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Empire Records with Shelli Nicole · The Bechdel Cast

• 0:00
  Speaker 1: On the be Dol Cast. The questions asked if movies
• 0:03
  Speaker 1: have women in them, are all their discussions just boyfriends
• 0:07
  Speaker 1: and husbands, or do they have individualism? The patriarchy? Zef
• 0:11
  Speaker 1: in best start changing it with the Bedel Cast. Hey Jamie,
• 0:17
  Speaker 1: Hey Caitlan. Guess what, but it's Rex Manning Day on
• 0:22
  Speaker 1: the Bechdel Cast. How are you going to celebrate? I'm
• 0:26
  Speaker 1: going to get the ugliest self tanner I can possibly find,
• 0:31
  Speaker 1: and and uh and and uh. I don't know is
• 0:36
  Speaker 1: there a full music video for that? Because I want
• 0:39
  Speaker 1: to see it. It seems like they shot a full one. Yeah.
• 0:42
  Speaker 1: I was kind of into like until you get to
• 0:44
  Speaker 1: know him better. I was kind of interacts Manning's like sound.
• 0:47
  Speaker 1: I was like, you know, I was like, you know,
• 0:49
  Speaker 1: I I know he's he's there for the moms, but
• 0:52
  Speaker 1: I would show up. What's the song? Say no more
• 0:56
  Speaker 1: mona more? It's really good? I was like, you know,
• 0:59
  Speaker 1: I could I can put that in my morning rotation,
• 1:02
  Speaker 1: No problem. Sure, how are you going to be observing
• 1:05
  Speaker 1: Rex Manning Day? I am going to I was gonna say,
• 1:12
  Speaker 1: remember when he punches a teenager? I was gonna say,
• 1:14
  Speaker 1: I'm gonna punch a teenager. But I'm not going to
• 1:17
  Speaker 1: do that. Remember what the protagonist of the movie also
• 1:19
  Speaker 1: punches a teenager. You have Joe punch as a teenager.
• 1:22
  Speaker 1: But they're like no, but it's a paternal thing. You're like, well,
• 1:24
  Speaker 1: that does make it worse. But okay, so much happens
• 1:29
  Speaker 1: in this movie, and yet not that much happens in
• 1:31
  Speaker 1: the movies. To me. The main character is liv Tyler's
• 1:36
  Speaker 1: crop top, and that is very important to me. The
• 1:38
  Speaker 1: true protagonists. I love it, I want it, I can't
• 1:42
  Speaker 1: pull it off. Uh, it's the Empire Records episode of
• 1:46
  Speaker 1: the Back Took. Yes. So this is our show where
• 1:49
  Speaker 1: we examine movies through an intersectional feminist lens, using the
• 1:53
  Speaker 1: Bechtel Tests simply as a jumping off point for our discussion. Jamie,
• 1:58
  Speaker 1: can you remind me on this bright and sunny mix
• 2:01
  Speaker 1: Rex Manning Day the mixed Franny? Yikes, my brain is tired.
• 2:11
  Speaker 1: Can you remind me what the Bechtel cast Nope podcast
• 2:18
  Speaker 1: about it? It's a dark okay. The Bechtel test is
• 2:22
  Speaker 1: was like, Caitlin, wake up, wake up, you're dreaming. He's
• 2:27
  Speaker 1: going great. I ate some weed brownies and now I'm
• 2:30
  Speaker 1: in a gar eight music video. Oh. I was like, Kyla,
• 2:33
  Speaker 1: you can't. You don't do that. I ate fruit and
• 2:36
  Speaker 1: nuts this morning and I got like grate. I started like,
• 2:39
  Speaker 1: I got mad at I don't sometimes when make healthy choices,
• 2:41
  Speaker 1: I'm like, who the funk do you think you are?
• 2:44
  Speaker 1: I was like looking at my fruit and nuts like, oh, oh,
• 2:48
  Speaker 1: you're really going to make a change. Get a grip. Anyways,
• 2:51
  Speaker 1: the Bectel test is, and those internal monologues past the
• 2:56
  Speaker 1: Bechtel test. Wow, true, Yeah, because my rage it myself
• 3:01
  Speaker 1: is about women. So the Bechtel test is a media
• 3:05
  Speaker 1: metric created by alsin Bechtels, sometimes called the Bucktel Wallace test. Uh.
• 3:11
  Speaker 1: Many different versions of this test, but the one that
• 3:14
  Speaker 1: we use on the show requires that two characters of
• 3:18
  Speaker 1: a marginalized gender with names must speak to each other
• 3:21
  Speaker 1: about something other than a man for more than two
• 3:24
  Speaker 1: lines of dialogue. And as you will learn in our
• 3:28
  Speaker 1: Empire Records episode, it doesn't matter how weird or chaotic
• 3:31
  Speaker 1: that dialogue is. So that's the Becktel test. We're covering
• 3:38
  Speaker 1: Empire Records today. It's been a request for quite some time,
• 3:42
  Speaker 1: and we have an amazing guest to observe, Rex Manning
• 3:46
  Speaker 1: Day with Oh my Gosh, I can't wait. So. She
• 3:49
  Speaker 1: is a culture editor at Auto Straddle. She's also written
• 3:53
  Speaker 1: for Thrillist, Bitch Media, and Vogue Magazine. She is Shelley Nicole. Welcome. Um.
• 4:03
  Speaker 1: We were toying off Mike with introducing I mean, we're
• 4:06
  Speaker 1: all in on it, but possibly bring you in as
• 4:09
  Speaker 1: Shreky Nicole and just seeing how far into the episode
• 4:14
  Speaker 1: we at the end. That is exactly what I'd like
• 4:17
  Speaker 1: to be referred. I will change my Twitter handle if
• 4:20
  Speaker 1: I have to. I promise you I will like Shreky.
• 4:23
  Speaker 1: What's your history with records? I think so Like Caitlin
• 4:30
  Speaker 1: was talking about taking me brownies in Agua video before
• 4:35
  Speaker 1: you mentioned the Guar video, I was just like, so,
• 4:37
  Speaker 1: that's what kind of podcast this is. I knew it all.
• 4:42
  Speaker 1: I wish I could do weed every time I consume,
• 4:47
  Speaker 1: not do Weedkit. You sound like you're in the CIA
• 4:54
  Speaker 1: when you say stuff like that, Hello, fellow kids, want
• 4:59
  Speaker 1: to do some weed and listen to some war on
• 5:02
  Speaker 1: our walkman, like on the clock at work while I'm
• 5:07
  Speaker 1: literally supposed to be like working. Is that before or
• 5:12
  Speaker 1: after he Um low key assaults a woman by grabbing
• 5:16
  Speaker 1: her foot and kissing at her foot. I think that
• 5:19
  Speaker 1: was after when she was just trying to do ballet
• 5:22
  Speaker 1: and mind her own business and he kisses her feet. Yeah,
• 5:25
  Speaker 1: and he tries to kiss her head. Also. Yeah, it's
• 5:29
  Speaker 1: not a good look. Mark. It's not a good look.
• 5:32
  Speaker 1: Mark is a disaster. I'm so excited to talk about
• 5:36
  Speaker 1: this movie, especially just like learning about the production of
• 5:39
  Speaker 1: this movie is so wild, and some of the results
• 5:42
  Speaker 1: of that is you just get like bizarro disembodied shots
• 5:46
  Speaker 1: like that that you're like, what is happening? What am I?
• 5:50
  Speaker 1: What is the takeaway? And sometimes they're like, that was
• 5:52
  Speaker 1: just kind of a vibes based shot that we chose.
• 5:55
  Speaker 1: We just kind of felt like doing it, and it's
• 6:00
  Speaker 1: so we're gonna do it. Let's party Party. The narrative
• 6:04
  Speaker 1: trajectory in this movie is so hard to track and
• 6:09
  Speaker 1: fall I was getting so much whiplash. I'll save it.
• 6:13
  Speaker 1: But Okay, Shelly, I'm sorry. Shreky, Shreky, thank you very much.
• 6:18
  Speaker 1: Thank you. Tell us about your history, your relationship with
• 6:23
  Speaker 1: Empire Records. Um, it literally started with Live Tyler's crap
• 6:27
  Speaker 1: top and I'm commented, So when you said that, I
• 6:31
  Speaker 1: was like, Yeah, that's it. I watched this movie in
• 6:34
  Speaker 1: middle school and found it when I was in Blackbuster.
• 6:36
  Speaker 1: I used to go to Blackbuster with my dad. Sorry,
• 6:39
  Speaker 1: I used to force my father to take me to
• 6:40
  Speaker 1: Blackbuster on Friday. And I would always been like an
• 6:46
  Speaker 1: insane amount of time, like trying to pick out one video,
• 6:49
  Speaker 1: and it was to the point where he would eventually
• 6:52
  Speaker 1: start waiting in the car, and then I would bang
• 6:55
  Speaker 1: on the Blockbuster window and be like I'm ready to
• 6:57
  Speaker 1: check out, Like that's how long it would take me,
• 7:00
  Speaker 1: like pick a movie. But I found this movie. I
• 7:03
  Speaker 1: go through still like spurts of like I only want
• 7:08
  Speaker 1: to watch movies about this specific subject. And at that time,
• 7:12
  Speaker 1: I was obsessed with school girls. Into me that meant
• 7:15
  Speaker 1: that anybody wearing a plaid skirt was clearly a school girl. Right,
• 7:21
  Speaker 1: that's incorrect. But I saw this movie like on one
• 7:26
  Speaker 1: of the shelves, and I grabbed it because of her
• 7:29
  Speaker 1: crop top and because of the skirt, but also I
• 7:34
  Speaker 1: grabbed it because I recognized her from And this wasn't
• 7:37
  Speaker 1: like two thousand when I saw it, right, I recognized
• 7:41
  Speaker 1: her from the Aerosmith video as the other girl who
• 7:46
  Speaker 1: was with Share because I just knew yeah, I just
• 7:49
  Speaker 1: knew at leash was Silverstona's share Um, and I had
• 7:53
  Speaker 1: never really seen her in anything else. But that video
• 7:56
  Speaker 1: is also kind of a queer route for me, so
• 7:59
  Speaker 1: I all that, and I was just like, so, if
• 8:01
  Speaker 1: she's in this, I don't know, maybe share might show up,
• 8:04
  Speaker 1: but also maybe it'll be a little gay. I obviously
• 8:08
  Speaker 1: wasn't using the word gay at that time in my life,
• 8:10
  Speaker 1: but I thought maybe I would get a crossover. And
• 8:14
  Speaker 1: I saw it, I rented it, and then I proceeded
• 8:16
  Speaker 1: to rent it like maybe every week for the next
• 8:20
  Speaker 1: two months. Instead of just asking to fucking buy movie.
• 8:26
  Speaker 1: You like, sunk fifty dollars into the Empire Record industrial complex.
• 8:31
  Speaker 1: They needed the money. They lost a lot of money.
• 8:33
  Speaker 1: They absolutely lost a lot of fucking cash. But I
• 8:36
  Speaker 1: made up for at least within two months of Blockbuster
• 8:39
  Speaker 1: video fees. Um and I rented it over and over.
• 8:43
  Speaker 1: I watched it, and I just loved it because at
• 8:45
  Speaker 1: the time, I was trying to insert myself into movies.
• 8:50
  Speaker 1: I've always loved films and stuff like that, but at
• 8:52
  Speaker 1: that time in my life, I was trying to like
• 8:54
  Speaker 1: insert myself in some way into that world of whatever
• 8:58
  Speaker 1: movie I was watching, so it's epically teen films. And
• 9:02
  Speaker 1: I have an obsession still to this day with movies
• 9:05
  Speaker 1: that take place in one day, because it's easier for
• 9:08
  Speaker 1: me to put myself inside of that world if it's
• 9:11
  Speaker 1: just one day, Like what would I wear? Which one
• 9:13
  Speaker 1: of these characters would I be friends with? So like
• 9:15
  Speaker 1: in Ferris Bueller, two hundred Cigarettes, the Breakfast Club, Mall Rats,
• 9:20
  Speaker 1: all those movies one day and say with Empire Records,
• 9:24
  Speaker 1: and then I just got obsessed with the storyline. And
• 9:27
  Speaker 1: then I was like thirteen or something when I tried
• 9:29
  Speaker 1: to like go and work at this record store in Ferndale, Michigan.
• 9:34
  Speaker 1: I'm from Detroit, and they were like a year thirteen,
• 9:38
  Speaker 1: and I was like, yeah, but I've been watching this
• 9:40
  Speaker 1: fucking movie man, and I like really want to work
• 9:43
  Speaker 1: at a record store. And they were like, you're you
• 9:46
  Speaker 1: can't work here. So you were like the Warren. I
• 9:51
  Speaker 1: was absolutely Warren, and I Warren is a wild character,
• 9:56
  Speaker 1: but he's probably like my second favorite character in the movie.
• 10:00
  Speaker 1: But that's my connection with it, my love it to
• 10:02
  Speaker 1: this day. And then you wrote a wonderful piece on
• 10:06
  Speaker 1: the film in which you discuss your connection with it.
• 10:09
  Speaker 1: And the friendship between Gina and Corey. And yeah, well
• 10:12
  Speaker 1: we'll very excited to get into that. We'll talk about that,
• 10:15
  Speaker 1: but um, yeah, well we're so excited to discuss further, Jamie,
• 10:23
  Speaker 1: what's your relationship with this movie? No history with this movie.
• 10:27
  Speaker 1: I had not seen it before, which I don't know.
• 10:30
  Speaker 1: I guess I am having kind of a tricky time
• 10:34
  Speaker 1: knowing and like, how popular is this movie. I know
• 10:36
  Speaker 1: that it was like a flop on release and then
• 10:40
  Speaker 1: it has become kind of a cult classic, but I
• 10:42
  Speaker 1: don't I'm like, I don't know how many people I
• 10:44
  Speaker 1: know have seen this movie if I'm unusual for having
• 10:47
  Speaker 1: not seen it. There are so many famous people and
• 10:50
  Speaker 1: it also so I hadn't seen this movie. I've got
• 10:55
  Speaker 1: such intense whiplash watching it. But there were parts I
• 10:58
  Speaker 1: really enjoyed and and learning about I think I may
• 11:02
  Speaker 1: be like learning about the production of this movie even
• 11:04
  Speaker 1: more than I liked the movie itself, because it's just
• 11:06
  Speaker 1: such a wild story and once you know, like basically
• 11:11
  Speaker 1: for for listeners who are not familiar with it, it's
• 11:13
  Speaker 1: this movie was just like hacked to death by studio executives.
• 11:17
  Speaker 1: It was originally forty minutes longer. I guess they cut
• 11:20
  Speaker 1: three major characters. I have some guesses. Is it what
• 11:23
  Speaker 1: they are that Lady Jane. I feel like I had
• 11:26
  Speaker 1: to have had something else, Like you can just see it,
• 11:28
  Speaker 1: like there was a really, really like good script at
• 11:33
  Speaker 1: some point, and then they just cut out whole chunks
• 11:35
  Speaker 1: of it. So then you get stuff like liv Tyler
• 11:39
  Speaker 1: is addicted to pills, and it's like, there's only ten
• 11:41
  Speaker 1: minutes left in the movie, what are you talking about, um, etcetera.
• 11:46
  Speaker 1: I just thought it was a chaotic, weird wild ride.
• 11:50
  Speaker 1: I'm very excited to talk about it. Caitlin, what's your
• 11:53
  Speaker 1: history with Empire Records? I also had no history. I
• 11:58
  Speaker 1: thought I had seen this movie. I thought this is
• 12:00
  Speaker 1: one of those movies that I like watched in college
• 12:02
  Speaker 1: because I was like, I have to watch all these
• 12:04
  Speaker 1: you know, cult classics and all this stuff. And I
• 12:08
  Speaker 1: think I had just seen a bunch of similar movies,
• 12:11
  Speaker 1: such as Reality Bites, Small Rats, High Fidelity, Dazed and Confused, maybe,
• 12:17
  Speaker 1: like I'd seen all those and I just thought, this
• 12:20
  Speaker 1: is a lot of Rene's Elwigger movies. Really, But then
• 12:25
  Speaker 1: I started watching the movie and none of it was
• 12:27
  Speaker 1: familiar and I realized I in fact had never seen it, So, um,
• 12:34
  Speaker 1: I don't want to be the villain of the episode.
