Fanning lies and it is like
• 43:57
  Speaker 1: he came after me, he attacked me, you know, And
• 44:00
  Speaker 1: so she's trying to get herself off the hook by
• 44:02
  Speaker 1: basically saying that he raped her, to which Edwina responds
• 44:05
  Speaker 1: in both movies by being like, oh, she's such a liar,
• 44:08
  Speaker 1: you know. And then Miss Martha says, well, we don't know.
• 44:10
  Speaker 1: It could be either way, which is just like a
• 44:12
  Speaker 1: dangerous precedent to set no matter what you're doing in it.
• 44:16
  Speaker 1: And but it's it's it's hard because it's like that
• 44:19
  Speaker 1: is crucial to the story. But that bugged me in
• 44:22
  Speaker 1: the first movie and I was like, oh, well, it
• 44:23
  Speaker 1: seems like Sofia Copple is writing out a lot of stuff.
• 44:27
  Speaker 1: Maybe what's she going to do with this? But she's
• 44:29
  Speaker 1: like papped it, keep it. I um. So that character,
• 44:32
  Speaker 1: her name is Carol in the in the why did
• 44:39
  Speaker 1: it want? What's wrong with Carol? Oh? Probably because that
• 44:42
  Speaker 1: movie Carols Carol. No, two characters in any movie can
• 44:50
  Speaker 1: have the same name, So I mean, the character's name
• 44:53
  Speaker 1: is John, after all, he's the first John in any movie,
• 44:58
  Speaker 1: but Carol is that iconic name car Come. But um,
• 45:02
  Speaker 1: I liked that character Carol in the version. I just
• 45:06
  Speaker 1: like that she was in control of her sexual sexuality
• 45:11
  Speaker 1: and she's like, that's a guy I don't want to
• 45:14
  Speaker 1: fuck him. And so what if I'm seventeen, I'm gonna
• 45:17
  Speaker 1: still they say, because they set it up that you know,
• 45:21
  Speaker 1: she just I mean, she's a teen, She's fooled around before.
• 45:24
  Speaker 1: It actually makes sense that she's going to fool around
• 45:26
  Speaker 1: with the like soldier that's convalescing in the next room.
• 45:30
  Speaker 1: It's with like the older characters that it doesn't make
• 45:32
  Speaker 1: as much sense, right and again, it makes sense when
• 45:36
  Speaker 1: Clint east Too does it because he's actively manipulating everyone,
• 45:42
  Speaker 1: But Colin Farrell's version of this character is not actively
• 45:46
  Speaker 1: manipulating everyone, So it's confusing, Like and especially when if
• 45:51
  Speaker 1: we had just seen the version, I would have no
• 45:55
  Speaker 1: idea why he goes to l Fanning's room instead of
• 45:57
  Speaker 1: Kirsten Dunst. That would make no sense, Like, I don't
• 46:01
  Speaker 1: get In the first movie, he's sort of blackmailed by Carol,
• 46:06
  Speaker 1: who gets jealous at one point in the movie and
• 46:09
  Speaker 1: basically tries to sell him out and give him up
• 46:13
  Speaker 1: to the other soldiers and almost gets away with it,
• 46:16
  Speaker 1: and then he finds out that she was responsible for it,
• 46:18
  Speaker 1: and she was just like, well, it don't make me jealous,
• 46:20
  Speaker 1: And so Clint Eastwood in the first movie is like
• 46:24
  Speaker 1: threatened by her and a little bit afraid of her.
• 46:27
  Speaker 1: Better go fucker then, and he's sort of like, I mean,
• 46:30
  Speaker 1: she's really the only character that he seems like threatened
• 46:33
  Speaker 1: by until he loses his leg and he loses his ship.
• 46:38
  Speaker 1: But like, it makes sense why he goes to her
• 46:41
  Speaker 1: in the first one because he feels like she has
• 46:44
  Speaker 1: some sort of power over him and has the ability
• 46:47
  Speaker 1: to funck him over so of all the options he
• 46:50
  Speaker 1: has set up for himself. So even though like Carol
• 46:54
  Speaker 1: isn't an admirable person, I don't know like her identify
• 46:59
  Speaker 1: with her, but I just liked that she was sort
• 47:02
  Speaker 1: of playing his game. She's like, well, if you're going
• 47:04
  Speaker 1: to re people, it was just I actually kind of do.
