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Speed with Shereen Lani Younes · The Bechdel Cast

• 0:00
  Speaker 1: On the Doodcast, the questions asked if movies have women
• 0:04
  Speaker 1: in um, are all their discussions just boyfriends and husbands
• 0:08
  Speaker 1: or do they have individualism the patriarchy? Zef and Best
• 0:12
  Speaker 1: start changing it with the bec del Cast pop quiz, Jamie,
• 0:18
  Speaker 1: what You're a host on a podcast, but the podcast
• 0:24
  Speaker 1: can't be under ninety minutes per episode? What do you do?
• 0:29
  Speaker 1: I give away a lot of my life to the podcast.
• 0:33
  Speaker 1: I use moments of my precious one human life podcasting. Alright,
• 0:39
  Speaker 1: hot shot sounds good to me. Are you the Dennist
• 0:43
  Speaker 1: Hopper in that situation? Yes, I'm I'm the I'm the
• 0:46
  Speaker 1: villainy and you are Kiana Reeves? Are you the Dunnert?
• 0:49
  Speaker 1: You're not the Dennis Hopper of the show. I don't
• 0:51
  Speaker 1: think our show has a Dennis Hopper. I hope not. No,
• 0:55
  Speaker 1: it's just two busses, yeah, bus number one, Bus number two,
• 1:01
  Speaker 1: yea and yeah, and then sometimes a third bus pulls
• 1:03
  Speaker 1: on up and we just cruise down the one oh five, baby,
• 1:06
  Speaker 1: even though we're calling it the one thin it's the
• 1:08
  Speaker 1: one oh five, which is for some reason not in use. Okay,
• 1:13
  Speaker 1: there's there. We don't even have time to talk about
• 1:17
  Speaker 1: all the like l A infrastructure stuff. I was like,
• 1:19
  Speaker 1: kind of interested in watching this movie. But I guess
• 1:24
  Speaker 1: that's another this isn't a regional podcast, but I was
• 1:26
  Speaker 1: very interested in a lot. I was like, wow, that's
• 1:29
  Speaker 1: what it looked like. Interesting. Welcome to the Beachtel Cast.
• 1:32
  Speaker 1: Wait was at the end of the intro. Yeah, that
• 1:34
  Speaker 1: was that was my brilliant intro. You're welcome. You're an
• 1:38
  Speaker 1: iconic Dennis, Thank you so much. Dennis Hopper is having
• 1:41
  Speaker 1: so much fun in this movie. Oh my gosh. He
• 1:44
  Speaker 1: it's the role of a lifetime for him. He's like
• 1:46
  Speaker 1: a Melina level villain. And that's like compliment, huge compliment,
• 1:52
  Speaker 1: of course. So this is the Bechtel Cast. Today is
• 1:55
  Speaker 1: our speed episode, which is exciting. Yeah oh yeah from
• 2:00
  Speaker 1: from Okay, get ready because this podcast just got above
• 2:04
  Speaker 1: fifty miles per hour and it's not the podcast will explode.
• 2:14
  Speaker 1: I the first time I watched this movie, I was
• 2:17
  Speaker 1: driving back. I was in the back seat. My aunt
• 2:20
  Speaker 1: was driving from Maryland to Massachusetts and she was driving
• 2:25
  Speaker 1: above fifty miles hour. So I felt really actively engaged
• 2:29
  Speaker 1: with the movie. I was like, wow, now if we
• 2:31
  Speaker 1: stopped to pe, you'll explode. Will explode, The super will explode.
• 2:36
  Speaker 1: You know anyways? Incredible? Should I have been talking this
• 2:39
  Speaker 1: whole time? Or you can if you want to? I
• 2:42
  Speaker 1: was like, should I be quiet? So okay, well we
• 2:44
  Speaker 1: will give you a proper introduction. You're returning guests. Do
• 2:47
  Speaker 1: you have open privileges? I was like, I was like,
• 2:50
  Speaker 1: it's been like a couple of minutes. Should I still
• 2:52
  Speaker 1: be quiet? Like? Or am I supposed to be talking?
• 2:54
  Speaker 1: What do other guests talk to? Now? We well, here's
• 2:58
  Speaker 1: what we'll do. This is the backdol as. My name
• 3:00
  Speaker 1: is Caitlin Darante. My name is Jamie Loftus, And let's
• 3:04
  Speaker 1: introduce our guests and then we'll tell you what the
• 3:06
  Speaker 1: podcast is. So from from third bus in the room,
• 3:11
  Speaker 1: our guest is a filmmaker. Half of the podcast ethnically ambiguous.