• 12:36
  Speaker 1: But I do like the movie, especially from like a
• 12:42
  Speaker 1: screenwriting standpoint, and we'll talk about how the story that unfolds,
• 12:46
  Speaker 1: and as kind of like muddled and random and like
• 12:50
  Speaker 1: whiplashy as it often gets, it's like not the fault
• 12:53
  Speaker 1: of the screenwriter, because, like you said, Jamie, there's a
• 12:55
  Speaker 1: lot of studio notes and and changes and also like
• 12:59
  Speaker 1: post product action changes that made the from a screenwriting
• 13:04
  Speaker 1: point of view, the story really right, which which tell
• 13:07
  Speaker 1: you like laid out really clearly in in your piece
• 13:10
  Speaker 1: as well of just like how much was hacked out
• 13:13
  Speaker 1: of this A lot of stuff went through it because
• 13:15
  Speaker 1: I got to talk to Carol Hypening, so I got
• 13:18
  Speaker 1: to talk to like the writer and everything about it,
• 13:19
  Speaker 1: and it was really cool and she was telling me
• 13:22
  Speaker 1: just like and woke get into it obviously, but like
• 13:25
  Speaker 1: just how hacked up the movie ended up being like
• 13:29
  Speaker 1: for the audience when it actually came out versus the
• 13:33
  Speaker 1: cult classic when like maybe ten years later when people
• 13:36
  Speaker 1: like me found it and like still loved it. But
• 13:38
  Speaker 1: it went through a lot. It went through a lot
• 13:42
  Speaker 1: so just like watching the movie with having no nostalgia
• 13:45
  Speaker 1: attached to it, having never seen it, watching it for
• 13:47
  Speaker 1: the first time in two as a person in my
• 13:51
  Speaker 1: mid thirties, I don't have quite the same attachment to it.
• 13:56
  Speaker 1: It was rooting for Mitch, it was, it was rooting
• 13:59
  Speaker 1: for Mitch. Was like, yeah, music Town, She's like making
• 14:02
  Speaker 1: up a day store again. Music sucks, Tower Records me.
• 14:08
  Speaker 1: That's what I want. Capitalism, Yes, I do love I
• 14:14
  Speaker 1: mean that nineties convention where they're like, capitalism is one
• 14:18
  Speaker 1: guy exactly capitalism. It's just this one person in and
• 14:24
  Speaker 1: he wants to sail toilets, so and he's not that bad,
• 14:30
  Speaker 1: and You're like, what is happening? I love it. So
• 14:35
  Speaker 1: the movie isn't necessarily for me, but there's a lot
• 14:38
  Speaker 1: to talk about, so I'm excited to get into it. Yeah,
• 14:41
  Speaker 1: I guess I will attempt to recap the movie good Luck.
• 14:48
  Speaker 1: I think will be the greatest challenge of my career.
• 14:52
  Speaker 1: Shelley jump in. Whenever you you know the text, I
• 14:57
  Speaker 1: refuse because I've been like listening and I've been being like,
• 15:01
  Speaker 1: okay during the recap, shut the buck up, and I
• 15:05
  Speaker 1: will probably chime in two to seven times. But like,
• 15:08
  Speaker 1: other than that, I don't think this is going to
• 15:11
  Speaker 1: be a very long recap. Is also that it's longer
• 15:16
  Speaker 1: than you think. Oh my gosh. Yeah, but there's all
• 15:20
  Speaker 1: these things that happened, and then it's like, well, it's
• 15:22
  Speaker 1: never referenced again, but it didn't technically happen. It did
• 15:25
  Speaker 1: kind of happen. Yeah, so I'll jump in occasionally. Okay, cool,
• 15:29
  Speaker 1: All right, here we go. So we meet Lucas played
• 15:33
  Speaker 1: by Rory Cochrane. He is one of the employees of
• 15:37
  Speaker 1: Empire Records, which is an indie record store in We're
• 15:42
  Speaker 1: not sure what part of the country. He briefly chats
• 15:47
  Speaker 1: with his colleague Gina played by Rene's Elwigger about how
• 15:51
  Speaker 1: tonight is a big night for him because their boss,
• 15:54
  Speaker 1: Joe is trusting Lucas to lock up, which means counting
• 15:58
  Speaker 1: the money dropping in to say all that stuff. And
• 16:01
  Speaker 1: as he's doing that, Lucas notices some paperwork about a
• 16:05
  Speaker 1: corporate buyout of Empire Records by this conglomerate music town.
• 16:10
  Speaker 1: This is all like narrated by Lucas in this opening sequence,
• 16:14
  Speaker 1: which is it's just one of the many bizarre things
• 16:18
  Speaker 1: this movie does that makes me laugh. That kind of
• 16:20
  Speaker 1: comes and goes, and there's not really any rules about
• 16:23
  Speaker 1: it where he's like narrating it like he's fucking Hunter
• 16:26
  Speaker 1: s Thompson. He's like, oh, oh no, we're being bought out.
• 16:31
  Speaker 1: And then he was like sometimes I'm like, is he
• 16:33
  Speaker 1: talking to camera? And then sometimes people are talking to camera,
• 16:37
  Speaker 1: but then most of the time they're not. Sometimes they're
• 16:38
  Speaker 1: just talking to themselves. It's so confusing, right, it doesn't
• 16:41
  Speaker 1: happen enough to make it a consistent motif, but it does.
• 16:46
  Speaker 1: It does happen often enough that you notice it, so
• 16:49
  Speaker 1: that I wish it happen more because it's whenever I do,
• 16:52
  Speaker 1: like when someone turns to camera, I'm like, that's such
• 16:56
  Speaker 1: a goofy choice, and I always like it. It's my
• 16:59
  Speaker 1: favorite thing, and it's even more of a thing when
• 17:02
  Speaker 1: it's unnecessary, and then in consistent it's even better. If
• 17:08
  Speaker 1: it's a mess. I want more of it. So anyway,
• 17:12
  Speaker 1: clearly the store is in financial trouble because of this
• 17:15
  Speaker 1: like corporate buyout that's about to happen. So Lucas gets
• 17:18
  Speaker 1: the idea to take the money that they earned that day.
• 17:21
  Speaker 1: I think, or I don't know if it's like all
• 17:23
  Speaker 1: the money in the safe. I'm not sure, but it's
• 17:25
  Speaker 1: nine thou dollars. Take it to Atlantic City and gamble
• 17:29
  Speaker 1: with it to try to earn enough to save the
• 17:31
  Speaker 1: store Capitalism. Unfortunately, Lucas loses all of the money and
• 17:38
  Speaker 1: then heads out of town the next morning on his motorcycle.
• 17:42
  Speaker 1: But don't worry, he'll be He'll be right back. Um.
• 17:44
  Speaker 1: But the boss Joe comes into the store. He can't
• 17:47
  Speaker 1: find the money. He's freaking out. Meanwhile, we meet the
• 17:51
  Speaker 1: other staff as they come into work that day, a
• 17:54
  Speaker 1: j played by Johnny Whitworth. Mark played by Ethan embry
• 18:00
  Speaker 1: Aj is like this artsy sensitive type. Mark is like
• 18:05
  Speaker 1: stoner doofis. We also meet Corey played by Liv Tyler.
• 18:10
  Speaker 1: She's like little miss perfect. I'm going to go to
• 18:12
  Speaker 1: Harvard and she's wearing that crop top. Yes, she just
• 18:17
  Speaker 1: wanted to shout it out. It's important feminist icon blue sweater.
• 18:24
  Speaker 1: And then we see Gina again again. That's Renee Selwigger.
• 18:28
  Speaker 1: She's like this sloody one quote unquote. They all come
• 18:32
  Speaker 1: into work. They are all teenagers, question mark. We're not
• 18:36
  Speaker 1: sure how old these people are really, except for Liv Tyler,
• 18:39
  Speaker 1: who seems to be a senior in high school, right.
• 18:41
  Speaker 1: I think they're like between eighteen and like twenty three four. Yeah,
• 18:48
  Speaker 1: I think so too, because it's really only clear that
• 18:51
  Speaker 1: it's her because she's going to hard she's going to Harvard, right. Yeah.
• 18:55
  Speaker 1: Other than that, I think everyone's like un think it
• 19:00
  Speaker 1: right because it's like implied that some of them are
• 19:03
  Speaker 1: like working at Empire Records instead of going to college
• 19:07
  Speaker 1: or something. Don't worry, there's not going to be a
• 19:10
  Speaker 1: talk about loans or any people in movies don't have
• 19:13
  Speaker 1: college loans. It's just not a thing, right. But they're
• 19:16
  Speaker 1: just like I don't know, like do I want to
• 19:18
  Speaker 1: keep chilling out here or do I want to go
• 19:21
  Speaker 1: to art school in Boston? Like, honestly, as someone who
• 19:24
  Speaker 1: did that, don't go to art school in Boston. Keep
• 19:27
  Speaker 1: your record store job. You're wasting your fucking money and
• 19:30
  Speaker 1: your life. Okay, don't do it. Zero at attention, would
• 19:35
  Speaker 1: not do again, and so much debt for no fucking reason.
• 19:39
  Speaker 1: Didn't learn a single thing. No, I um as someone
• 19:42
  Speaker 1: who went to screenwriting school and got a screenwriting master's degree,
• 19:47
  Speaker 1: I mean you use it every week, Caitlyn. I use
• 19:49
  Speaker 1: it every single week, every single week. Can I tell
• 19:52
  Speaker 1: you how much I wanted you to say that you
• 19:54
  Speaker 1: bring not that you bring it up a lot. You know,
• 19:56
  Speaker 1: no bigs. I would never, I would never bring it.
• 19:59
  Speaker 1: You're not Hanna person. But I'm so excited and hoping
• 20:03
  Speaker 1: that you would just occasionally a little bit. There it is,
• 20:07
  Speaker 1: and it's true. It's all true. It's all true. Okay.
• 20:10
  Speaker 1: So we meet the staff and also that day is
• 20:14
  Speaker 1: Rex Manning Day at the store. So a pop star
• 20:18
  Speaker 1: named Rex Manning who kind of had his heyday in
• 20:20
  Speaker 1: the eighties, it seems, is coming into the store to
• 20:23
  Speaker 1: sign autographs and promote his new album. I think they're
• 20:28
  Speaker 1: mapping him on like Barry Manila. I was trying to
• 20:32
  Speaker 1: is it Barry Manila? Okay, because I was like, visually
• 20:35
  Speaker 1: he's giving Barry Manilo. And I do love that he's
• 20:39
  Speaker 1: so furious that all of his like listeners are his age.
• 20:44
  Speaker 1: I'm like, what did you what did you expect, sir? Leave,
• 20:48
  Speaker 1: These mothers are paying your rent. Show some respect. I
• 20:52
  Speaker 1: have a whole thing about his fan base in the movie,
• 20:55
  Speaker 1: and like what that telegraphs to the audience. Yeah, that's well,
• 21:00
  Speaker 1: I mean it's like classic gen X movie like people
• 21:02
  Speaker 1: over thirty should die like God, the most annoying generation.
• 21:08
  Speaker 1: Sorry to our listeners who are remember of it. I
• 21:11
  Speaker 1: mean whatever, our our generation takes plenty of ship. I
• 21:15
  Speaker 1: mean maybe every generation is bad, just putting it on,
• 21:18
  Speaker 1: wipe out the species. Done. We've had our chance and
• 21:22
  Speaker 1: we blew it as humans. Whatever, Millennials and we have
• 21:24
  Speaker 1: ugly pants like, it's fine. Whatever. Our generation never figured
• 21:30
  Speaker 1: out pants, and I stand by that. I really just don't.
• 21:33
  Speaker 1: I think we tried like several times to like get
• 21:36
  Speaker 1: down pants that would work on more than one body
• 21:39
  Speaker 1: type conceptually, and we just like kept fumbling it into
• 21:43
  Speaker 1: an interesting way. Excuse me, my boot cut flair legs
• 21:48
  Speaker 1: from American Eagle. We're awesome. I'm wearing skinny jeans that
• 21:53
  Speaker 1: I glued to my body and I think that they
• 21:55
  Speaker 1: actually look and feel really comfortable. Just like, alright, we
• 22:00
  Speaker 1: we fucked up pants? Yeah yeah, yeah, Okay. So we
• 22:05
  Speaker 1: established that it's Rex Manning day. Corey wants to lose
• 22:09
  Speaker 1: her virginity to Rex Manning while he's there. We also
• 22:14
  Speaker 1: learned that a J is secretly in love with Corey,
• 22:18
  Speaker 1: and today is the day that he plans to tell her.
• 22:21
  Speaker 1: We meet another employee who comes in, Deborah, played by
• 22:25
  Speaker 1: Robin Tuney. She comes in, she shaves her head, She
• 22:31
  Speaker 1: has a bandage on her wrist, which some of the
• 22:35
  Speaker 1: other staff notices. She also has a pretty antagonistic relationship
• 22:41
  Speaker 1: with many other members of the staff, especially Corey and Gina. Yeah,
• 22:45
  Speaker 1: she's a guy's guy. I feel that's fun of the
• 22:49
  Speaker 1: more frustrating things about this movie, where it's like, there's
• 22:51
  Speaker 1: there's clearly was so much more to Deb's story, our
• 22:54
  Speaker 1: devs ory at one point, and it it just feels
• 22:57
  Speaker 1: so obvious that so much of it went away, And
• 22:58
  Speaker 1: it's like, I want, I want this context of why
• 23:01
  Speaker 1: you struggle to connect with other women, because I feel
• 23:03
  Speaker 1: like it would have landed so much better. When she's
• 23:05
  Speaker 1: it seems like she has issues with her mom, and
• 23:08
  Speaker 1: I just I was like, Oh, there was a story
• 23:10
  Speaker 1: in there, but we didn't we didn't get to see
• 23:12
  Speaker 1: it anyways. Um. Then Lucas shows back up the guy
• 23:16
  Speaker 1: who had taken the nine thousand dollars at the beginning
• 23:19
  Speaker 1: of the movie. Joe is like, where's my money, and
• 23:21
  Speaker 1: Lucas tells Joe that it is recirculating in Atlantic City,
• 23:25
  Speaker 1: which is very funny. Then Joe is like, Okay, well
• 23:29
  Speaker 1: what the hell? And he considers calling the cops and
• 23:32
  Speaker 1: pressing charges against Lucas, but he does not do that
• 23:36
  Speaker 1: because fathers and sons. I can't do that. And then
• 23:40
  Speaker 1: Joe explains that he had gotten together enough money to
• 23:44
  Speaker 1: buy the store from the owner, this guy Mitch a
• 23:49
  Speaker 1: Mr Capitalism, Mr Capitalism, and this would have allowed Joe
• 23:54
  Speaker 1: to stop Mitch from selling the store to Music Town.
• 23:58
  Speaker 1: But now he can't do that because this nine thou
• 24:00
  Speaker 1: dollars is gone because apparently it costs nine only nine
• 24:04
  Speaker 1: thousand dollars. Like where do they live? And that's the thing,
• 24:09
  Speaker 1: especially because he comes back so fast, like even if
• 24:13
  Speaker 1: he gets back the next day, like where are they?
• 24:16
  Speaker 1: But then also they're like on this like really pretty seaside,
• 24:20
  Speaker 1: because when Mark goes out to take a break, you
• 24:22
  Speaker 1: see that, and then when I go pick up Corey,
• 24:25
  Speaker 1: you see all that. I don't know, but it only
• 24:28
  Speaker 1: costs nine thousand dollars to save a record store, so
• 24:32
  Speaker 1: not to save, but to buy. Right, that has like
• 24:35
  Speaker 1: beach front property, yeah, and three floors, right, so much
• 24:41
  Speaker 1: square footage, so much square footage. It's downtown. There's three floors.