• 47:08
  Speaker 1: If I had to pick one and I was watching
• 47:10
  Speaker 1: the nineteen seventy one of Like, who do you identify,
• 47:12
  Speaker 1: it would be Carol. Carol's a badass, like you know, yeah,
• 47:16
  Speaker 1: I mean, I think she's a very interesting character. And
• 47:20
  Speaker 1: ed Weena is a little bit frustrating because she's so naive,
• 47:23
  Speaker 1: especially in the first movie. I feel for her. I
• 47:28
  Speaker 1: feel like I most closely identify with Edwena, and I
• 47:31
  Speaker 1: saw Oh my gosh, I hate in the Coupala version,
• 47:35
  Speaker 1: I hate that character. She's I mean everything in a
• 47:37
  Speaker 1: couple of versions worse. But in the first one she's
• 47:40
  Speaker 1: she's like, I'm twenty two and then he kisses her.
• 47:43
  Speaker 1: She's like, I don't know how and I don't know,
• 47:47
  Speaker 1: Like I feel that way all the time, where I'm
• 47:50
  Speaker 1: just like I don't know, don't hurt my feelings, please,
• 47:52
  Speaker 1: and and like I don't know. Her naiveness comes across
• 47:56
  Speaker 1: in a more convincing genuine and a lot of you
• 47:58
  Speaker 1: were saying this earlier, Like for the character Kristen Duns
• 48:01
  Speaker 1: is not of an appropriate age because she's in her
• 48:04
  Speaker 1: early thirties, and it wouldn't make sense that a woman
• 48:06
  Speaker 1: in her early thirties would be she really I thought
• 48:08
  Speaker 1: she was older than that. But but like they don't.
• 48:12
  Speaker 1: They don't stay Edwina's age in this movie. They do
• 48:14
  Speaker 1: in the first one. They say she's twenty two and
• 48:17
  Speaker 1: that she's been in this school for seven years. So
• 48:21
  Speaker 1: it totally makes sense that her attitude towards men would
• 48:23
  Speaker 1: be like, I don't know trust And this is something
• 48:27
  Speaker 1: I wanted to talk about again. It's a big comparative thing.
• 48:30
  Speaker 1: But in the first movie there is this whole built
• 48:34
  Speaker 1: in structure where every major female character it's made clear
• 48:38
  Speaker 1: that they don't trust men, and Clint Eastwood and sort
• 48:42
  Speaker 1: of asked all of them, why don't you trust men?
• 48:44
  Speaker 1: Men are grade? Men are grade? Guy, Fuck you, men
• 48:46
  Speaker 1: are grade. Trust us, We're cool. It's told through sometimes flashbacks,
• 48:51
  Speaker 1: sometimes they just state it, but we figure out why
• 48:54
  Speaker 1: every woman in the house doesn't trust a man. Sometimes
• 48:59
  Speaker 1: it's whoops, say fucked my brother. Sometimes it's like a
• 49:04
  Speaker 1: father issue, and it's like everyone has given some sort
• 49:07
  Speaker 1: of reason of like why they are not so quick
• 49:10
  Speaker 1: to trust him. And that felt like, really, of all
• 49:15
  Speaker 1: the stuff in the in the first movie, something that
• 49:18
  Speaker 1: could be really useful to Sofia Goppola, and these are reasons.
• 49:22
  Speaker 1: They're giving reasons why they don't trust him, but in
• 49:25
  Speaker 1: doing that are also explaining why they end up doing
• 49:27
  Speaker 1: it so easily, Like they have this issue right, so
• 49:30
  Speaker 1: it's like, oh, I had this thing happen which makes
• 49:32
  Speaker 1: me not trust men, but it's also why I'm kind
• 49:34
  Speaker 1: of like just want to believe that you're different sort
• 49:36
  Speaker 1: of exactly right, but which is a relatable totally um.
• 49:40
  Speaker 1: But then they just take that away and you're like,
• 49:43
  Speaker 1: I'm none of that is given in the new one,
• 49:47
  Speaker 1: and I really the thing I really liked about the
• 49:49
  Speaker 1: first movie is that we The first character we meet
• 49:52
  Speaker 1: in both movies is Amy. She's picking shrooms. She comes
• 49:56
  Speaker 1: across like I got to get my psychedelic fix on.