• 3:17
  Speaker 1: It's Sharine Lonnie Units. It's me pulling up in my
• 3:22
  Speaker 1: big bus. Wow, so happy to Busses used to look
• 3:26
  Speaker 1: so cool. Yeah, buses used to look way cooler. They
• 3:29
  Speaker 1: took so many hits like they were they were made
• 3:32
  Speaker 1: of metal like it, there's nothing stopping them. They kind
• 3:36
  Speaker 1: of looked kind of VW bussy. They looked like an
• 3:39
  Speaker 1: old like, they're pretty cute. It looks like an old
• 3:41
  Speaker 1: tour van. I was like, damn, they should have kept
• 3:43
  Speaker 1: those things. They're so they're all big and ugly. Now.
• 3:46
  Speaker 1: I was just so surprised how durable they were. They
• 3:48
  Speaker 1: crashed into everything. Such a sturdy bus, very sturdy, very sturdy. Look,
• 3:53
  Speaker 1: I'm so stuck to be talking about speed. It ultimately
• 3:56
  Speaker 1: is capaganda. However, they're is public transit in movies. I
• 4:03
  Speaker 1: feel like there's there hasn't been a bigger moment for
• 4:07
  Speaker 1: public transit in and as a public transit user and lover,
• 4:12
  Speaker 1: I was like, wow, we never see the bus, never
• 4:17
  Speaker 1: underrepresented in cinema. I agree. I mean yeah, I was
• 4:21
  Speaker 1: really happy to rewatch this. I'm glad that we went
• 4:24
  Speaker 1: with this Kanu movie because I just love him and
• 4:28
  Speaker 1: I will watch anything with him, even if it's copaganda.
• 4:30
  Speaker 1: It's which which in the nineties it really was. He's
• 4:34
  Speaker 1: in quite a few coppaganda films because he was. He
• 4:37
  Speaker 1: was hired for this movie off of the strength of
• 4:41
  Speaker 1: where the perceived strength whatever of Point Break, where he
• 4:45
  Speaker 1: was also in the l apt cop after cop Okay,
• 4:50
  Speaker 1: so real quick. The show we examine movies through an
• 4:53
  Speaker 1: intersectional feminist lens using the Bechdel Tests simply as a
• 4:56
  Speaker 1: jumping off point. The Bechdel Test, of course, is a
• 4:59
  Speaker 1: medium met created by queer cartoonist Alison Bechtel, sometimes called
• 5:03
  Speaker 1: the Bechtel Wallace Test. Our variation on the test is
• 5:07
  Speaker 1: two people of any marginalized gender I have to have names,
• 5:11
  Speaker 1: have to speak to each other, and that conversation has
• 5:14
  Speaker 1: to be about something other than a man. Ideally it's
• 5:18
  Speaker 1: a meaningful, narratively relevant conversation. But if it's a like
• 5:24
  Speaker 1: two line exchange, you know, we will allow it. I
• 5:28
  Speaker 1: guess depends on the situation. I understand why you're being
• 5:32
  Speaker 1: so specifically because I encounter that say, I was like, okay, there,
• 5:36
  Speaker 1: so I just I think it. I think it does
• 5:40
  Speaker 1: pass between Annie and a woman we later learn as Helen.
• 5:43
  Speaker 1: She said her name did later test, you know, right
• 5:48
  Speaker 1: before moments before Helen's death, where she's like Helen No.
• 5:52
  Speaker 1: I was like, wow, Wow, they did it. And I
• 5:55
  Speaker 1: would argue that that exchange is narratively relevant because we
• 5:59
  Speaker 1: need to find out that Helen is a very anxious
• 6:02
  Speaker 1: person on the road, which is partially why she ultimately
• 6:06
  Speaker 1: meets her demise and that's relevant enough for me. Did
• 6:09
  Speaker 1: we skip ahead? Should we have saved that that reveal?
• 6:13
  Speaker 1: I see, I don't mind if we blow our load
• 6:15
  Speaker 1: earlier in the show. Yeah, okay, yeah, our show is
• 6:18
  Speaker 1: not really despite the name which we came up with
• 6:21
  Speaker 1: five years ago. Our show is not about the beckd
• 6:24
  Speaker 1: Old test, which which this movie does pass, which does
• 6:28
  Speaker 1: pass exactly once, about road anxiety exactly what. I don't
• 6:33
  Speaker 1: think Sandra Bullock talks to another woman the entire movie.