• 24:46
  Speaker 1: It's beach front property. It has a beautiful smoke break
• 24:50
  Speaker 1: section and a place for staff to live because Berkele
• 24:53
  Speaker 1: lives back there. Oh wait, I didn't even realize that. Yeah,
• 24:57
  Speaker 1: he like comes from back and so I don't know.
• 24:59
  Speaker 1: It's a very good live work space for nine thousand dollars.
• 25:02
  Speaker 1: So that is so funny because I and again I'm like,
• 25:06
  Speaker 1: I also like jen X, don't yell at me. I
• 25:08
  Speaker 1: love you guys. It's all good. But like, I'm just like,
• 25:11
  Speaker 1: what are you guys so upset about it costs nine
• 25:13
  Speaker 1: thousand dollars to have a three floor house downtown, Like
• 25:17
  Speaker 1: enjoy it? Well at last, bit like, what are you
• 25:20
  Speaker 1: so mad about? Anyways? I don't know, man, it's all
• 25:25
  Speaker 1: man the man. Shuck the man. The man. Mr Cavilism
• 25:30
  Speaker 1: is peeing on my floor like ass like all right, okay. So,
• 25:39
  Speaker 1: because Lucas lost this nine thousand dollars, Joe has no
• 25:42
  Speaker 1: choice but to transition the store into a music town
• 25:45
  Speaker 1: very soon, which means that they would have to again
• 25:48
  Speaker 1: answer to the man, they'd lose the cool indie vibe
• 25:52
  Speaker 1: of the store, they'd have to follow all these strict rules,
• 25:56
  Speaker 1: so no one who works at Empire Records is happy
• 25:59
  Speaker 1: about this, which is true. I mean I like that,
• 26:02
  Speaker 1: like this is like all based on Tower Records and
• 26:04
  Speaker 1: like that whole story and like saving Indian like that
• 26:09
  Speaker 1: end of stuff. I'm like, oh, that's like very compelling
• 26:11
  Speaker 1: and cool, and places like that truly do not exist anymore.
• 26:15
  Speaker 1: Like Tower Records I think been out of business and
• 26:17
  Speaker 1: like oh five or something. Yeah, I mean it reminds
• 26:20
  Speaker 1: me of working at like an indie alts comedy venue,
• 26:24
  Speaker 1: which I did for several years, and like the vibe
• 26:27
  Speaker 1: and the camaraderie with your fellow staff, and that was
• 26:32
  Speaker 1: my favorite aspect of the movie. But um, yeah, so
• 26:35
  Speaker 1: I get I get that. Yeah, So what's the next
• 26:39
  Speaker 1: scene that happens? Because it's truly just like and then
• 26:41
  Speaker 1: another scene happens so hard to keep track of, but
• 26:46
  Speaker 1: I think it's that Lucas stops a shoplifter, Warren, who
• 26:52
  Speaker 1: is trying to steal a bunch of CDs. The staff
• 26:55
  Speaker 1: shames Warren and then they make him stick around just
• 26:58
  Speaker 1: sitting on a couch while they wait for the cops
• 27:02
  Speaker 1: to show up. I was just like, there is this
• 27:05
  Speaker 1: weird like no exit vibe to that room. Like it's
• 27:08
  Speaker 1: just kind of like Empire Records Purgatory, where it's like,
• 27:12
  Speaker 1: if you're in trouble, you just have to sit in
• 27:14
  Speaker 1: this room and you could leave at any time, but
• 27:16
  Speaker 1: for whatever reason, you don't, right, yeah, yeah, because Joe
• 27:20
  Speaker 1: is like, Lucas, you stole nine dollars from me, Well,
• 27:24
  Speaker 1: gosh darn it, you better sit on this couch and
• 27:26
  Speaker 1: don't you dare get up from that couch, And then
• 27:28
  Speaker 1: Lucas just stays on the couch for like the first
• 27:31
  Speaker 1: half of the movie. Daddy said, so okay. So then,
• 27:39
  Speaker 1: so the people are lining up for Rex Manning day.
• 27:43
  Speaker 1: Rex Manning shows up with someone who might be his assistant,
• 27:47
  Speaker 1: it might be his publicist. We're not really sure what
• 27:50
  Speaker 1: Jane's job is. I'm convinced this is one of the
• 27:53
  Speaker 1: characters that got super super cut down because she seems
• 27:56
  Speaker 1: like there yeaheah, and it's sad here too, which is
• 28:00
  Speaker 1: justing like incredible. Who I'd like to nominate for the
• 28:03
  Speaker 1: Eyebrow Hall of Fame to this day, Yes, yes, Like
• 28:07
  Speaker 1: if you see her on Younger where she plays like,
• 28:10
  Speaker 1: I don't know, the coolest dyke in the world. Um,
• 28:12
  Speaker 1: eyebrows are still like, I'm like doing a rewatch of
• 28:16
  Speaker 1: Younger right now. Um, but she's like incredible eyebrows. But
• 28:19
  Speaker 1: also in nineteen Nighties, like she had beautiful nine eyebrows.
• 28:23
  Speaker 1: She did. Yeah, she's I It took me until her
• 28:27
  Speaker 1: second appearance in Empire Records to be like, she's from Younger, Younger,
• 28:32
  Speaker 1: Underrated baby, underrated show. She's so great. Yeah, that character.
• 28:37
  Speaker 1: Like again, I mean, so many characters are full chaos,
• 28:40
  Speaker 1: but her in particular, where she's like there and then
• 28:44
  Speaker 1: she has a scene and then she's like I quit.
• 28:46
  Speaker 1: But she says I quit to Joe, and I'm like,
• 28:48
  Speaker 1: do you work for him? And then later she comes
• 28:51
  Speaker 1: back and she's like, Okay, Joe, I want to go
• 28:53
  Speaker 1: on a date with you. And I was like, how
• 28:54
  Speaker 1: old are any of these characters? I don't understand how
• 28:59
  Speaker 1: do they know each other? I thought that they were
• 29:01
  Speaker 1: meeting at the beginning of that our thought so too. Yeah,
• 29:04
  Speaker 1: but apparently Empire Records is going to Empire Records in
• 29:08
  Speaker 1: that I don't know what the funk is happening at
• 29:10
  Speaker 1: any given point in the movie. Oh gosh, Okay, So
• 29:14
  Speaker 1: Rex starts signing autographs. He seems very resentful that His
• 29:18
  Speaker 1: fan base is largely middle aged women. Mostly. Everyone who
• 29:22
  Speaker 1: works at Empire Records thinks that Rex Manning sucks and
• 29:27
  Speaker 1: Jane is like, oh, yeah, I guess he does suck.
• 29:29
  Speaker 1: I quit working for him, but I'm going to tell
• 29:31
  Speaker 1: Joe and not Rex and tell someone unrelated. Then another
• 29:36
  Speaker 1: employee shows up Burko. He and Deborrah seem to have
• 29:41
  Speaker 1: some history. There's also been other scenes, you know, scattered
• 29:44
  Speaker 1: throughout the movie of things like stuff putting on music
• 29:48
  Speaker 1: and dancing around the store, quick conversations between various characters
• 29:53
  Speaker 1: to establish more of their like relationship dynamic, other random
• 29:57
  Speaker 1: things here and there. Those scenes are fun. I love
• 30:00
  Speaker 1: the concept of Veto. That was my one of my favorite.
• 30:03
  Speaker 1: I was like, oh, that is such a record store,
• 30:05
  Speaker 1: Like it's so cool and definitely something I tried to
• 30:10
  Speaker 1: implement in drama club and in high school, except no
• 30:15
  Speaker 1: one fucking you know what I was talking about. So
• 30:16
  Speaker 1: I just like, I had to eat my bag of
• 30:17
  Speaker 1: skittles and I was like, it's fine. Just because you
• 30:20
  Speaker 1: guys don't know film doesn't mean that that has anything
• 30:23
  Speaker 1: to do with me. But whatever, They're like, what is
• 30:25
  Speaker 1: Shreky talking about? Shreky, please sit down, and I was
• 30:32
  Speaker 1: just like, you know what, in about ten years, I'm
• 30:35
  Speaker 1: gonna have my day about this movie. So it'll be fine.
• 30:38
  Speaker 1: But also click side note, the guy who played Burko
• 30:43
  Speaker 1: was Live tyler stepdad at the time. Yes, oh, Coyote
• 30:47
  Speaker 1: Shivers is his name? Yeah, of course. Okay, first of all,
• 30:51
  Speaker 1: of course, Live Tyler. How's a stepdad named Coyote. I've
• 30:55
  Speaker 1: never been less shocked in my life. Live Tyler's had
• 30:58
  Speaker 1: such a wildlife. I was gonna say, if you ever
• 31:01
  Speaker 1: have an opportunity, you just want to go for a
• 31:03
  Speaker 1: quick ride on Wikipedia, go to Live Tyler's Wikipedia page.
• 31:08
  Speaker 1: It's a roller coaster. Sometimes it's like sometimes I get
• 31:12
  Speaker 1: annoyed at nepotism stuff, and then you read Live Tyler's
• 31:14
  Speaker 1: Wikipedia page and it's like she deserves everything she has
• 31:17
  Speaker 1: because she's been through enough. There is so much weirdness
• 31:20
  Speaker 1: in that poor woman's life. And and if you want
• 31:24
  Speaker 1: a real journey of the spirit, watch Live Tyler's Architectural
• 31:28
  Speaker 1: Digest video because it's like she's a weird lady. Do
• 31:33
  Speaker 1: you okay? This is taking I love a good Kismet moment. Sorry, Caitlin,
• 31:38
  Speaker 1: just like, um, can you all shut this is my
• 31:41
  Speaker 1: seventh and final interruption. By the way, don't limit yourself.
• 31:45
  Speaker 1: I hate this. Was making my partner watch Architectural Digest videos.
• 31:50
  Speaker 1: We've been watching them all morning and it started because
• 31:53
  Speaker 1: I was like, let's watch Little Tyler like and we've
• 31:56
  Speaker 1: been watching them older. It's my favorite one because I
• 32:00
  Speaker 1: want it. I want it all right. Sorry, back to
• 32:02
  Speaker 1: the insane plot that is Empire. I don't know where
• 32:06
  Speaker 1: we are in it, but I don't know. You love
• 32:09
  Speaker 1: Tyler and Dakota Johnson, two weird nepotisms giving the Architectural
• 32:15
  Speaker 1: Digest tours of a lifetime. You're just like, oh, no
• 32:17
  Speaker 1: one's ever told you that you're weird before because you're
• 32:20
  Speaker 1: so beautiful and you grew up with so much money.
• 32:23
  Speaker 1: But you're being so weird right now with Tyler. But
• 32:25
  Speaker 1: you're fucking weird, man. Yeah, I love it. Okay. Um.
• 32:35
  Speaker 1: The next thing that happens is Mitch, the guy who
• 32:39
  Speaker 1: owns Empire Records, shows up to pick up yesterday's money.
• 32:44
  Speaker 1: Joe decides not to rat Lucas out for stealing it,
• 32:47
  Speaker 1: and instead, Joe stuffs the like money pouch thing full
• 32:51
  Speaker 1: of scrap paper to make it seem like it's full
• 32:53
  Speaker 1: of cash, and then he gives that to Mitch. Then
• 32:58
  Speaker 1: Corey insists on fixing lunch for Rex Manning because that's
• 33:04
  Speaker 1: going to be her opportunity to seduce him, which she
• 33:09
  Speaker 1: tries to do and he's basically like, okay, well you
• 33:13
  Speaker 1: can suck my dick, and then she realizes like, oh no, yeah.
• 33:18
  Speaker 1: She feels humiliated. She runs up to the roof, where
• 33:21
  Speaker 1: she bumps into a J who finally professes his love
• 33:26
  Speaker 1: for her, but she is distraught and she wants to
• 33:30
  Speaker 1: be alone, so he leaves feeling very rejected. Then Gina
• 33:37
  Speaker 1: tries to comfort Corey about this Rex Manning thing, but
• 33:41
  Speaker 1: Corey ends up aggressively slut shaming Gina. So then Gina
• 33:48
  Speaker 1: decides to seduce Rex Manning and she has sex with him.
• 33:54
  Speaker 1: While that's going on, Corey goes up to a J
• 33:57
  Speaker 1: and says, I'm sorry I freaked out before, but I
• 34:00
  Speaker 1: just don't think of you like that. You're my best friend,
• 34:03
  Speaker 1: and I'm like, that's news to me because I thought
• 34:06
  Speaker 1: your best friend was Gina or what, like, are you
• 34:08
  Speaker 1: friends at all? We haven't seen you talk on screen yet.
• 34:12
  Speaker 1: I'm sure that, I was like, I'm sure that they
• 34:14
  Speaker 1: I thought they. I feel like the movie was like
• 34:16
  Speaker 1: and she doesn't even know I exist. But then she's like,
• 34:19
  Speaker 1: you're my best friend. I was like, she doesn't. She
• 34:22
  Speaker 1: just wants nothing to do with you. Very Maniloian enough
• 34:27
  Speaker 1: for her, apparently, I guess, but yeah, I know. And
• 34:32
  Speaker 1: then it was like she at the I mean, whatever,
• 34:35
  Speaker 1: things are about to get so out of control. But
• 34:37
  Speaker 1: she's like, you're such a talented artist. And I was like,
• 34:39
  Speaker 1: have we seen him do any art? Do we know
• 34:42
  Speaker 1: why his art looks like what is he? Eddy good
• 34:45
  Speaker 1: fluide some quarters to the floor called that art? We
• 34:48
  Speaker 1: do see him like sketching some things here and there,
• 34:50
  Speaker 1: and he don't seem to be a pretty talented artist,
• 34:52
  Speaker 1: so I'll allow it. But good for him. That scene
• 34:57
  Speaker 1: did remind me of what is it when like Steve's
• 35:00
  Speaker 1: on Cat from Stuart Little, or someone's like fresh friend,
• 35:04
  Speaker 1: best friend, there, role, move over, every everything he's ever done.
• 35:13
  Speaker 1: Steven'son as Cat from Stewart Little is so funny. Noble,
• 35:17
  Speaker 1: you're my best friend? Oh my god, it's so funny.
• 35:21
  Speaker 1: He should he could have been. He could have been
• 35:23
  Speaker 1: in this movie. He would have fit into this world.
• 35:25
  Speaker 1: Alfred Molina could have played Joe, yeah, because with his
• 35:31
  Speaker 1: name and Joe is played by Anthony Lapolio Paglia Apolia.
• 35:38
  Speaker 1: I'm not sure. I did not know who this man was,
• 35:40
  Speaker 1: but I did figure out halfway through that he is
• 35:42
  Speaker 1: definitely Australian because he kept forgetting that his character wasn't Australian,
• 35:47
  Speaker 1: where he just like it was a little thing when
• 35:49
  Speaker 1: he was just like, I forget. He was like talking
• 35:52
  Speaker 1: to Lucas about something and he's like, you give the
• 35:54
  Speaker 1: money back. You're like, whoa wait, hold on, where are we? Oh?
• 36:00
  Speaker 1: I kept being like, I know that's not Bill Pullman,
• 36:03
  Speaker 1: but is it Bill Pullman? Yeah? Big Bill Pullman wasn't
• 36:07
  Speaker 1: available vibes, I mean, Okay. So Corey has told a
• 36:13
  Speaker 1: j she thinks of him as her best friend and
• 36:16
  Speaker 1: that's why she's not interested in him romantically, and he's
• 36:19
  Speaker 1: like that's bullshit and he storms off, and then we
• 36:23
  Speaker 1: see Corey take a pill, which I think is the
• 36:26
  Speaker 1: first time we've seen her do that, the implication being
• 36:30
  Speaker 1: that she is like dealing with addiction or you know,
• 36:33
  Speaker 1: drug abuse issues. So then there's a scene where the
• 36:38
  Speaker 1: entire store starts dancing to Rex Manning's song while Rex
• 36:42
  Speaker 1: Manning and Gina are having sex in another room. But
• 36:47
  Speaker 1: then Joe comes down into the store and he's like, well,
• 36:50
  Speaker 1: enjoy this while you can, because this time next week
• 36:53
  Speaker 1: this is gonna be a music town. He just like
• 36:56
  Speaker 1: runs downstairs and it's like steaks and you're like, oh
• 37:00
  Speaker 1: my god. But there there's enough stakes we need to
• 37:03
  Speaker 1: like finish the storyline, don't start another one. And this
• 37:06
  Speaker 1: is when he gets really angry at Lucas and punches him.