• 50:04
  Speaker 1: Depending on the adaptation, she franches um right and and
• 50:08
  Speaker 1: it's again very like cheesy in the first one, but
• 50:11
  Speaker 1: it's a Southern Gothic story, so it's supposed to be.
• 50:14
  Speaker 1: But where like Amy is talking to Clint when he's
• 50:18
  Speaker 1: I don't remember it's either right before he loses his
• 50:20
  Speaker 1: leg or right after I think right after, and oh,
• 50:24
  Speaker 1: she finds out that he's been hooking up with everyone
• 50:26
  Speaker 1: she's ever met. In her entire life, which must be
• 50:30
  Speaker 1: hard when you're twelve of like, you fucked everyone I know,
• 50:34
  Speaker 1: and it's really just getting ready for what it's sort
• 50:38
  Speaker 1: of yeah, he's like, I'm just prepping you for this scene. Yeah,
• 50:41
  Speaker 1: it's rough out there. Um, but he's like fucked her
• 50:46
  Speaker 1: all the maternal figures she's ever had, and you know,
• 50:50
  Speaker 1: there's like the little child actor and she's just like,
• 50:52
  Speaker 1: but I thought you loved me, and he was like,
• 50:56
  Speaker 1: I do. And then she's pissed and then he throws
• 50:59
  Speaker 1: her hurtle and then she's like, I'm to die. But
• 51:04
  Speaker 1: by the end of the movie, where Amy is sort
• 51:07
  Speaker 1: of the driving force between so many major events, where
• 51:11
  Speaker 1: she finds him and at the request of Miss Martha,
• 51:16
  Speaker 1: she gets the stuff to kill him, um by picking
• 51:20
  Speaker 1: the poisonous mushrooms. And by the end of the movie,
• 51:22
  Speaker 1: you almost get the feeling that it's like, oh, this
• 51:25
  Speaker 1: whole movie is Amy's future flashback to why she will
• 51:29
  Speaker 1: never trust men is because this handsome like we are
• 51:34
  Speaker 1: to believe this handsome soldier who fringed her while he
• 51:39
  Speaker 1: was covered in dirt turned out to be a pretty
• 51:42
  Speaker 1: bad guy. I know, I know, was anyone else Matt
• 51:48
  Speaker 1: like basically when he's around, like threatening them with a gun,
• 51:51
  Speaker 1: and I keep thinking, like there's one of him, there's
• 51:53
  Speaker 1: like ten of you kick him. And then then when
• 51:58
  Speaker 1: they're like we have to we have to poisoned him
• 52:00
  Speaker 1: with the mushrooms, I kind of wanted to. I just
• 52:02
  Speaker 1: kind of wanted them to like get the gun and
• 52:04
  Speaker 1: kill him. And I was like, why did they have
• 52:05
  Speaker 1: to Why did they have to kill him in a
• 52:06
  Speaker 1: like this feminine way, which is like poisoning you with
• 52:09
  Speaker 1: the food we make, right, And maybe that's a that's
• 52:11
  Speaker 1: a function of the time, but I wanted them to
• 52:13
  Speaker 1: go straight up like just that there were hatchets around.
• 52:16
  Speaker 1: There was off, oh, yeah, they cut his mother. We
• 52:22
  Speaker 1: need to kill him in a dignified way by watching
• 52:24
  Speaker 1: him choke to death. Because someone's like, let's hang him,
• 52:27
  Speaker 1: and they're like, let's not resort to such brutalities. It's
• 52:30
  Speaker 1: like you're gonna him. I mean, and maybe this is
• 52:34
  Speaker 1: maybe what they were trying. The closest I can get
• 52:37
  Speaker 1: to Devil's advocate there is like maybe they were trying
• 52:39
  Speaker 1: to express some sort of double standard of because at
• 52:42
  Speaker 1: the beginning, we're like, you should have just let him
• 52:44
  Speaker 1: bleed out not our problem. And then they're like, but
• 52:47
  Speaker 1: we don't want to kill him, even though he's sucked
• 52:50
  Speaker 1: us all and it wants to kill us. I don't know.