• 6:36
  Speaker 1: I don't believe so well. And I have a huge
• 6:38
  Speaker 1: issue with that too, because there's so many women on
• 6:41
  Speaker 1: that bus, I mostly women of color as well, and
• 6:44
  Speaker 1: it's like it was, yeah, only the men talked, only
• 6:47
  Speaker 1: the men passengers. There were more names other than Helen right,
• 6:51
  Speaker 1: there were like five male passengers that had full arcs
• 6:55
  Speaker 1: like and then the women in the background are like,
• 6:59
  Speaker 1: I like that all you get not fair? Yes? Okay, So, Sharne,
• 7:05
  Speaker 1: what is your relationship history experience with this movie? I
• 7:10
  Speaker 1: just remember watching it as a kid with my parents,
• 7:13
  Speaker 1: and it's been at least two decades since I've seen
• 7:17
  Speaker 1: it since then, and so I was really happy to
• 7:19
  Speaker 1: rewatch it. I didn't remember a lot, so I was
• 7:22
  Speaker 1: still pretty like engaged with the plot because I was like,
• 7:25
  Speaker 1: I knew there was I knew the like the images, right,
• 7:29
  Speaker 1: I just like I didn't know how it ended. I
• 7:30
  Speaker 1: forgot until I saw it, you know, like I remembered like, oh,
• 7:33
  Speaker 1: they're there, but yeah, I really I was a Kianu
• 7:36
  Speaker 1: fan very young, and then I am still a Kianu fan.
• 7:40
  Speaker 1: And I really liked watching Kanu give orders when I
• 7:44
  Speaker 1: was a kid. That's all I remember. He Kianu is incredible. God,
• 7:51
  Speaker 1: he's incredible. He's an incredible person. And he's like Caitlin
• 7:56
  Speaker 1: and I were text me about this earlier. He's like,
• 7:58
  Speaker 1: he's so hot in this movie. It's so he was
• 8:02
  Speaker 1: twenty nine. Isn't that wild? Oh my god? There there?
• 8:08
  Speaker 1: I mean, okay, is the love story shoe who burned in? Yes?
• 8:12
  Speaker 1: Do I want these characters to fuck? Yes? So it's complicated.
• 8:17
  Speaker 1: Kanu Reeves, according to director Jan de bon John, I'm
• 8:23
  Speaker 1: not sure how to say his name. Um Keanu Reeves
• 8:25
  Speaker 1: was cast in the movie Speed because he is quote
• 8:30
  Speaker 1: vulnerable on the screen. He's not threatening to men because
• 8:34
  Speaker 1: he's not that bulky, and he looks great to women,
• 8:39
  Speaker 1: which is obviously an extremely like gender and heteronormative way
• 8:44
  Speaker 1: to describe somebody. But he's right, he's extremely vulnerable and
• 8:49
  Speaker 1: sweet and sensitive and hot beautiful. I was reading about
• 8:55
  Speaker 1: the casting process and he was like the sixth choice
• 9:00
  Speaker 1: for this part. Who are the top choices? So and
• 9:03
  Speaker 1: all of these would be lesser movies except one or
• 9:06
  Speaker 1: two that I would be interested in seeing versions of
• 9:09
  Speaker 1: Kanu ultimately wins, but they wanted Steven Baldwin. That would
• 9:12
  Speaker 1: have been terrible. God. Steven Baldwin said no, too much
• 9:16
  Speaker 1: like die Hard, which isn't the worst point, but I
• 9:19
  Speaker 1: prefer this movie to die Hard because it's on the
• 9:21
  Speaker 1: bus and it's with Kany Reeves. Next they asked, are
• 9:25
  Speaker 1: they considered Tom Cruise and Tom Hanks. No, No, Wesley Snipes.
• 9:30
  Speaker 1: I think that could have been interesting. I would be
• 9:32
  Speaker 1: a fan of that, and Woody Harrelson, which also would
• 9:35
  Speaker 1: have been interesting. It would have been different. It would
• 9:39
  Speaker 1: have been a little goofier or something. I don't know
• 9:42
  Speaker 1: what has Yeah, yeah, I would have been joke here.