• 37:12
  Speaker 1: He beats up. From my screenwriting standpoint, this movie, the
• 37:16
  Speaker 1: inciting incident happens like three minutes into the movie, which
• 37:21
  Speaker 1: it's more standard for that to be like fifteen minutes
• 37:25
  Speaker 1: into a feature length film, So it happens right away
• 37:27
  Speaker 1: before there's any exposition, before we know anything about anyone,
• 37:31
  Speaker 1: We get the inciting incident. Then there are there's a
• 37:34
  Speaker 1: full i would say, sixty to seventy minutes of after
• 37:39
  Speaker 1: this conflict of compelling conflict being established of like we
• 37:43
  Speaker 1: have to save the store, but oh no, the money
• 37:46
  Speaker 1: is lost. What do we do to recoup that money
• 37:49
  Speaker 1: and save the store? That conflict basically goes away for
• 37:53
  Speaker 1: like sixty to seventy minutes, and then at the very end,
• 37:56
  Speaker 1: which we're getting too soon. He's like, remember the movie,
• 38:00
  Speaker 1: and I was like, no, I don't, but I'm having
• 38:04
  Speaker 1: so much fun being confused. Okay, so but before we
• 38:10
  Speaker 1: get to the very end, so um Joe assaults Lucas,
• 38:14
  Speaker 1: but their fight quickly blows over, and then everyone finds
• 38:17
  Speaker 1: out that Gina is having sex with Rex Manning, including Corey,
• 38:21
  Speaker 1: who feels especially betrayed. So then a J attacks Rex Manning,
• 38:27
  Speaker 1: and then a J gets punched another another teenager or
• 38:30
  Speaker 1: like young person getting punched by a full adult man.
• 38:34
  Speaker 1: Then they kick Rex out of the store. Gina and
• 38:37
  Speaker 1: Corey get into a screaming match. Gina outs Corey's drug abuse.
• 38:43
  Speaker 1: Corey starts trashing the store, but then her coworkers stop her.
• 38:47
  Speaker 1: She calms down, and then Debrah provides some emotional support
• 38:51
  Speaker 1: to Corey. They have a nice moment together. Then several
• 38:56
  Speaker 1: random scenes where we see Mark eating we brownies and
• 39:00
  Speaker 1: fantasizing about being in Aguar music video, where it always
• 39:06
  Speaker 1: just feels like sometimes this movie just does stuff where
• 39:09
  Speaker 1: I feel like they're like, so that was pretty heavy, right,
• 39:12
  Speaker 1: here's a here's a little palate cleanser, And I remember
• 39:17
  Speaker 1: watching that the first time, and I actually every time
• 39:20
  Speaker 1: I rented it, and honestly still when I watched it
• 39:22
  Speaker 1: to this day, I passed forward through that scene. Now
• 39:25
  Speaker 1: a little bit, it's a little bit more blended, as like,
• 39:29
  Speaker 1: I guess now that I do like culture writing and
• 39:31
  Speaker 1: critiquing of films and stuff like that, but honestly, most
• 39:34
  Speaker 1: of it is just because I hate it. It makes
• 39:37
  Speaker 1: no sense, it doesn't need to be there, and I
• 39:39
  Speaker 1: hate every moment of that. It's the worst shot out
• 39:44
  Speaker 1: of everything they cut out of everything that's on the
• 39:47
  Speaker 1: cutting room floor. The final this movie, they were like,
• 39:52
  Speaker 1: now that stays, don't you touch it? And I was like, okay,
• 39:56
  Speaker 1: I guess, Well probably because they like paid guar. Oh yeah,
• 39:59
  Speaker 1: I guess. And then they're like, well, we can't just
• 40:02
  Speaker 1: have wasted that money, So I bet that that is it. Yeah,
• 40:06
  Speaker 1: what a mess. I'm laughing. What a mess. So then
• 40:12
  Speaker 1: Jane comes back. She asks Joe out for dinner and
• 40:16
  Speaker 1: he's like, sounds great. Then the staff has a mock
• 40:21
  Speaker 1: funeral for Deborah, during which everyone you know, divuloges some
• 40:26
  Speaker 1: personal things. They bond with each other, and this is
• 40:29
  Speaker 1: also when Gina shows back up and she and Corey makeup.
• 40:34
  Speaker 1: I love a good plot resolution via well timed eavesdrop
• 40:39
  Speaker 1: where she just happens to walk in the room and
• 40:40
  Speaker 1: lived Tyler was like, I miss Gina. I love her
• 40:43
  Speaker 1: so much. She's so she's a She's the woman I
• 40:46
  Speaker 1: can never be. And then Gina's like no, And then
• 40:48
  Speaker 1: Gina says what her stakes were the whole time? Apparently
• 40:52
  Speaker 1: where she walks in, she's like, I don't want to
• 40:53
  Speaker 1: be like my mother. You're like, who's your mother? And
• 40:55
  Speaker 1: she's like, I want to be a singer. I was like,
• 40:58
  Speaker 1: you do. And then one scene later she's a singer
• 41:00
  Speaker 1: and we're like, good for her. I guess, like yeah.
• 41:05
  Speaker 1: Um So then Warren, the kid who had tried to
• 41:10
  Speaker 1: shoplift from the store, comes back with a gun and
• 41:15
  Speaker 1: starts shooting the store up, but it's okay because they're blanks.
• 41:20
  Speaker 1: It is. It turns out he just wanted to work
• 41:23
  Speaker 1: at the record store the whole time. What is happening like,
• 41:28
  Speaker 1: which is like the most white teenager with a gun
• 41:31
  Speaker 1: thing ever to to just have it be like, oh,
• 41:34
  Speaker 1: he was just having a bad day. It's all good.
• 41:36
  Speaker 1: Let's give him a job at the record store and
• 41:39
  Speaker 1: that'll help, but you're just like, no, no, don't do that.
• 41:43
  Speaker 1: It's mind boggling. But yeah, he gets taken away by
• 41:47
  Speaker 1: the cops again sort of, but they're just like, well,
• 41:50
  Speaker 1: the gun was filled with blanks and he's a miner,
• 41:52
  Speaker 1: so we can't really do anything. And then in the
• 41:54
  Speaker 1: next scene he's back at the store working and also
• 41:57
  Speaker 1: drinking and drinking, and even though he's like fifteen or something, yeah,
• 42:04
  Speaker 1: he's real little like I just don't know what was happening. Like,
• 42:08
  Speaker 1: there did reach a point where I was just like,
• 42:11
  Speaker 1: my brain is smooth, like anything could happen. And so
• 42:14
  Speaker 1: when it goes to like she's on pills, the store
• 42:18
  Speaker 1: is going to close down. I love you. I don't
• 42:21
  Speaker 1: want to be like my mom, we're doing a fake
• 42:23
  Speaker 1: funeral now someone shooting up the store. You're just like, yeah, okay,
• 42:30
  Speaker 1: I guess, but a weird day. That was me watching it.
• 42:34
  Speaker 1: I was like, yeah, okay, cool, Like when I first
• 42:36
  Speaker 1: saw it was the tracks. I want to go work
• 42:39
  Speaker 1: out a record store. Actually, so Floren could. He's thirteen, apparently,
• 42:44
  Speaker 1: so why can't I Right, Yeah, who can't? Who can't
• 42:46
  Speaker 1: get a job at this place? And you'll never get
• 42:49
  Speaker 1: fired despite all the really wild things. Joe needs to
• 42:54
  Speaker 1: be daddy. Oh gosh. Okay, So Warren coming back with
• 42:59
  Speaker 1: a gun actually comes plot relevant because then news anchors
• 43:03
  Speaker 1: show up to report on the story. So then Mark
• 43:07
  Speaker 1: jumps into the newscast to promote a fundraiser event that
• 43:12
  Speaker 1: the store is going to hold that night, which I
• 43:16
  Speaker 1: guess Mark just decided, Oh, let's do a fundraiser. So
• 43:19
  Speaker 1: they put it together. A bunch of people show up,
• 43:22
  Speaker 1: They have a big party. Gina Burko and some other
• 43:26
  Speaker 1: guy play live music. Everyone's dancing there, drinking. Uh. They
• 43:30
  Speaker 1: raise a bunch of money, and then Mitch the owner
• 43:34
  Speaker 1: shows up again and he's like, what is going on?
• 43:37
  Speaker 1: And then Joe takes the money they raised and buys
• 43:40
  Speaker 1: the store from Mitch for again ballpark of nine thousand
• 43:45
  Speaker 1: dollars salad maybe two d seventy four dollars. I don't know, yeah,
• 43:49
  Speaker 1: because there's not there's not nine thousand dollars in that
• 43:55
  Speaker 1: not like bucket thing. Yeah, there's maybe a grand talk.
• 44:00
  Speaker 1: Maybe Buddy buys the store from Mitch. Nonetheless, and so
• 44:04
  Speaker 1: everyone is celebrating. Corey goes to a j and screams
• 44:08
  Speaker 1: at him and pushes him and hits him, telling him
• 44:11
  Speaker 1: you're so talented and you need to go to art school.
• 44:14
  Speaker 1: And he's like, okay, I'll go to art school and
• 44:16
  Speaker 1: I'm going to go in Boston so I can be
• 44:18
  Speaker 1: near you when you're at Harvard, and she's like awesome.
• 44:21
  Speaker 1: And then they kiss and she goes really that they kiss,
• 44:25
  Speaker 1: and you're like, I did I forgot that they knew
• 44:28
  Speaker 1: each other. Um and then and then the movie ends
• 44:33
  Speaker 1: with everyone dancing on the roof, which is fun. So
• 44:38
  Speaker 1: that's the story. Let's take a quick break and we
• 44:41
  Speaker 1: will come back to discuss and we're back. Okay, what
• 44:52
  Speaker 1: is hello? Like? What? Well? Shelly? Yeah, Shelly, kick us up?
• 44:56
  Speaker 1: What do you what do you want to talk about?
• 44:58
  Speaker 1: Because I'm like, I mean, here's the thing, like, as
• 45:02
  Speaker 1: I watched this movie, like I've watched this with completely
• 45:05
  Speaker 1: different eyes at first. And that's why when I talk
• 45:08
  Speaker 1: about the movie, I know every single one of its
• 45:11
  Speaker 1: faults that it has. Like don't get me wrong, but
• 45:14
  Speaker 1: there are certain movies that I'm not excusing some of them.
• 45:17
  Speaker 1: A lot of the faults on this I am like,
• 45:19
  Speaker 1: it's fine, I don't care perfect, But other ones I
• 45:24
  Speaker 1: am like, what, like, you know, with like Corey and
• 45:28
  Speaker 1: Rex Manning and all that kind of stuff. But as
• 45:31
  Speaker 1: chaotic as it is, I think it for me, I
• 45:36
  Speaker 1: love it because again it's one day, and it makes
• 45:38
  Speaker 1: so much sense to me appear that even the cut
• 45:41
  Speaker 1: of it so much can happen in a day, like
• 45:44
  Speaker 1: if we were to cut up our own one day
• 45:47
  Speaker 1: my Friday, Like we were talking about all the craziness
• 45:51
  Speaker 1: that I had with like breaking my computer, and then
• 45:53
  Speaker 1: I could all this stuff. It's a bunch of smash cuts,
• 45:56
  Speaker 1: and this film is a bunch of essentially a bunch
• 45:59
  Speaker 1: of small pets of stories with a really good soundtrack
• 46:03
  Speaker 1: and a lot of it can be excused the other ones.
• 46:07
  Speaker 1: I just kind of live in that film world when
• 46:10
  Speaker 1: I watch it and I'm like, everything's fine. That one
• 46:13
  Speaker 1: gift that will Cat or whatever sitting with the flames
• 46:16
  Speaker 1: behind him, that's me watching this movie and I'm like,
• 46:19
  Speaker 1: it's fine, It's fine totally, And I like, so We've
• 46:24
  Speaker 1: been dunking on the like plot of the movie pretty
• 46:28
  Speaker 1: hard throughout the recap and stuff, but at its core,
• 46:31
  Speaker 1: it's a movie about like a ragtag group of misfits
• 46:35
  Speaker 1: who come together. They found a community at this store
• 46:38
  Speaker 1: they have fairly interesting relationship dynamics among them. And that's
• 46:43
  Speaker 1: a very relatable story from many, many people. And that's
• 46:47
  Speaker 1: the reason this movie has developed such a cult following.
• 46:50
  Speaker 1: It's you know, it really speaks to anyone who might
• 46:53
  Speaker 1: feel like an oddball or anyone who is drawn to
• 46:57
  Speaker 1: the idea of a chosen family exactly and stuff like that.
• 47:01
  Speaker 1: So I totally get that. I enjoyed that aspect of
• 47:05
  Speaker 1: the movie. And then there's also like the anti corporate
• 47:10
  Speaker 1: we have to maintain the integrity of this cool India space,
• 47:13
  Speaker 1: you know, screw the man down with the establishment, which
• 47:17
  Speaker 1: in the form that it takes in this movie is
• 47:19
  Speaker 1: a very like nineties gen X, Like that's exactly it
• 47:25
  Speaker 1: version that of Like, you know, as long as I
• 47:28
  Speaker 1: can work in this indie record store without the man
• 47:32
  Speaker 1: breathing down my neck, I don't really care what else
• 47:34
  Speaker 1: is going on in the world. I don't have I
• 47:36
  Speaker 1: don't have time for more pressing social issues. Yeah. I
• 47:39
  Speaker 1: just want to listen to guns and roses man and why.
• 47:43
  Speaker 1: And I just want to eat skittles and burn CDs,
• 47:47
  Speaker 1: and I just want to live on this cow to
• 47:49
  Speaker 1: carry it around with me. And I don't care about
• 47:51
  Speaker 1: anything else that's happening in the world. But the whole
• 47:54
  Speaker 1: my whole world is this store, this that I or
• 47:59
  Speaker 1: wait open to midnight. Sorry, yeah, and my records open
• 48:03
  Speaker 1: until midnight. Can I tell you how many times I
• 48:05
  Speaker 1: answered my house phone like that, And so my dad
• 48:08
  Speaker 1: was like, we're done, We're finished, We're not doing this anymore. Also,
• 48:12
  Speaker 1: I would answer my phone hello, Fawlty Towers, any show
• 48:15
  Speaker 1: that had to pick up. I was just like, nice, yeah,
• 48:18
  Speaker 1: weird time in the household with me anyway. But yeah,
• 48:22
  Speaker 1: I think it was just like so nineties space, and
• 48:26
  Speaker 1: I was always obsessed with the nineties, like you can
• 48:28
  Speaker 1: be like born in a time but not be an
• 48:30
  Speaker 1: adult in that time. And I was like, that's how
• 48:33
  Speaker 1: it is, and that's how it's gonna that's how it was,
• 48:35
  Speaker 1: that's what I missed, and that's what it's going to
• 48:37
  Speaker 1: be like when I'm a grown up too. So that's
• 48:39
  Speaker 1: why I just was like, this is dope. Yeah, sure, yeah,
• 48:42
  Speaker 1: I mean it does feel so like of its time
• 48:46
  Speaker 1: in a way that it's like kind of fun and
• 48:47
  Speaker 1: nostalgic where I'm just like, you know, with these characters,
• 48:50
  Speaker 1: it's it's so funny, it was what is the I
• 48:52
  Speaker 1: always forget the name of it, the Matthew Lillard movie
• 48:55
  Speaker 1: about selling out and it's about the man slunk. Yeah, yes,
• 49:01
  Speaker 1: selc Punk. I feel like it's a more self aware
• 49:03
  Speaker 1: version of this storyline where it's like very clear by
• 49:06
  Speaker 1: looking at like and also just like knowing how generations
• 49:09
  Speaker 1: tend to pan out of like half of these kids
• 49:12
  Speaker 1: are going to be like Wall Street bankers and cause
• 49:15
  Speaker 1: the recession. But this is their moment. Corey is going
• 49:18
  Speaker 1: to Harvard, right, you know, Like no, yeah, it's not
• 49:25
  Speaker 1: things are like not gonna you know, and then you
• 49:28
  Speaker 1: know a j or is that Yeah, Like he's gonna
• 49:30
  Speaker 1: like change to business major one semester in and they're
• 49:34
  Speaker 1: going to be the most boring people to ever ever live.