• 52:53
  Speaker 1: I mean I think maybe, but I don't know, because
• 52:55
  Speaker 1: I feel like if we're supposed to see this as
• 52:57
  Speaker 1: some story of empowerment, I don't know how we're supposed
• 52:59
  Speaker 1: to see this. That just didn't feel like Harry. I
• 53:03
  Speaker 1: was just kind of like if Sofia couple of head, okay, Okay,
• 53:07
  Speaker 1: I'm not I'm sorry to keep you waiting at her
• 53:11
  Speaker 1: story him into a million pieces right like there was
• 53:13
  Speaker 1: no This was a redo of the first movie with
• 53:19
  Speaker 1: no details changed, but many just left out, like there
• 53:23
  Speaker 1: wasn't much shot in the same house that Beyonce shot Lemonade,
• 53:30
  Speaker 1: adding more insult the fact that she omitted the black character.
• 53:34
  Speaker 1: They're also there's like a scene or like a shot
• 53:37
  Speaker 1: in the new book Guild where l Fanning does exactly
• 53:41
  Speaker 1: what Vivian Lee does in like a scene in Gone
• 53:43
  Speaker 1: with the Wind, and I just I'm just like, I'm
• 53:45
  Speaker 1: going to fight l Fanning and I'm gonna win. What
• 53:47
  Speaker 1: does she do her cheeks, which is what Scarlett O'Hara
• 53:52
  Speaker 1: does right before she goes to meet Ashley. And anyways,
• 53:56
  Speaker 1: this movie stinks. Don't invoke a good movie in a
• 53:58
  Speaker 1: bad movie. That's mean. I have never seen Gone with
• 54:02
  Speaker 1: the Wind, but it like it, Okay, I know that
• 54:11
  Speaker 1: you're like one of the Last thing I'm just saying
• 54:14
  Speaker 1: is that usually when we talk about a movie in
• 54:16
  Speaker 1: the context of this podcast, it's like there aren't enough
• 54:20
  Speaker 1: women in it, or the men out number the women,
• 54:23
  Speaker 1: And that's certainly not a problem that this movie has.
• 54:26
  Speaker 1: But I don't know, this is just a complicated movie
• 54:29
  Speaker 1: to talk about because there are characters that I suppose
• 54:34
  Speaker 1: are somewhat developed, although in this version we don't get
• 54:39
  Speaker 1: a lot of their backstory or their flashbacks, so we
• 54:41
  Speaker 1: don't really understand where a lot of them are coming from.
• 54:43
  Speaker 1: So that's a bit disheartening. But the problems that a
• 54:47
  Speaker 1: lot of movies have in portraying women don't really apply
• 54:50
  Speaker 1: to this movie. But there's there's a whole other thing
• 54:53
  Speaker 1: that's wrong with this movie, which is like a man
• 54:56
  Speaker 1: shows up and everyone fus everything up. Yeah, I mean,
• 55:01
  Speaker 1: if it passes the test, but it also the main
• 55:03
  Speaker 1: problem of the movie is though that like these women
• 55:06
  Speaker 1: have no identity outside of the guy that they want.
• 55:09
  Speaker 1: The man is the inciting and to the movie, So
• 55:11
  Speaker 1: it doesn't It's like cool that there are a lot
• 55:13
  Speaker 1: of women in the movie, but I'd take less women
• 55:15
  Speaker 1: for ones that had more agency outside fucking this guy
• 55:19
  Speaker 1: who sucks. Right, Like, this movie passes the vecteal test,
• 55:22
  Speaker 1: but the issues of why it doesn't pass more are
• 55:24
  Speaker 1: like basically baked into the story itself. So it's which
• 55:29
  Speaker 1: is interesting, that's a that's a new problem for for us.
• 55:33
  Speaker 1: There's always a new problem. There's always there's always something new.
• 55:36
  Speaker 1: It speaks to why the test actually isn't it enough?
• 55:38
  Speaker 1: The test for sure isn't as true you never know,
• 55:41
  Speaker 1: not that you said it was, but saying like you
• 55:44
  Speaker 1: know you can pass and still be like really right,
• 55:47
  Speaker 1: Although most of the scenes where women are talking they
• 55:50
  Speaker 1: are talking about John McBee, there's a few where they're not.