• 49:36
  Speaker 1: And you know whatever, no offense to business majors ecept
• 49:39
  Speaker 1: actually I don't think I actually think offense because like
• 49:45
  Speaker 1: what do you Yeah, you should go to art school
• 49:48
  Speaker 1: like me, Why did you get a master's green screenwriting? Hello? Yeah,
• 49:54
  Speaker 1: we're the moral authority of the fucking planet. Anyway. It's
• 49:58
  Speaker 1: it's just it's it's so nineties and I mean, but
• 50:03
  Speaker 1: so much of like you reference us in your piece
• 50:05
  Speaker 1: Shelley of like how it seems like this story had
• 50:10
  Speaker 1: really good bones, and those bones were just like repeatedly
• 50:13
  Speaker 1: like a crowbar was taken to the bones by the editors,
• 50:17
  Speaker 1: And like I was fascinated to find out that um
• 50:21
  Speaker 1: in the original draft of this movie, Corey was not
• 50:24
  Speaker 1: trying to lose her virginity at all. She was just
• 50:27
  Speaker 1: a big fan of Rex. And I think what kind
• 50:31
  Speaker 1: of like blew me with that too, like all the
• 50:34
  Speaker 1: different changes that I could find. And also when I
• 50:36
  Speaker 1: did interview Carol, I didn't I didn't want to interview
• 50:40
  Speaker 1: her in a sense of being like, how did this
• 50:42
  Speaker 1: end up this way? You feel me? I did, but
• 50:45
  Speaker 1: I had so many of those questions that I wanted
• 50:47
  Speaker 1: to ask, but she kind of just like let it
• 50:49
  Speaker 1: out anyway and told me a lot of different things.
• 50:51
  Speaker 1: But what was a big part of a lot of
• 50:55
  Speaker 1: the changes to this movie, honestly was clueless, Like there
• 50:59
  Speaker 1: was already so many high school movies either in production
• 51:03
  Speaker 1: and posts being made, scripts had already been bought that
• 51:06
  Speaker 1: they were trying to like stand out in some way,
• 51:09
  Speaker 1: and this is already a movie about a rag tag
• 51:11
  Speaker 1: bunch of emo kids, And I don't know East Jesus
• 51:15
  Speaker 1: Nowhere Seattle like, and they couldn't figure out what to
• 51:20
  Speaker 1: do with it, and so they cut it up. They
• 51:23
  Speaker 1: tore it apart. And then when I think they tried
• 51:25
  Speaker 1: to bring it back on was the music, Because who
• 51:28
  Speaker 1: would watch this movie, right, the kids that think they
• 51:30
  Speaker 1: hear certain songs first, the kids that think that they're
• 51:34
  Speaker 1: the only one who knows like one band and things
• 51:37
  Speaker 1: like that. But even that couldn't save it at the
• 51:39
  Speaker 1: box office. It had to wait years for us to
• 51:42
  Speaker 1: find it for me and to be like, this is
• 51:46
  Speaker 1: the most important movie of all times, so right, Yeah, Well,
• 51:51
  Speaker 1: I'm also interested to hear more about something you talk
• 51:55
  Speaker 1: a lot about in your piece which was published in
• 51:58
  Speaker 1: Marie Claire entitled Old Empire Records helped Me understand my queerness,
• 52:03
  Speaker 1: and you site the friendship between Gina and Corey you
• 52:07
  Speaker 1: kind of like, yeah, I don't know if it was
• 52:09
  Speaker 1: like a shipping thing necessarily, but like you drew inspiration
• 52:13
  Speaker 1: from that in terms of like that powerful friendship and
• 52:17
  Speaker 1: that was sort of like the basis of what you
• 52:18
  Speaker 1: were kind of looking for in romantic relationships. And yeah,
• 52:22
  Speaker 1: I just I'd love to hear you speak more about that. Yeah, no,
• 52:24
  Speaker 1: it was because like when I was watching at that time,
• 52:28
  Speaker 1: this is like middle school, and like all of us, right,
• 52:31
  Speaker 1: had shitty time in middle school. But I always say,
• 52:34
  Speaker 1: like my middle school experience just by hey, it's terrible, right,
• 52:37
  Speaker 1: And I used, I was ready to get out, But
• 52:41
  Speaker 1: you're in sixth grade. You have two more years left,
• 52:43
  Speaker 1: you know, You're like, but the only way out was
• 52:45
  Speaker 1: through movies like this and the teen movies that I
• 52:48
  Speaker 1: would watch about high school, because I would be like,
• 52:50
  Speaker 1: this is what's coming next for me, And this isn't
• 52:53
  Speaker 1: only what's gonna come next to me with friends, Maybe
• 52:56
  Speaker 1: this is what comes next to me for like romantic
• 52:59
  Speaker 1: kind of ships to you know. But I was never
• 53:01
  Speaker 1: really attaching. I wasn't looking for queerness in this film.
• 53:05
  Speaker 1: I was just looking. I loved watching movies where girls
• 53:08
  Speaker 1: were best friends because like I didn't have really like
• 53:12
  Speaker 1: a best friend that was just like that close, you know.
• 53:15
  Speaker 1: And then when I started to grow up and I
• 53:17
  Speaker 1: went to apology and stuff like that, I learned about
• 53:19
  Speaker 1: the lesbian or queer girl trope where they're like all
• 53:23
  Speaker 1: lesbians or queer girls like end up falling in love
• 53:25
  Speaker 1: with their best friends. You know what I mean, whether
• 53:28
  Speaker 1: it's reciprocated or not. And I had never fallen in
• 53:32
  Speaker 1: love with any friend except for one girl in like
• 53:35
  Speaker 1: elementary school, where I realized that I was queer. But
• 53:38
  Speaker 1: when I was watching this specific movie, this was the
• 53:41
  Speaker 1: first one where the two best friends had like a
• 53:44
  Speaker 1: hell of falling out and it made me really sad
• 53:47
  Speaker 1: because they thought they were never I thought it wasn't
• 53:50
  Speaker 1: going to get back together, and I thought they weren't
• 53:52
  Speaker 1: going to have a friendship anymore, which for me was
• 53:54
  Speaker 1: breaking down my little cute world of what friendship is
• 54:00
  Speaker 1: and what queerness could be with another girl. Because in Clueless,
• 54:03
  Speaker 1: they were always best friends and job breaker. They didn't
• 54:06
  Speaker 1: like each other from me to begin with, and then
• 54:08
  Speaker 1: like and can't hardly wait that was an under like
• 54:12
  Speaker 1: unrequited love, but it was between assists male and then
• 54:15
  Speaker 1: assist girl and stuff. So this was the only movie
• 54:18
  Speaker 1: where I saw two outcasts essentially be best friends and
• 54:23
  Speaker 1: then fall out and then come back together in a
• 54:26
  Speaker 1: stronger way. And that's all I thought I wanted in
• 54:29
  Speaker 1: friendships and then eventually relationships when I grew up. So
• 54:33
  Speaker 1: I found clearness in it, even though that wasn't a
• 54:35
  Speaker 1: queer relationship at all, But at the heart of so
• 54:39
  Speaker 1: many peer girl relationships is friendship. So that's how I
• 54:43
  Speaker 1: connected fearness to it. And that's I mean, that's what's
• 54:48
  Speaker 1: really cool about a movie like this, where again, even
• 54:52
  Speaker 1: if I'm like dragging it from a screenwriting point of view, like,
• 54:56
  Speaker 1: you can still like latch onto really meaningful things like that,
• 55:01
  Speaker 1: And clearly so many people have because of this movie
• 55:04
  Speaker 1: is like cult fan base and everything. Yeah, I think
• 55:07
  Speaker 1: that's just like a wonderful thing. And I'll try to
• 55:11
  Speaker 1: stop making fun of its lack of three X structure. No, please,
• 55:14
  Speaker 1: don't mean the film is chaotic and crazy and unorganized
• 55:20
  Speaker 1: and all this, But there was just so many things
• 55:22
  Speaker 1: that I found in it, like from a screenwriting standpoint
• 55:25
  Speaker 1: of view, from a culture critic point of view, like
• 55:27
  Speaker 1: even if I was watching this movie and trying to
• 55:29
  Speaker 1: take my personal feelings out of it, would I rip
• 55:32
  Speaker 1: it apart? No, But I would not be giving it
• 55:35
  Speaker 1: four stars on letterbox like I do now. Most of
• 55:37
  Speaker 1: those stars are because I loved it, you know. Also,
• 55:40
  Speaker 1: another good thing that I saw in this movie that
• 55:42
  Speaker 1: I connected with was a character we lost a lot
• 55:46
  Speaker 1: of Gina with her um not Gina Um deborra. Yeah,
• 55:51
  Speaker 1: and she was clearly like cutting right because she talks
• 55:54
  Speaker 1: about it with like a lady bick and stuff. And
• 55:56
  Speaker 1: at that time in my life, I was also self harming,
• 55:59
  Speaker 1: you know, when I was doing it. So I was
• 56:01
  Speaker 1: seeing I saw that something I hadn't seen in a
• 56:04
  Speaker 1: movie that had a happy ending, you know, essentially like
• 56:08
  Speaker 1: but a happy ending that was so true to the character,
• 56:11
  Speaker 1: like that character having that funeral and stuff. It wasn't
• 56:14
  Speaker 1: like outlanded. She was one of the only things that
• 56:16
  Speaker 1: kind of made sense that look a bit um. But
• 56:19
  Speaker 1: when I saw that, I thought that was cool because
• 56:22
  Speaker 1: I was just like, damn, she's like going through something.
• 56:25
  Speaker 1: She's not telling everybody about it, she's private, she's cutting
• 56:28
  Speaker 1: her risk is messed up. But then she's like, all right,
• 56:31
  Speaker 1: I want these girls to be best friends again, so
• 56:34
  Speaker 1: I'm gonna put myself in my ship on the table
• 56:36
  Speaker 1: and hope they do too. And then they did and
• 56:39
  Speaker 1: maybe friends again. And that there was another thing that
• 56:41
  Speaker 1: made me be like, I don't care that this record
• 56:44
  Speaker 1: store costs only nine thousand dollars, just be's incredible the
• 56:49
  Speaker 1: whole I want to get into that, like Nest of
• 56:53
  Speaker 1: relationships between the girls in this movie or the women.
• 56:57
  Speaker 1: I don't know how old they are. I don't yeah,
• 57:00
  Speaker 1: uh these young adults. But the Gina Corey stuff, it's again,
• 57:06
  Speaker 1: it's like I feel like you almost have to like
• 57:08
  Speaker 1: headcan in your way through it a little bit, but
• 57:10
  Speaker 1: I don't know I was able to get there and
• 57:13
  Speaker 1: having a friendship like that that, I mean, the slut
• 57:17
  Speaker 1: Shaminus was very true to that time. And while I
• 57:20
  Speaker 1: would have liked to see more like apologies of like
• 57:24
  Speaker 1: I shouldn't have talked about you like that, Like that
• 57:27
  Speaker 1: was me being because it's clear they're projecting onto each
• 57:30
  Speaker 1: other in a way that it's like just talk it out,
• 57:33
  Speaker 1: like just have a conversation. Yeah, because Corey is feeling
• 57:37
  Speaker 1: insecure about like she thought she was ready to lose
• 57:39
  Speaker 1: her virginity and then it's like she had this traumatic
• 57:42
  Speaker 1: experience and she's like I'm not. But instead of talking
• 57:45
  Speaker 1: that out, she is projecting onto her friend who she
• 57:49
  Speaker 1: is jealous of, and it's like, well, you have sex
• 57:51
  Speaker 1: all the time and you're a slut. And then Redazelwager,
• 57:54
  Speaker 1: I mean she I appreciated how how Gina was like
• 57:59
  Speaker 1: fuck you like you can't talk to me like that.
• 58:01
  Speaker 1: I did too. That was a cool moment. Yeah, and
• 58:05
  Speaker 1: then Debora I struggled with similar stuff as well, and
• 58:10
  Speaker 1: like I wish that it's and you're giving these nuggets
• 58:13
  Speaker 1: of like, oh, there was a real story in here
• 58:14
  Speaker 1: at one point. There's so much there because it's like
• 58:18
  Speaker 1: you get the smallest bit of context of because I
• 58:21
  Speaker 1: was like, we talked about this in the show all
• 58:22
  Speaker 1: the time, of like why are women randomly turned against
• 58:26
  Speaker 1: each other? Which I think in this movie it kind
• 58:29
  Speaker 1: of comes off a little like they're randomly turned against
• 58:32
  Speaker 1: each other because of how much is cut out, But
• 58:34
  Speaker 1: it seems like there was enough context at one point
• 58:38
  Speaker 1: in the final draft. Not really, but you have that
• 58:41
  Speaker 1: one scene with Deborah and Joe where Deborah's doing Joe's
• 58:46
  Speaker 1: taxes and like I was like, I don't order taxes. Yeah,
• 58:50
  Speaker 1: she's literally doing the taxes in like the recording prole phone.
• 58:55
  Speaker 1: Both thing like why can't she go to the office.
• 59:00
  Speaker 1: Why can't you via that room where everyone actually, yeah,
• 59:03
  Speaker 1: that's true, you can focus on taxes. Yeah, But like
• 59:08
  Speaker 1: Joe goes in and Joe is daddy and he's like,
• 59:12
  Speaker 1: I'm worried about you. Are you okay? Should I call
• 59:14
  Speaker 1: your mom? And she says like, well, I can't find
• 59:17
  Speaker 1: my mom. Like she it's implied that she has a
• 59:21
  Speaker 1: very very strained, possibly like abandonment related relationship with her mom,
• 59:26
  Speaker 1: which would contextualize why she struggles to connect with other women.
• 59:31
  Speaker 1: But you don't ever fully get there. And that would
• 59:34
  Speaker 1: have worked for me too. It's like if if you
• 59:36
  Speaker 1: had just been able to gether. And then there's an
• 59:39
  Speaker 1: implication that, like Gina has an issue with her mom too.