• 55:53
  Speaker 1: They're taking French lessons, they're talking about French, they're talking
• 55:57
  Speaker 1: about stitching, but ahold chores, al those things that are
• 56:00
  Speaker 1: designed probably to make them more attractive to a man.
• 56:03
  Speaker 1: That's why you go to medicate classes. But then you
• 56:06
  Speaker 1: can be like, oh, look, they're not going to France,
• 56:10
  Speaker 1: taking these girls to France. Yeah, all the conversations are like,
• 56:14
  Speaker 1: learn how to stitch so that you can stitch clothes, man,
• 56:19
  Speaker 1: seeing kill a man and stitching a shroud Like you
• 56:22
  Speaker 1: said that. I guess that that was cool. That was
• 56:26
  Speaker 1: fun to watch a child do. But this story could
• 56:29
  Speaker 1: just be so much more interesting if they instead of
• 56:32
  Speaker 1: all just succumbing to his like stupid seduction techniques. Instead
• 56:37
  Speaker 1: we're like, I see right through you. You're not going
• 56:39
  Speaker 1: to trick us a piece of ship. We're gonna fight back.
• 56:43
  Speaker 1: Or if like, if it is about like women's sexuality
• 56:46
  Speaker 1: and them like discovering and they all fuck him and
• 56:50
  Speaker 1: he's not manipulating them into it, maybe he's just like,
• 56:52
  Speaker 1: let's all just have a polly relationship all deviently to
• 57:00
  Speaker 1: be more interesting than the movie that we have here,
• 57:02
  Speaker 1: I mean, and it would facilitate the orgy scene that
• 57:04
  Speaker 1: I wanted. I think for me that this story like it,
• 57:09
  Speaker 1: I don't mind that everyone's horny. I think if there
• 57:12
  Speaker 1: was one character who expressed more doubt shout out to
• 57:17
  Speaker 1: my favorite movie down, if there was one character who
• 57:20
  Speaker 1: was more fucking suspicious of this person who they know
• 57:24
  Speaker 1: is the enemy and it would make sense to be
• 57:26
  Speaker 1: suspicious of the movie would be very different. I mean
• 57:30
  Speaker 1: in that way, it's just like a really sexist movie
• 57:32
  Speaker 1: that basically it's like the second this man comes in,
• 57:34
  Speaker 1: they all lose their minds because because they're smart, they're
• 57:37
  Speaker 1: in school. Like yeah, Like, especially in the first one,
• 57:41
  Speaker 1: they set it up that Martha's like a really kind
• 57:44
  Speaker 1: of like no bullshit kind of balluster because they have
• 57:48
  Speaker 1: that like that moment where where you can hear their
• 57:51
  Speaker 1: thoughts in the first movie sometimes he's like, she does
• 57:54
  Speaker 1: have a point of weakness. I was like, Oh, she's
• 57:56
  Speaker 1: a tough bitch. That's why we're supposed to think. Yeah,
• 57:59
  Speaker 1: it's interesting. Everyone in this movie needs to grow up
• 58:03
  Speaker 1: and get a library card and move on with their lives. Well,
• 58:07
  Speaker 1: in twenty years I will readapt this and make it.
• 58:11
  Speaker 1: There's something I think that someone could have adapted. Like
• 58:13
  Speaker 1: I I don't know a tons of screenwriters right now
• 58:16
  Speaker 1: off the top, but like there is away there's one
• 58:18
  Speaker 1: right here. Do I have a master's degree in screenwriting
• 58:21
  Speaker 1: from Boston University? Yes, I do. You should you should
• 58:24
  Speaker 1: adapt it, but you can see it being adapted in
• 58:26
  Speaker 1: a really cool way, and it's cool yeah, yeah, where
• 58:29
  Speaker 1: it's like but like adapt it, don't just do it again.
• 58:33
  Speaker 1: We should get Quentin Tarantino to do it and make
• 58:35
  Speaker 1: it that's just them blowing him away. Yeah, end of movie.
• 58:40
  Speaker 1: It's more of a short. It's more of a short
• 58:43
  Speaker 1: the way that some people would would. Let's write the
• 58:47
  Speaker 1: movie on our nipple scale. Okay, cool, we have a
• 58:49
  Speaker 1: scale of zero to five nipples, where we rate the
• 58:52
  Speaker 1: movie based on its portrayal of the women characters in
• 58:56
  Speaker 1: the movie. Being the best, I've being the best, zero
• 58:58
  Speaker 1: being the worst. I'm going to give it. God, this
• 59:01
  Speaker 1: this movie is so hard. I would say, who is that?
• 59:07
  Speaker 1: Being too generous? Not generous enough? I don't know. You
• 59:10
  Speaker 1: went first, Okay, up sending the precedent one. I was
• 59:14
  Speaker 1: very annoyed that she that Sophia Coupla got rid of
• 59:18
  Speaker 1: the Holley character, the one person of color in the
• 59:22
  Speaker 1: story who was the most to me interesting character in
• 59:25
  Speaker 1: the version. The fact that, as we discussed before, like
• 59:29
  Speaker 1: a man shows up and everyone loses her ship because like, oh,
• 59:32
  Speaker 1: we want to funk them, and now we're all jealous
• 59:33
  Speaker 1: of each other and we can't handle this competition and
• 59:36
  Speaker 1: we're just petty to each other like that's not good.
• 59:39
  Speaker 1: And a lot of their backstory is just omitted, so
• 59:44
  Speaker 1: we don't really know a lot about these characters are
• 59:47
  Speaker 1: not that well fleshed out or developed, so just overall, like,
• 59:50
  Speaker 1: while women out number men in this movie, buy a lot?
• 59:54
  Speaker 1: It what cost? What if? Then I pulls up like
• 59:58
  Speaker 1: the nipples. I've never said that seriously before. I was like,
• 1:00:03
  Speaker 1: what is she about to say? It looks really pensive. Sorry.
• 1:00:07
  Speaker 1: He had a very grim look on her face, and
• 1:00:09
  Speaker 1: I was like, oh my god, what did I do wrong?
• 1:00:11
  Speaker 1: I was thinking about the rest of my life for
• 1:00:12
  Speaker 1: a second. The nipples belong to Okay, well, turtles don't
• 1:00:16
  Speaker 1: have nipples, so it can't be the turtle. Okay, and
• 1:00:21
  Speaker 1: that's too bad. That's too bad. I wish that they did,
• 1:00:24
  Speaker 1: but they are. I suppose they My nipples go to
• 1:00:27
  Speaker 1: Colin Farrell, whose nipples we see because she scrubs them.
• 1:00:31
  Speaker 1: She's like, I'm the Royal penis cleaner and I'm going
• 1:00:35
  Speaker 1: to pull down your andy's a little bit and scrub
• 1:00:37
  Speaker 1: your hip. But also she scrubs his nipples and that's
• 1:00:40
  Speaker 1: what my nipples look like. No, yeah, oh yeah, there's
• 1:00:43
  Speaker 1: a whole thing of like, stop objectifying Colin Farrell. And
• 1:00:46
  Speaker 1: it's like, honestly, stop objectifying Colin Farrell. I was turned
• 1:00:51
  Speaker 1: all the way off. If you're gonna objectifying, can you
• 1:00:54
  Speaker 1: make it not be like his weird hip bone that's
• 1:00:56
  Speaker 1: not like like the show has open and again, like
• 1:01:00
  Speaker 1: I would prefer she like doesn't like to fuck or
• 1:01:03
  Speaker 1: something after seeing this movie, like it's so sexless and
• 1:01:06
  Speaker 1: even the shot of Colin Ferrell that's supposed to be hot,
• 1:01:10
  Speaker 1: it's like, yeah, it's like if someone describes sexuality to
• 1:01:13
  Speaker 1: an alien, they're like, this is what humans like Colin
• 1:01:17
  Speaker 1: Ferrell's hip bug. It's like, this is not what we like.