• 59:42
  Speaker 1: It's only referenced once, and it seems like the screenwriter
• 59:47
  Speaker 1: like had a plan for how these relationships were going,
• 59:50
  Speaker 1: like and how these women were going to resolve their
• 59:52
  Speaker 1: issues and yeah, and it's just like you, I wish
• 59:56
  Speaker 1: we had gotten to see it. I would love to
• 59:58
  Speaker 1: see like a director's cut of this movie. Hell yeah,
• 1:00:00
  Speaker 1: does it exist? Especially like I don't know. I think
• 1:00:04
  Speaker 1: then I asked that because I was gonna go back
• 1:00:06
  Speaker 1: and watch, like you know how you have the interviews
• 1:00:08
  Speaker 1: and stuff, but so much kids cut out. But because
• 1:00:10
  Speaker 1: I interviewed Carol through zoom, and I think I did
• 1:00:13
  Speaker 1: ask that, and I think the answer to that is
• 1:00:15
  Speaker 1: like yes, but what we see it probably not you
• 1:00:20
  Speaker 1: feel me. But because I think if we had gotten
• 1:00:23
  Speaker 1: more story too, it would have on her it would
• 1:00:26
  Speaker 1: have made sense as to why she was so helpful
• 1:00:29
  Speaker 1: to her in the bathroom to Live Taylor and Bathroom,
• 1:00:31
  Speaker 1: because that was so personal and so like sweet, but
• 1:00:36
  Speaker 1: the way, like if you didn't really pay attention to
• 1:00:38
  Speaker 1: that character, you wouldn't have been like, oh, that makes
• 1:00:41
  Speaker 1: sense for her to do that. But I would like
• 1:00:42
  Speaker 1: to see how they even got that. And also her
• 1:00:45
  Speaker 1: situation with Berko, like what was going on there, Like
• 1:00:49
  Speaker 1: there was like half contact because she's like Debra and Burko,
• 1:00:53
  Speaker 1: who I always forget Burkos even a character, because he
• 1:00:56
  Speaker 1: like shows up happen wearing a wig. I don't think so.
• 1:01:01
  Speaker 1: I think it's just that just really bad hair. I
• 1:01:04
  Speaker 1: was like, is that what's going on on his head?
• 1:01:08
  Speaker 1: Like I don't like it, but I feel like it's
• 1:01:10
  Speaker 1: implied that they have some kind of like romantic history
• 1:01:15
  Speaker 1: and he's like are you okay? And she's like what
• 1:01:17
  Speaker 1: do you care? You didn't care last night and then
• 1:01:19
  Speaker 1: he's like, well, I don't know. And then she's like,
• 1:01:22
  Speaker 1: you know, this isn't about you, But I thought about
• 1:01:25
  Speaker 1: what happened last night and last week and last year,
• 1:01:28
  Speaker 1: and I just what happened and we don't know, we
• 1:01:31
  Speaker 1: are thinking about it too, And then she just says like,
• 1:01:34
  Speaker 1: but this is already told you. This isn't about you,
• 1:01:36
  Speaker 1: and it's like okay, But also like what is the
• 1:01:39
  Speaker 1: context of this relationship and like does that inform anything?
• 1:01:43
  Speaker 1: And there's just like isn't enough information given there, which
• 1:01:48
  Speaker 1: I feel like is kind of a dangerous thing to do,
• 1:01:51
  Speaker 1: especially when you're trying to talk about suicidal ideation. The
• 1:01:56
  Speaker 1: movie is handling of that felt pretty irresponsible and like
• 1:02:00
  Speaker 1: know how to handle it. And also like how they
• 1:02:04
  Speaker 1: introduced her to the other two girls, like when they
• 1:02:08
  Speaker 1: came to trade cash drawers and stuff like that, and
• 1:02:11
  Speaker 1: she was like shocked me, shock me, shocked me. But
• 1:02:13
  Speaker 1: it's just like why is she so hateful to these
• 1:02:17
  Speaker 1: other two girls? Is it because they are so girly
• 1:02:20
  Speaker 1: girl and she just happens to be like a punk
• 1:02:23
  Speaker 1: kind of girl who just hates those kinds of girly
• 1:02:25
  Speaker 1: girls or is it more than that or is that
• 1:02:28
  Speaker 1: just how they're playing that. I don't know, they put
• 1:02:30
  Speaker 1: all the girls so against each other and also with
• 1:02:35
  Speaker 1: like Debbie Maser's character too low Key a little bit
• 1:02:38
  Speaker 1: like how the girls saw her because she was hanging
• 1:02:42
  Speaker 1: out with Rex and she was it just they put
• 1:02:45
  Speaker 1: everybody so against each other, but I wasn't paying attention
• 1:02:48
  Speaker 1: that so much of that. I was always so focused
• 1:02:51
  Speaker 1: on Prey and Gina, like throughout all of it. And
• 1:02:54
  Speaker 1: they put them against each other too though, right, It's
• 1:02:56
  Speaker 1: like they eventually they started united and then they were
• 1:03:00
  Speaker 1: very abruptly torn apart. And like again, I'm just like,
• 1:03:04
  Speaker 1: I'm sure that there was a version of this where
• 1:03:07
  Speaker 1: it made more sense, but I do I agree with
• 1:03:09
  Speaker 1: what you're saying as well, Caitlin, of like, when you're
• 1:03:12
  Speaker 1: dealing with a narrative about self harm, it's like you
• 1:03:16
  Speaker 1: have to have all of the context there or it
• 1:03:19
  Speaker 1: becomes potentially harmful. And the cut of this movie that
• 1:03:23
  Speaker 1: was released, like it's not intentionally harmful, but it could
• 1:03:28
  Speaker 1: come off as like a little bit romanticizing, like old
• 1:03:31
  Speaker 1: girl who doesn't fit in does this because that was
• 1:03:34
  Speaker 1: how like I mean, I think we've talked about this
• 1:03:36
  Speaker 1: on the show before, but like I learned how to
• 1:03:39
  Speaker 1: self harm from an episode of Degrassi, which I don't
• 1:03:42
  Speaker 1: think was their intention at all, but it was like
• 1:03:46
  Speaker 1: that was something that was like I wouldn't have known
• 1:03:49
  Speaker 1: how to do that, but when my favorite character on
• 1:03:51
  Speaker 1: a TV show started doing I was like, oh, that's
• 1:03:54
  Speaker 1: something I can do. And then it became a problem immediately,
• 1:03:57
  Speaker 1: like it's just you can you can would be real careful.
• 1:04:01
  Speaker 1: You have to be careful. Especially Also another way they
• 1:04:03
  Speaker 1: had they kind of really should have explained a little
• 1:04:06
  Speaker 1: bit more, why was Live Tyler's character? So, I mean,
• 1:04:10
  Speaker 1: I know they changed it obviously she went to this
• 1:04:12
  Speaker 1: Oprirgina and I really but even like why was she
• 1:04:15
  Speaker 1: such a fan of this this older man? And the
• 1:04:19
  Speaker 1: way that she talked about her dad too, She was like,
• 1:04:21
  Speaker 1: my dad pressures me and he just wants me to
• 1:04:24
  Speaker 1: like go to Harvard and he wants me to do
• 1:04:26
  Speaker 1: all my work. There's twenty four usable hours and every day.
• 1:04:29
  Speaker 1: The way they made her talk about the older men
• 1:04:33
  Speaker 1: in her life but didn't really explain why she wants
• 1:04:37
  Speaker 1: to do that, it could it made it look like
• 1:04:39
  Speaker 1: it was like romantic until he was like, I don't
• 1:04:43
  Speaker 1: want to make love to you. You can definitely just
• 1:04:45
  Speaker 1: stuck my dick or whatever. But I really wanted because
• 1:04:49
  Speaker 1: for a second I was like, oh, that's when I
• 1:04:52
  Speaker 1: was watching, and I was younger. I was like, that's
• 1:04:53
  Speaker 1: kind of hot that she just like thinks this guy
• 1:04:56
  Speaker 1: is so hot and she wants to do all this
• 1:04:59
  Speaker 1: stuff with him. Movie frames it that way. Yeah, it
• 1:05:02
  Speaker 1: frames it that way. Oh my god. The way the
• 1:05:04
  Speaker 1: camera moves on in Live Tyler is a teenager in
• 1:05:07
  Speaker 1: this movie, and that's exactly movements on her is really
• 1:05:11
  Speaker 1: exploitative and gross. Yeah, I'm like, let this leave this
• 1:05:16
  Speaker 1: girl alone. Let's get her into the Lord of the
• 1:05:18
  Speaker 1: Rings movies. Let's give her some sleeves, Let's let her
• 1:05:20
  Speaker 1: live her life, Let's get it going, Let's get her
• 1:05:22
  Speaker 1: out of here, Let's get her keep the crap top,
• 1:05:25
  Speaker 1: but let's get her into the Lord of the Rings. Like, Yeah,
• 1:05:29
  Speaker 1: it's and I would say the same thing with um.
• 1:05:32
  Speaker 1: And it's so abrupt that I think that the deborah
• 1:05:35
  Speaker 1: of the issue of self harm was a bigger red
• 1:05:38
  Speaker 1: flag to me. But the way that Live Tyler's character
• 1:05:40
  Speaker 1: is addiction storyline is dealt with very abruptly was also.
• 1:05:45
  Speaker 1: I mean, it's like that one was so clearly half
• 1:05:47
  Speaker 1: big in the way it's presented in the movie that
• 1:05:49
  Speaker 1: I was like, we barely had time to deal with it,
• 1:05:51
  Speaker 1: but it's like she's not really offered any resolution in that,
• 1:05:55
  Speaker 1: like it's you're told very abruptly she is addicted to
• 1:05:58
  Speaker 1: it seems like adderall or like a speed, like some
• 1:06:02
  Speaker 1: kind of stimulant speed. And then she is outed by
• 1:06:08
  Speaker 1: her friend. Another traumatic thing she has like a small
• 1:06:12
  Speaker 1: like fit or like a break. She panics and she
• 1:06:17
  Speaker 1: like lashes out, and then she gets a boyfriend. And
• 1:06:20
  Speaker 1: I'm like, this doesn't like heterosexuality saves her or something
• 1:06:25
  Speaker 1: like like what what are we gonna do about the
• 1:06:27
  Speaker 1: addiction stuff? Well, when she goes to Harvard, he's going
• 1:06:31
  Speaker 1: to take care of her because he'll be really close by,
• 1:06:33
  Speaker 1: so he'll definitely just take care of her and take
• 1:06:36
  Speaker 1: care of everything, and she doesn't have to worry about anything,
• 1:06:39
  Speaker 1: and she'll be okay because now she's in love with
• 1:06:42
  Speaker 1: this boy. But her friend was the one who saved her,
• 1:06:45
  Speaker 1: not saved her, but not even her friend was the
• 1:06:48
  Speaker 1: one who saved her. Was another girl who helped her,
• 1:06:51
  Speaker 1: who used to hate her, but then who used to
• 1:06:53
  Speaker 1: hate her. Yeah, but then we got on the rooftop
• 1:06:56
  Speaker 1: and everything's fine. But also what I kind of another
• 1:06:59
  Speaker 1: thing that I kind of thing was good don't, yeah,
• 1:07:02
  Speaker 1: quote me. It's a podcast, you have to um, but
• 1:07:06
  Speaker 1: it'll be out here forever and ever. But another thing
• 1:07:10
  Speaker 1: I kind of thought that the movie kind of did
• 1:07:12
  Speaker 1: a bit right was and I mean light right, was
• 1:07:17
  Speaker 1: um Renai Zeliger kind of being like, yeah, I love sex,
• 1:07:23
  Speaker 1: I am this girl because she didn't apologize a lot
• 1:07:26
  Speaker 1: for it. She did she should not have done that
• 1:07:29
  Speaker 1: to like get back at her friend and stuff like that,
• 1:07:31
  Speaker 1: but it didn't seem like she had an issue being
• 1:07:34
  Speaker 1: a sexual, cool person. And I think she was of age.
• 1:07:39
  Speaker 1: I think we don't know. I think I think it's
• 1:07:41
  Speaker 1: implied that she's a little bit older than that. And
• 1:07:44
  Speaker 1: I don't even know why I think that, but yeah,
• 1:07:47
  Speaker 1: I think they just wanted to make it clear that
• 1:07:49
  Speaker 1: she's at least eighteen when she was fucking like rexpanding.
• 1:07:53
  Speaker 1: I think that's why they didn't have her talk a
• 1:07:55
  Speaker 1: lot about school and stuff. But I kind of did
• 1:07:58
  Speaker 1: that they were just having her like not be apologetic
• 1:08:01
  Speaker 1: for it. She didn't want to be like her mom,
• 1:08:03
  Speaker 1: So I'm assuming that was coming from like the job
• 1:08:07
  Speaker 1: aspects of it, and maybe just like it was with
• 1:08:11
  Speaker 1: sex to some some of it. But she didn't seem
• 1:08:13
  Speaker 1: to have an issue with it, and I kind of
• 1:08:15
  Speaker 1: thought that was kind of cool a little bit, not
• 1:08:17
  Speaker 1: like Hella a lot, but it was kind of cool. Yeah,
• 1:08:19
  Speaker 1: it seems that the it's far more the other characters
• 1:08:23
  Speaker 1: who shame her for her have an issue with it, yeah,
• 1:08:26
  Speaker 1: than than the movie itself, right, um having any issue
• 1:08:30
  Speaker 1: with like her being a sexually liberated person who's interesting, right,
• 1:08:35
  Speaker 1: So yeah, that I thought that was interesting too. It's
• 1:08:40
  Speaker 1: so but then it's like again the movie you can
• 1:08:43
  Speaker 1: just like see the studio it's happening in the last
• 1:08:45
  Speaker 1: ten minutes of the movie, because she kind of doubles
• 1:08:48
  Speaker 1: back on that at the end where she like enters
• 1:08:51
  Speaker 1: the funeral and it's like, no, I'm not a cool,
• 1:08:54
  Speaker 1: sexually liberated girl. This is actually I'm going to be
• 1:08:56
  Speaker 1: just like my mother. And we don't know what that
• 1:08:58
  Speaker 1: means because we know nothing about in this family where
• 1:09:01
  Speaker 1: like that could mean anything. And so she kind of
• 1:09:03
  Speaker 1: like I feel like she she was like holding her
• 1:09:07
  Speaker 1: ground the whole movie of like how fucking dare you
• 1:09:10
  Speaker 1: shame me? And then at the end she's like, but really,
• 1:09:12
  Speaker 1: I'm just having sex because I'm afraid to be a
• 1:09:15
  Speaker 1: singer and I'm like, you can be a singer who
• 1:09:17
  Speaker 1: has sex like you? Is it like this sex weird
• 1:09:21
  Speaker 1: binary of like lah lah lah Like, but I did
• 1:09:25
  Speaker 1: that said I did love that Live Tyler line read
• 1:09:28
  Speaker 1: where it was said, like there's just like there's a
• 1:09:31
  Speaker 1: few of these lines that I just they're so teen
• 1:09:33
  Speaker 1: movie in a way that really warms my heart, no
• 1:09:35
  Speaker 1: matter if I know what's going on or not. Where
• 1:09:38
  Speaker 1: like Live Tyler is like, you're not going to be
• 1:09:40
  Speaker 1: like your mother if you don't want to be like
• 1:09:42
  Speaker 1: your mother. And I'm like, oh, I wish that was true,
• 1:09:47
  Speaker 1: but but what a seventeen what an eighteen year old
• 1:09:50
  Speaker 1: thing to be sure of? To be like, I don't
• 1:09:53
  Speaker 1: I don't want to be like my mom, so I'm
• 1:09:54
  Speaker 1: not going to be like that's just not how generational
• 1:09:57
  Speaker 1: trauma works. But so off, Yeah, it's I think it's
• 1:10:05
  Speaker 1: like it's it's a very messy show for a film,
• 1:10:09
  Speaker 1: but I just feel like there was Maybe that's another
• 1:10:12
  Speaker 1: reason why I'm so attached to it, because I feel
• 1:10:14
  Speaker 1: like there's a cut where there's reasoning behind some of it,
• 1:10:19
  Speaker 1: and it doesn't I think it leaves all the actual
• 1:10:22
  Speaker 1: connections on the cutting room floor and I think if
• 1:10:25
  Speaker 1: we had a chance to power those up and if
• 1:10:27
  Speaker 1: the studio and stuff wasn't so it's scared about, oh,
• 1:10:30
  Speaker 1: here's just another teen movie with another girl like nowadays,
• 1:10:35
  Speaker 1: I don't think they would have given a funk. They
• 1:10:36
  Speaker 1: would have been like, there's another movie coming out that's
• 1:10:39
  Speaker 1: exactly the same as this, but we're gonna put it
• 1:10:41
  Speaker 1: out anyway. But they did, you know, they were just
• 1:10:44
  Speaker 1: like too scared, and I bet it would have done well.