• 1:01:19
  Speaker 1: This is not what we wanted, This is not what
• 1:01:21
  Speaker 1: we signed up for. Yeah, I just I don't know
• 1:01:22
  Speaker 1: how she I mean, I feel like most of her
• 1:01:24
  Speaker 1: work there's like a lot of I think restraint and
• 1:01:28
  Speaker 1: sexual restraint, and that's a big operating thing. But this,
• 1:01:31
  Speaker 1: and then again, don't adapt this story. This is a
• 1:01:34
  Speaker 1: Fox story. Ye know what you're adapting. If you're not,
• 1:01:38
  Speaker 1: if you don't want to fucking in the movie, that's okay,
• 1:01:41
  Speaker 1: But then don't adapt the Fox story, right, Yeah, because
• 1:01:44
  Speaker 1: there you're not going to make anyone any matter than
• 1:01:47
  Speaker 1: if you take a Fox story and you take all
• 1:01:49
  Speaker 1: the fucking out of it, they're gonna get pretty mad.
• 1:01:51
  Speaker 1: You can take the funk out of the Fox story,
• 1:01:53
  Speaker 1: but you can't take the funk out of the uck.
• 1:01:57
  Speaker 1: You can't take the story out of the fun something.
• 1:02:00
  Speaker 1: I'll figure it out and then I'll tweet it okay
• 1:02:02
  Speaker 1: and be on the lookout for that. Um, I'm gonna
• 1:02:05
  Speaker 1: give it to as well, although I'm almost tempted to
• 1:02:08
  Speaker 1: go a little bit lower. Yeah I was too, But
• 1:02:12
  Speaker 1: I mean, it's hard because I feel like the two
• 1:02:14
  Speaker 1: versions are so conflated in my head now that there
• 1:02:17
  Speaker 1: are a lot of things I liked about the first
• 1:02:19
  Speaker 1: movie that the second movie just does not include and
• 1:02:22
  Speaker 1: doesn't replace with anything. So it's hard to But anyways,
• 1:02:25
  Speaker 1: I'll stick with two. I just think that the story
• 1:02:29
  Speaker 1: is troubled from the start, but with this adaptation, just
• 1:02:33
  Speaker 1: nothing interesting is done with it. I know that we
• 1:02:36
  Speaker 1: hold Sophia Copbla to kind of a harsher standard, whether
• 1:02:41
  Speaker 1: we want to or not, and that is not fair,
• 1:02:44
  Speaker 1: But if you're an outour filmmaker, I feel like it's
• 1:02:49
  Speaker 1: not completely unfair either. It's tricky. I hated this movie
• 1:02:54
  Speaker 1: and it put us all in a bad mood, and
• 1:02:57
  Speaker 1: I wish that she had chosen a different story to
• 1:03:01
  Speaker 1: tell for this one. Agree the nipples go to Amy,
• 1:03:08
  Speaker 1: little twelve year old Amy, hey, old enough to kiss.
• 1:03:13
  Speaker 1: Leave it in, don't edit it out. I look forward
• 1:03:16
  Speaker 1: to your response. Okay, I'm giving it zero nipples, and
• 1:03:27
  Speaker 1: I'm not hard her on her. I mean, think about
• 1:03:30
  Speaker 1: if this was directed by a man. How if oh
• 1:03:33
  Speaker 1: my god, you would be like, you know, I'd like
• 1:03:35
  Speaker 1: to feel these women have no agency, You've taken out
• 1:03:38
  Speaker 1: all their sexuality. I feel like it would be more
• 1:03:40
  Speaker 1: exhausted and by if a man I directed this movie
• 1:03:43
  Speaker 1: and not disappointed, which is sort of what I hate
• 1:03:46
  Speaker 1: to admit that I feel. But I do feel disappointed
• 1:03:49
  Speaker 1: that a major female director had all these missed opportunities
• 1:03:53
  Speaker 1: in this. Yeah. Yeah, I just think just looking at
• 1:03:56
  Speaker 1: it from pure storytelling standpoint, it was super bad. It
• 1:04:00
  Speaker 1: just was super bad. None the characters had motivations. Honestly,
• 1:04:03
  Speaker 1: it wasn't even that beautiful like the way her other movies.
• 1:04:05
  Speaker 1: You know, it's like marian Toinete, You're like, okay, whatever,
• 1:04:07
  Speaker 1: like this is to watch? And the costumes, the costumes
• 1:04:10
  Speaker 1: sucked very quiet. They're kind of like the costumes I
• 1:04:14
  Speaker 1: liked when they got dressed up. That was cool. Sofia
• 1:04:18
  Speaker 1: Couple is also known for having cool soundtracks on her
• 1:04:20
  Speaker 1: movie My God, No sound, silent, silent movie. Oh yeah,
• 1:04:23
  Speaker 1: not a lot of score. It was better be good
• 1:04:25
  Speaker 1: if you're not playing any hot time. I was like,
• 1:04:27
  Speaker 1: I was like, where's the awesome They're like, let the
• 1:04:31
  Speaker 1: kid play the piano again, let her play a little
• 1:04:33
  Speaker 1: johnt So what does this happen? What does this? Why
• 1:04:37
  Speaker 1: am I watching? It's incredibly boring, the moments that could
• 1:04:41
  Speaker 1: be like milked for tension or just like nope, sorry right, yeah,
• 1:04:46
  Speaker 1: it's it's a it's a fun story if you're adapting
• 1:04:49
  Speaker 1: the story. You got a lump fuck and she did
• 1:04:53
  Speaker 1: a bad job. Wow. I mean even the sexy ninety
• 1:04:56
  Speaker 1: was not hot. The sext ninety was not hot. The
• 1:04:59
  Speaker 1: sex scene was not hot. With with supposed to just
• 1:05:04
  Speaker 1: be like a little I didn't even I don't know.
• 1:05:06
  Speaker 1: He like fell over because he got one leg. He's
• 1:05:09
  Speaker 1: like he I guess landed inside of her because he
• 1:05:14
  Speaker 1: was it was a lucky fall and he was leaving
• 1:05:18
  Speaker 1: with his hard cock and then they had a scene
• 1:05:21
  Speaker 1: that you're just like, wait, he's about to die. Yeah,
• 1:05:28
  Speaker 1: it's just I don't know. I'm sorry, skip this one, gang. Yeah,
• 1:05:33
  Speaker 1: watch the one version. It's not perfect. It's not even great,
• 1:05:38
  Speaker 1: I would say, but it's there's no much better if
• 1:05:41
  Speaker 1: you want to watch an adaptation, that's finely And sorry
• 1:05:44
  Speaker 1: that we talked as much about that movie as we
• 1:05:47
  Speaker 1: did about the two seventeen one, So there's the least us. Yeah,
• 1:05:52
  Speaker 1: I want to thank you so much for being thanks
• 1:05:53
  Speaker 1: for having me. Sorry, I just don't get your phone face.
• 1:05:56
  Speaker 1: Oh yeah, my phone's broken all right. I wish I
• 1:06:01
  Speaker 1: could blame that on the movie too, But unfortunately she
• 1:06:03
  Speaker 1: got so magy through it. She there had the screen
• 1:06:05
  Speaker 1: and hi bro during the Colin Farrell hip bunks. Where
• 1:06:11
  Speaker 1: can people find you online? Um? You can find me
• 1:06:14
  Speaker 1: at my favorite website. It's really healthy to hang out
• 1:06:17
  Speaker 1: on it. Twitter, dot com, dot com fun hang at
• 1:06:20
  Speaker 1: Alana Levinson. Yeah, it's find me and the reader work
• 1:06:24
  Speaker 1: in mel it's so good. Red work everywhere's the best
• 1:06:27
  Speaker 1: read our work. I don't have any out there, but hey,
• 1:06:32
  Speaker 1: watch my cartoons. I don't care anyways. Hey, uh, here's
• 1:06:35
  Speaker 1: a fun new thing you can do is give us money.
• 1:06:39
  Speaker 1: And so before we go, you can check out our Twitter, Facebook,
• 1:06:42
  Speaker 1: all the channels you wouldn't really check to find our
• 1:06:44
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• 1:06:46
  Speaker 1: little donation one dollar, two dollars, one million dollars um.
• 1:06:51
  Speaker 1: It all goes towards the production costs of the show
• 1:06:54
  Speaker 1: and we would very much appreciate it and we let
• 1:06:57
  Speaker 1: me SMA. Yeah. So you know, if you like the
• 1:06:59
  Speaker 1: episodes of if you like us, kick us a few dollars,
• 1:07:02
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• 1:07:05
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• 1:07:14
  Speaker 1: us and goodbye bye.