• 1:10:47
  Speaker 1: It would have done well. Yeah, I really liked this.
• 1:10:50
  Speaker 1: The there's like an anecdote about how the executive who
• 1:10:56
  Speaker 1: like bought Empire Records because there was like which is
• 1:10:58
  Speaker 1: always excited, especially for a female screenwriter. There was like
• 1:11:01
  Speaker 1: a kind of like a small bidding. More over the
• 1:11:03
  Speaker 1: Empire Records original script, which I would really love to read.
• 1:11:07
  Speaker 1: I want to know how this movie was supposed to go,
• 1:11:09
  Speaker 1: because it was less about capitalism and virginity in the
• 1:11:13
  Speaker 1: first one. It was all about like found you know,
• 1:11:15
  Speaker 1: chosen family, which I love um. But there was an
• 1:11:19
  Speaker 1: executive executive who like bought it and like greenlit Empire
• 1:11:23
  Speaker 1: Records was then the next day approached with the script
• 1:11:27
  Speaker 1: for Clueless, and he was like I don't need Clueless.
• 1:11:30
  Speaker 1: I already have a teen movie. And I'm like, oh,
• 1:11:32
  Speaker 1: you fumbled so hard one and l that's so embarrassing
• 1:11:38
  Speaker 1: that he's like, I don't need it. I got I
• 1:11:40
  Speaker 1: have a hit on my hands, and I'm like, I
• 1:11:42
  Speaker 1: already have lived Tyler and Renee Zelwiger. I don't know
• 1:11:45
  Speaker 1: who they really are yet, but I'm I'm doing this instead.
• 1:11:48
  Speaker 1: I mean, I see where he was going with that,
• 1:11:51
  Speaker 1: but he was wrong. He was incorrect, especially because Clueless
• 1:11:55
  Speaker 1: was such a like surprise box office hit in itself.
• 1:12:00
  Speaker 1: Empire Records had a ten million dollar budget and only
• 1:12:03
  Speaker 1: grossed like sorry, and only gross like three hundred dollars
• 1:12:08
  Speaker 1: or something like that. But it was the studio killed it.
• 1:12:11
  Speaker 1: It wasn't because people didn't want to see it. It's
• 1:12:13
  Speaker 1: because the studio made it impossible for people to see
• 1:12:15
  Speaker 1: because they sucked it up so hard that they then
• 1:12:19
  Speaker 1: had to kill it themselves. And it's like and everyone
• 1:12:23
  Speaker 1: lost as a result. Because Carrol was also telling me,
• 1:12:26
  Speaker 1: like they started pulling theaters like they were just like okay,
• 1:12:30
  Speaker 1: well maybe not here maybe. And then the run was
• 1:12:33
  Speaker 1: also very short. It was only in theaters for like
• 1:12:36
  Speaker 1: maybe a month. Weeks or something. Yeah, something like that,
• 1:12:40
  Speaker 1: and in such a small amount of theaters. You they
• 1:12:42
  Speaker 1: didn't even give it a chance. They just and then yeah,
• 1:12:46
  Speaker 1: they just so happened to Like later it'd be like
• 1:12:49
  Speaker 1: this like big hit or whatever with like the people
• 1:12:52
  Speaker 1: who really wasn't meant for but at the time, yeah
• 1:12:54
  Speaker 1: they killed it. Yeah fucked. I don't like it because
• 1:13:01
  Speaker 1: there is a really cool coherent movie here. It's just
• 1:13:06
  Speaker 1: not the one that ends up on the screen. It's
• 1:13:10
  Speaker 1: not the one. But like there's so much potential for
• 1:13:14
  Speaker 1: a movie to be about what it's about, which again
• 1:13:16
  Speaker 1: is like misfits coming together as this chosen family having issues,
• 1:13:21
  Speaker 1: resolving those issues, like finding ways to bond, all that stuff,
• 1:13:25
  Speaker 1: all that stuff that's like very emotionally compelling and extremely
• 1:13:29
  Speaker 1: relatable and human. It's just that it's so bogged down
• 1:13:35
  Speaker 1: by so many weird random, like totally incongruous like scenes
• 1:13:41
  Speaker 1: here and there, and just other kind of weirdness. And
• 1:13:45
  Speaker 1: I feel like characters being rewritten to make weird choices,
• 1:13:50
  Speaker 1: or things like suicidality and like drug addiction not being
• 1:13:56
  Speaker 1: handled well. I mean, the overall cultural emotional and eligience
• 1:14:00
  Speaker 1: of the mid nineties was like not equipped to deal
• 1:14:07
  Speaker 1: with this kind of stuff, but I appreciate that they
• 1:14:10
  Speaker 1: were trying. They tried, and there's a lot of potential
• 1:14:14
  Speaker 1: in this premise. I mean, again from a teenagers watching
• 1:14:20
  Speaker 1: this in the mid to late nineties and like finding
• 1:14:24
  Speaker 1: so much to latch onto, like that is very cool
• 1:14:27
  Speaker 1: and I can understand why. And I'm sure I would
• 1:14:30
  Speaker 1: have if I had I seen this as a like
• 1:14:33
  Speaker 1: tween and like or something like that, Like I would
• 1:14:38
  Speaker 1: have had a different response. But it's just I understand that,
• 1:14:42
  Speaker 1: like seeing it for the first time four days ago
• 1:14:45
  Speaker 1: as a thirty five year old person living in I mean,
• 1:14:50
  Speaker 1: it's easier to criticize from that advantage point. We got
• 1:14:55
  Speaker 1: to take a quick break, but we will come right back.
• 1:15:04
  Speaker 1: Does anyone have any other thoughts about the movie? I
• 1:15:08
  Speaker 1: just think like on top of that, I just think
• 1:15:10
  Speaker 1: it's we have so much to talk about about the
• 1:15:12
  Speaker 1: relationship between the girls and then with the guys. I'm
• 1:15:15
  Speaker 1: just like sometimes I forgot which guy was which I'm like,
• 1:15:18
  Speaker 1: these are all the same goofball. There's no conflict between
• 1:15:22
  Speaker 1: except between like daddy and son, like that's the only
• 1:15:26
  Speaker 1: real but like there's no Frick there's only universal support
• 1:15:30
  Speaker 1: between these goofy boys, Like they're all just like, oh,
• 1:15:33
  Speaker 1: you're fucking wild man like in a way that it's
• 1:15:36
  Speaker 1: like it's goofy because they should maybe be in conflict
• 1:15:39
  Speaker 1: a little more with each other. But also it just
• 1:15:42
  Speaker 1: is like such a stark contrast to like the women
• 1:15:45
  Speaker 1: in this movie are constantly in conflict, only in conflict really,
• 1:15:49
  Speaker 1: and then the guys are just like, yoh whatever, man like,
• 1:15:52
  Speaker 1: like it's so stark. It was just like bizarre, which
• 1:15:55
  Speaker 1: is complicated because it's like the implication being women being
• 1:15:58
  Speaker 1: in the same space together, well, they're obviously gonna hate
• 1:16:01
  Speaker 1: each other conflict, but then it also means that those
• 1:16:06
  Speaker 1: are the far more interesting and nuanced relationships in this movie,
• 1:16:10
  Speaker 1: whereas like all the relationships with the men are just
• 1:16:14
  Speaker 1: like who are you again? Who is this? They just
• 1:16:17
  Speaker 1: want to smoke, they want to eat pizza, they bring
• 1:16:20
  Speaker 1: each other snacks like, and they don't. And that's the
• 1:16:24
  Speaker 1: weird thing because the major, the biggest conflict is like
• 1:16:27
  Speaker 1: he's stole nine grand from him, but like that doesn't
• 1:16:30
  Speaker 1: even create conflict in the story. Yeah, it's like, what's
• 1:16:34
  Speaker 1: to fight about is the fact that I want to
• 1:16:37
  Speaker 1: lose my opportinity to this guy, and for some reason,
• 1:16:39
  Speaker 1: we're going to fight about it on our break as
• 1:16:42
  Speaker 1: this really cute little cafe, Like it's weird. Yeah, it's weird.
• 1:16:47
  Speaker 1: It's weird, and they're fighting over a disgusting creep who
• 1:16:51
  Speaker 1: wants to do sexual things with a high school student,
• 1:16:54
  Speaker 1: So absolutely fuck that guy. And then also, real quick,
• 1:16:59
  Speaker 1: the Rex Manning fan base thing. So obviously he's resentful
• 1:17:04
  Speaker 1: that only women over the age of like thirty five,
• 1:17:08
  Speaker 1: who he doesn't deem to be quote unquote fuckable, like
• 1:17:12
  Speaker 1: they're not sexually viable to him, they are the main
• 1:17:16
  Speaker 1: demographic of his fan base, and he hates that that's
• 1:17:21
  Speaker 1: who likes his music. And then there's a scene where
• 1:17:26
  Speaker 1: Jane is talking about how Rex Manning's music tested well
• 1:17:29
  Speaker 1: with teen boys actually, and then Lucas says something like, oh, well,
• 1:17:34
  Speaker 1: did you compare the teen boys who like Rex Manning's
• 1:17:36
  Speaker 1: music to the incidents of homosexuality among teen boys? So
• 1:17:42
  Speaker 1: fucking nineties homophobic, like, and that's like, but also I
• 1:17:47
  Speaker 1: feel like the movie is saying the fact that older
• 1:17:50
  Speaker 1: women and gay men that's who likes this guy, and
• 1:17:54
  Speaker 1: that is part of why we're not supposed to like
• 1:17:57
  Speaker 1: Rex Manning as a character, and it's like, um, look,
• 1:18:02
  Speaker 1: older women and gay men have a lot of disposable
• 1:18:04
  Speaker 1: income and and put some risk. Good taste, Yeah, had
• 1:18:09
  Speaker 1: good tast. They're paying your rent, Like he just didn't
• 1:18:13
  Speaker 1: care because I think the main point of is that
• 1:18:15
  Speaker 1: they wanted us to take away was the fact that
• 1:18:18
  Speaker 1: he didn't see them as buckable, which is again another
• 1:18:22
  Speaker 1: trope of being like older women or whatever are no
• 1:18:26
  Speaker 1: longer hot after what or something like that, and he's
• 1:18:30
  Speaker 1: just like after that, even though like that is his
• 1:18:33
  Speaker 1: whole fan base is literally those were that when you
• 1:18:36
  Speaker 1: look at the line outside, those were the people that
• 1:18:39
  Speaker 1: showed up, and we would have under I don't think
• 1:18:41
  Speaker 1: that's why I wanted more understanding of like why liv
• 1:18:45
  Speaker 1: Tyler loved him so much, Like she didn't fit it.
• 1:18:48
  Speaker 1: And I think we would have knew that if we
• 1:18:50
  Speaker 1: would have talked about more about the stuff with her dad,
• 1:18:54
  Speaker 1: because she clearly had issues with him, but we didn't.
• 1:18:56
  Speaker 1: They skipped over all that. Yeah, it was weird. It
• 1:18:59
  Speaker 1: was weird. It's very bizarre. This movie is just so weird. Um,
• 1:19:05
  Speaker 1: does anyone else have any other stuff? I just don't
• 1:19:09
  Speaker 1: understand why Lucas didn't clearly explain to Joe or anyone
• 1:19:14
  Speaker 1: else what his intentions were with taking the money, Like
• 1:19:18
  Speaker 1: he could have just been like I saw that we
• 1:19:19
  Speaker 1: were in trouble and I tried to save us, but oops,
• 1:19:22
  Speaker 1: I lost all the money gambling. I'm so sorry. But
• 1:19:24
  Speaker 1: he never says that. Every time all they provides exposition
• 1:19:27
  Speaker 1: to himself, he doesn't provide it to other characters. And
• 1:19:30
  Speaker 1: he came back with a bunch of quarters instead, which
• 1:19:34
  Speaker 1: just get glued to the floor for the sake of art.
• 1:19:37
  Speaker 1: For art, oh gosh. But every time he tries to
• 1:19:41
  Speaker 1: explain why he did what he did, it's just so
• 1:19:44
  Speaker 1: like metaphorical and cryptic, and it's like your intentions were pure,
• 1:19:49
  Speaker 1: you can just tell what your intentions were. You were
• 1:19:52
  Speaker 1: trying to help Daddy, Like he wanted to say that,
• 1:19:56
  Speaker 1: you know, but he can't. He's an agent of chaos.
• 1:19:59
  Speaker 1: Like Luke isn't such an annoying character, but I couldn't
• 1:20:03
  Speaker 1: help but love him, and like his heart's in the
• 1:20:04
  Speaker 1: right place, but he just like he just will not
• 1:20:07
  Speaker 1: say the right thing at the right time. What a
• 1:20:13
  Speaker 1: what a sweetie, what a what a weird kid? And
• 1:20:17
  Speaker 1: you get a little glimpse into his past too, that
• 1:20:20
  Speaker 1: I assume was originally a bigger part of the story
• 1:20:22
  Speaker 1: where it sounds like, um, he was put in like
• 1:20:24
  Speaker 1: foster care. He took him in, Yeah right, he took
• 1:20:28
  Speaker 1: him in, Daddy, So Daddy can't punish the kid all
• 1:20:31
  Speaker 1: he took in, Yeah right, because he's like, well that
• 1:20:34
  Speaker 1: I got this kid like out of a bad situation,
• 1:20:36
  Speaker 1: I'm not going to put him back into one. But
• 1:20:39
  Speaker 1: it's just like movie wise, it would have been nice
• 1:20:41
  Speaker 1: to have that scene and had, you know, get Lucas
• 1:20:43
  Speaker 1: to communicate at some point in the movie, but he
• 1:20:46
  Speaker 1: just kind of never does about what's and then at
• 1:20:48
  Speaker 1: the end he's like, Daddy, I'm happy for you, and
• 1:20:50
  Speaker 1: he's like thanks son. Yeah. But instead of any of that,
• 1:20:54
  Speaker 1: like further context or development that we needed, instead we
• 1:20:57
  Speaker 1: get a scene where Mark is dusting near a woman
• 1:21:03
  Speaker 1: who's just you know, jamming out. She's closing her eyes,
• 1:21:05
  Speaker 1: she was like listening to the music, and then he
• 1:21:07
  Speaker 1: tries to assault her like he's just trying to kiss her,
• 1:21:12
  Speaker 1: and the movie plays it off as isn't this funny
• 1:21:16
  Speaker 1: and quirky and cute? Isn't that a funny thing? For
• 1:21:18
  Speaker 1: Mark to do cut Mark from the movie, Like that's
• 1:21:21
  Speaker 1: the character that is most goable. Why didn't they cut Mark?
• 1:21:25
  Speaker 1: They cut who? Did they cut? Three people? They didn't
• 1:21:27
  Speaker 1: cut Mark? Come on, This is unrelated, but just like
• 1:21:31
  Speaker 1: in a post pandemic era, not that you could even
• 1:21:34
  Speaker 1: get COVID from a pair of those headphones, but I
• 1:21:36
  Speaker 1: was like, oh, that's so gross that we used to
• 1:21:38
  Speaker 1: do that, that we used to just record stores and yeah,
• 1:21:44
  Speaker 1: it's so it's so nasty. Why God wipe us out?
• 1:21:49
  Speaker 1: Like it's just like nasty. Anyways, I think that that's
• 1:21:53
  Speaker 1: my last comment is those headphones are so gross you
• 1:21:56
  Speaker 1: couldn't pay me to put them on. My last comment
• 1:21:59
  Speaker 1: is at the very beginning, when Lucas goes to Atlantic
• 1:22:02
  Speaker 1: City and gambles and the first time he's playing craps, right,
• 1:22:07
  Speaker 1: and he doubles his money or he wins money the
• 1:22:10
  Speaker 1: first time he wins, and then the like sexy lady
• 1:22:14
  Speaker 1: that's next to him his like, you know, kind of
• 1:22:16
  Speaker 1: cuddled up against him, and then she's like, you are
• 1:22:19
  Speaker 1: sex is a thing that she says to him, You
• 1:22:25
  Speaker 1: are sex, Like I don't know about that, but it's
• 1:22:31
  Speaker 1: so funny. I know exactly about that. Um, yeah, so
• 1:22:34
  Speaker 1: that was amazing, and you are sex. We're all sex.
• 1:22:39
  Speaker 1: We're all sex, especially Gina. Apparently that's what they wanted
• 1:22:43
  Speaker 1: us especially, right, But how does she feel about it?
• 1:22:46
  Speaker 1: We'll never know, never know. Does this fast back to test? Yeah,
• 1:22:52
  Speaker 1: not a lot. Yeah, but like not as much as
• 1:22:55
  Speaker 1: you would think I was going to say. Yeah. I
• 1:22:57
  Speaker 1: think my favorite exchange is when Deborah says, hey, miss
• 1:23:01
  Speaker 1: Tina America, here's a button I made for you. Don't worry.
• 1:23:04
  Speaker 1: I didn't spit on it, and then Corey reads what
• 1:23:08
  Speaker 1: it says and it just says dishonesty. So she's like,
• 1:23:11
  Speaker 1: dishonesty and that passes the test. There's a lot of
• 1:23:17
  Speaker 1: sinister Yeah, there's a lot of sinister passes in this movie,
• 1:23:21
  Speaker 1: but it does pass, which I accept. Yeah, and I
• 1:23:25
  Speaker 1: didn't know that's the one I choose to like that
• 1:23:28
  Speaker 1: one that looks dishadesty, and it's like, well, we passed,
• 1:23:32
  Speaker 1: So we did it, ladies, we did it. Feminist win,
• 1:23:39
  Speaker 1: Oh gosh. And then as far as our nipple scale on,
• 1:23:43
  Speaker 1: we rate the movie based on examining it through an
• 1:23:49
  Speaker 1: intersectional feminist lens. I guess my takeaway from this is
• 1:23:53
  Speaker 1: that I appreciate that so many people have been able
• 1:23:56
  Speaker 1: to latch onto this movie for relatable premise of like
• 1:24:03
  Speaker 1: misfits being represented on screen, finding a community, finding a
• 1:24:08
  Speaker 1: chosen family, because not many movies were about that, especially
• 1:24:13
  Speaker 1: in this era. So I understand why it was so
• 1:24:18
  Speaker 1: appealing to people who had so little representation. That said,
• 1:24:23
  Speaker 1: the movie is extremely white, It is extremely hetero, It
• 1:24:27
  Speaker 1: is extremely like middle class. Even though some of these
• 1:24:31
  Speaker 1: like it suggested that a lot of the characters are
• 1:24:34
  Speaker 1: struggling financially, we don't actually see any manifestations of that.
• 1:24:38
  Speaker 1: It's just like because we just see them one day
• 1:24:41
  Speaker 1: in a record store and we're just kind of assuming everyone's, like,
• 1:24:46
  Speaker 1: everyone's fine. So it's just it only represents a very
• 1:24:50
  Speaker 1: small demographic of people. It leaves a lot of people out.
• 1:24:55
  Speaker 1: It does not handle a lot of uh serious topics
• 1:24:59
  Speaker 1: such as sue, subtle ideation, and addiction, does not know
• 1:25:04
  Speaker 1: how to approach handling those things, executes those things not well.
• 1:25:10
  Speaker 1: But it's extremely valid for you know, the people who
• 1:25:14
  Speaker 1: saw themselves represented in the movie and like, well, like
• 1:25:19
  Speaker 1: you were talking about Shelley, like, even though there's there's
• 1:25:21
  Speaker 1: no explicit queerness, even though you know, there's you're still
• 1:25:26
  Speaker 1: able to see yourself in it and and and see
• 1:25:29
  Speaker 1: parts of like what you long for in it, and
• 1:25:33
  Speaker 1: like that's extremely valid. And with all of that in mind,
• 1:25:36
  Speaker 1: I will give the movie two nipples. Maybe is that
• 1:25:41
  Speaker 1: too many? Way? I thought you were going to go
• 1:25:43
  Speaker 1: lower than I thought I was too. Jamie's like, I
• 1:25:47
  Speaker 1: got you, Okay, I love it. I do like that
• 1:25:52
  Speaker 1: A lot of the most interesting relationships in the movie
• 1:25:56
  Speaker 1: are among women, and a lot of the most interest
• 1:26:00
  Speaker 1: arcs are afforded to the female characters. There's still a
• 1:26:04
  Speaker 1: lot of tropes present there. But what are you expecting
• 1:26:09
  Speaker 1: from guess? Um, Yeah, I think this is maybe too
• 1:26:14
  Speaker 1: high and on I like, did I enjoy watching this movie?
• 1:26:17
  Speaker 1: From a zero to five scale, I would give this
• 1:26:21
  Speaker 1: movie zero nipples, but sorry, But from a you know,
• 1:26:29
  Speaker 1: is it doing some interesting things? Sure? I guess two nipples,
• 1:26:35
  Speaker 1: and I'll give one two live Tyler's crop top, and
• 1:26:40
  Speaker 1: I'll give one to the line of dialogue you are six.
• 1:26:47
  Speaker 1: I'm gonna do something weird here, and I'm gonna give
• 1:26:51
  Speaker 1: nipple rating to the actual movie and a nipple writing
• 1:26:55
  Speaker 1: to the movie that I think it was going to
• 1:26:57
  Speaker 1: be prior to being released. Okay, the actual movie, I'm
• 1:27:01
  Speaker 1: going to give one nipple too, because it's so messy
• 1:27:03
  Speaker 1: and it's like, I there are the like seeds of
• 1:27:07
  Speaker 1: so many interesting things. But because of the way the
• 1:27:09
  Speaker 1: movie was edited and marketed and rewritten outside of like
• 1:27:15
  Speaker 1: the writer's original vision, I feel like it does miss
• 1:27:19
  Speaker 1: the mark a lot of the time, and I like
• 1:27:22
  Speaker 1: totally echo I mean the nineties like extreme you know,
• 1:27:26
  Speaker 1: white middle class heterosexuality, which is true of basically the
• 1:27:30
  Speaker 1: whole genre at this time. But even on top of that,
• 1:27:33
  Speaker 1: like it's so it's like I see, I would say
• 1:27:36
  Speaker 1: I had a five out of five nipple experience watching
• 1:27:39
  Speaker 1: this movie because we were we were just like I
• 1:27:42
  Speaker 1: was paying such close attention, waiting for something that makes sense,
• 1:27:44
  Speaker 1: and like it was so fun to be like, huh,
• 1:27:47
  Speaker 1: what he's got a gun? Like what is happening? Um,
• 1:27:52
  Speaker 1: So healing experience was incredible. I it's it's always like,
• 1:27:56
  Speaker 1: you know, kind of disappointing in a way again that
• 1:27:58
  Speaker 1: it's like not the writer or director's fault to see
• 1:28:02
  Speaker 1: a teen movie try to approach serious issues that could
• 1:28:06
  Speaker 1: have been impactful if they had been given some room
• 1:28:08
  Speaker 1: to breathe and then see a kind of undercut. So
• 1:28:11
  Speaker 1: I give one nipple to the movie that came out,
• 1:28:15
  Speaker 1: and I'll give that to Live Tyler's Crop Top. I'm
• 1:28:17
  Speaker 1: going to give three nipples to the movie that I
• 1:28:19
  Speaker 1: like think was in there, maybe even three and a half,
• 1:28:21
  Speaker 1: Like if you had gotten like Debrah's you know, full
• 1:28:26
  Speaker 1: backstory and like gotten to fully realize a self harm
• 1:28:31
  Speaker 1: narrative that had a positive ending for the character in
• 1:28:35
  Speaker 1: a teen movie. I think that that could have been
• 1:28:37
  Speaker 1: a really cool, impactful storyline if it was done thoughtfully.
• 1:28:41
  Speaker 1: Sam goes for the Lift Tyler storyline. Sam goes for
• 1:28:45
  Speaker 1: the sludge shaming storyline with Gina like I and um,
• 1:28:49
  Speaker 1: like Carol was saying in her interview with you, Shelly,
• 1:28:53
  Speaker 1: like it sounds like the Gina Corey friendship was so
• 1:28:56
  Speaker 1: much more integral to the movie she wanted to make.
• 1:29:00
  Speaker 1: And I would have loved to have seen that. So
• 1:29:02
  Speaker 1: I'll give I'll have three and a half to the
• 1:29:03
  Speaker 1: movie that I that I think it was at one point,
• 1:29:06
  Speaker 1: And I'll give those nipples to you are sex, I'll
• 1:29:12
  Speaker 1: give them to the dirty headphones. I'll give them to
• 1:29:16
  Speaker 1: the newscaster who's like the news is on live and
• 1:29:20
  Speaker 1: I'm like, yeah, we know, uh, and I'll give my
• 1:29:24
  Speaker 1: last half to the eyebrows. Yeah. I think like with
• 1:29:36
  Speaker 1: everything that you were saying about, you know, the sistness,
• 1:29:39
  Speaker 1: the whiteness, everything a part of it, putting on that
• 1:29:42
  Speaker 1: in and also taking all of that apart and being like, yeah,
• 1:29:47
  Speaker 1: there's this, there was more here than meets the eye,
• 1:29:50
  Speaker 1: or that's on the cuting room floor somewhere or in
• 1:29:53
  Speaker 1: someone's basement and rating the movie that we actually got,
• 1:29:58
  Speaker 1: I would definitely just give it like two stars and
• 1:30:02
  Speaker 1: or sorry to nipples letterbox, I'm sorry, how could you
• 1:30:10
  Speaker 1: cut it out? Sorry? That wasn't me. Actually that was
• 1:30:14
  Speaker 1: Shreky that said stars. I would give it to nipples
• 1:30:22
  Speaker 1: um and the one Nipple, of course, goes to live
• 1:30:25
  Speaker 1: Tie was crap top like that will forever get one
• 1:30:29
  Speaker 1: and the other one I think goes for like what
• 1:30:32
  Speaker 1: it was trying to do, like everything that it was
• 1:30:36
  Speaker 1: trying to do, what it could have been, all the
• 1:30:39
  Speaker 1: holes in the story and stuff like that, because I
• 1:30:41
  Speaker 1: think they're saying something if you can not only find
• 1:30:45
  Speaker 1: the holes in the story but then be like, oh,
• 1:30:48
  Speaker 1: there's more to this. I think if your mind when
• 1:30:51
  Speaker 1: you're watching it is like, instead of just being like, oh,
• 1:30:53
  Speaker 1: that doesn't make sense and then throwing it aside, if instead,
• 1:30:56
  Speaker 1: when you're watching a movie and you're like, wait a minute,
• 1:30:58
  Speaker 1: there was something actually there and something just got sucked up,
• 1:31:03
  Speaker 1: then you can be like, you can appreciate it a
• 1:31:05
  Speaker 1: little bit more. So that's what my nipple rating scale is.
• 1:31:09
  Speaker 1: But in a universe where none of this happened, and
• 1:31:14
  Speaker 1: I'm in middle school and I'm watching this this movie
• 1:31:18
  Speaker 1: that was not meant for this, like black Girl, Midwest
• 1:31:21
  Speaker 1: middle class, like Weirdo come in, I give it like
• 1:31:25
  Speaker 1: five because it made me fucking happy, Like it made
• 1:31:29
  Speaker 1: me happy. It made me happy, and I made memories
• 1:31:32
  Speaker 1: with it. I danced around my room to it. I
• 1:31:36
  Speaker 1: would like acted out in certain scenes when I would
• 1:31:39
  Speaker 1: watch at different times, like and then I got to
• 1:31:42
  Speaker 1: like write about it for twenty five year anniversary and
• 1:31:46
  Speaker 1: stuff and talk to the person who made it. So
• 1:31:48
  Speaker 1: for that, I give it five in that world. But
• 1:31:51
  Speaker 1: that's it amazing. I'm thank you for bringing up this
• 1:31:56
  Speaker 1: movie because it really was like, of course fun worm hole.
• 1:32:00
  Speaker 1: This is like one of my favorite chaos conversations on
• 1:32:04
  Speaker 1: the show. And sometimes truly, Yeah, come back anytime I want.
• 1:32:13
  Speaker 1: And um, tell us where people can follow you on
• 1:32:18
  Speaker 1: social media, read your writing, anything else you want to plug. Well,
• 1:32:23
  Speaker 1: if you just type in Shreky on Twitter, you'll find you.
• 1:32:29
  Speaker 1: Just type that in, you'll find me. It's totally fine.
• 1:32:31
  Speaker 1: Um No, I'm mostly on Twitter at Hi Shelley, and
• 1:32:36
  Speaker 1: then I'm on Instagram at a Yo Shelley. On Twitter,
• 1:32:40
  Speaker 1: I just talked last year about movies and TV that
• 1:32:42
  Speaker 1: I want people to watch that I think they should
• 1:32:44
  Speaker 1: be watching. Um. And on Instagram, I'm just supposed to
• 1:32:48
  Speaker 1: keep pictures of myself. But yeah, and then I write
• 1:32:51
  Speaker 1: culture writer at auto Straddle and I write you know,
• 1:32:53
  Speaker 1: a lot of pieces there, but I also just edit
• 1:32:56
  Speaker 1: a lot of really dope new and emerging writers over
• 1:32:59
  Speaker 1: there too, actually black and brown fear writers. Um. And
• 1:33:02
  Speaker 1: then other than that, I writed a few other places.
• 1:33:05
  Speaker 1: I just anybody that wants to let me talk about
• 1:33:07
  Speaker 1: in a movie and pay me for it pretty much
• 1:33:09
  Speaker 1: to do it. So I'm there. You're real good at it,
• 1:33:13
  Speaker 1: Please keep doing it. Thank you, thank you. But that's
• 1:33:18
  Speaker 1: a truly come back anytime. Oh dope, I love you guys.
• 1:33:22
  Speaker 1: This is such a dope podcast. I remember when I
• 1:33:24
  Speaker 1: found it, and I really dig it every since, and yeah,
• 1:33:29
  Speaker 1: it's just dope. We're h and uh, yeah, I guess.
• 1:33:36
  Speaker 1: You can follow us on social media Twitter and Instagram
• 1:33:40
  Speaker 1: at Bechtel Cast. We've got our Patreon ak Matreon that
• 1:33:46
  Speaker 1: gets you to bonus episodes every single month. It's five
• 1:33:49
  Speaker 1: dollars a month, and you can hear such episodes as
• 1:33:53
  Speaker 1: the Stewart Little one, where Steve's on who again should
• 1:33:56
  Speaker 1: be in this movie? He says you with this friends
• 1:34:01
  Speaker 1: there man, some of my favorite matrons. You're like, you'd
• 1:34:04
  Speaker 1: think there's nothing to talk about in Stuart Little, but
• 1:34:06
  Speaker 1: there's a whole Gina Davis feminism conversation to be had.
• 1:34:11
  Speaker 1: So that's that's where. If you want more chaos. Uh,
• 1:34:15
  Speaker 1: you can also get our merch at t public dot
• 1:34:19
  Speaker 1: com slash v Becktel Cast. If you're so inclined, follow
• 1:34:22
  Speaker 1: us on Instagram, follow us on Twitter or don't, all
• 1:34:25
  Speaker 1: right or don't or do or do? Also give us
• 1:34:30
  Speaker 1: five nipples on Apple podcasts or whatever. Oh my gosh. Yeah,
• 1:34:33
  Speaker 1: because because people were getting really mad about the Zootopia
• 1:34:37
  Speaker 1: hive came for our comments section on Apple Podcasts. If
• 1:34:41
  Speaker 1: you could help out there that would actually rock because
• 1:34:43
  Speaker 1: I didn't realize how much people love um animal cops anyways.
• 1:34:51
  Speaker 1: All right, well that concludes rex spanning day on the
• 1:34:54
  Speaker 1: Bechtel cast Let's close up. It's midnight, so we gotta
• 1:34:58
  Speaker 1: go and for the fundraise their bye bye bye