• 9:45
  Speaker 1: I think like Wesley Snipes or Woody Harrelson's speed would
• 9:48
  Speaker 1: have been good. But the Tom's and Steven Baldwin, I'm like, no,
• 9:51
  Speaker 1: put it in the trash. Not interesting. I can't imagine
• 9:53
  Speaker 1: watching two hours of them do anything. But it's so
• 9:58
  Speaker 1: interesting that he wasn't the first choice. It is because
• 10:00
  Speaker 1: I feel like his biggest some of his biggest movies
• 10:03
  Speaker 1: that like catapulted him, he was not the first choice.
• 10:06
  Speaker 1: Like he wasn't the first choice in this or in
• 10:07
  Speaker 1: the Matrix. It was I just think that's wild, but
• 10:11
  Speaker 1: like Wild Wild West, yeah, the movie Will Smith did
• 10:16
  Speaker 1: instead of the Matrix. It's like wild that he's like
• 10:20
  Speaker 1: not the first pick, but then he ends up like
• 10:22
  Speaker 1: just going above and beyond it, being like, well, this
• 10:24
  Speaker 1: is what I can do. And then then were like, oh,
• 10:26
  Speaker 1: we see you, Kian. You know what I mean. Yeah,
• 10:28
  Speaker 1: they realized, Wow, we should have gone to you first.
• 10:31
  Speaker 1: I can't believe we didn't. Our mistake, Jamie, what's your
• 10:36
  Speaker 1: relationship with Speed? I have a fun history with this movie.
• 10:40
  Speaker 1: I saw this movie for the first time in college.
• 10:44
  Speaker 1: I did this is all very goofy, but I did
• 10:48
  Speaker 1: a semester abroad brag. But we were allowed to take
• 10:53
  Speaker 1: little weekend trips with just our like friends, and so
• 10:56
  Speaker 1: my friend, my dear friend Kyle, and I shout out,
• 11:00
  Speaker 1: I'll decided we were going to go to Milan, Italy,
• 11:04
  Speaker 1: even though we had no money, and we're like, we'll
• 11:06
  Speaker 1: just figure it out when we get to Milan, which
• 11:08
  Speaker 1: is so dangerous, and so we ended up staying at
• 11:11
  Speaker 1: this hostel that was very unsafe. There were all of
• 11:15
  Speaker 1: these rules. They're like, you can't leave the hostile after
• 11:18
  Speaker 1: seven pm or we'll lock you out. It was I
• 11:23
  Speaker 1: don't think it was actually a hostile. I don't know
• 11:25
  Speaker 1: what it was. We were very scared. We were very
• 11:28
  Speaker 1: scared and very like whatever, Like nineteen had no idea
• 11:32
  Speaker 1: what we were doing. I like whatever. It was a
• 11:35
  Speaker 1: long time ago. But they did have a really good
• 11:38
  Speaker 1: WiFi signal for whatever reason. And we were so nervous,
• 11:41
  Speaker 1: and we didn't have any food because it was after
• 11:44
  Speaker 1: seven pm, and we're just like, oh, we can't leave.
• 11:46
  Speaker 1: We won't be able to get back. So we were
• 11:47
  Speaker 1: like hungry and tired and confused and didn't speak Italian.
• 11:51
  Speaker 1: And I was just like, can we just like watch
• 11:53
  Speaker 1: a movie or something. I'm so nervous, And Kyle was like,
• 11:56
  Speaker 1: you know what, movie always really calms me down. And
• 11:59
  Speaker 1: then he turned on Speed and we watched it together
• 12:03
  Speaker 1: and it's such and I loved it, and it was
• 12:05
  Speaker 1: such a nice memory and I had it. I only
• 12:07
  Speaker 1: thought that one time, and then I returned to that
• 12:11
  Speaker 1: memory and this really fun movie. It's a fun movie.
• 12:15
  Speaker 1: It's so fun it makes me want to text Kyle.
• 12:17
  Speaker 1: I'm gonna text Kyle, text Kyle. But yeah, that's my
• 12:23
  Speaker 1: that's my history with Speed. What's HER's, Caitlin. This was
• 12:27
  Speaker 1: a movie that my family had on VHS in the
• 12:30
  Speaker 1: nineties when I was growing up. It wasn't in my
• 12:33
  Speaker 1: heavy rotation the same way that like Back to the
• 12:36
  Speaker 1: Future or Jurassic Park was, but it was occasionally in
• 12:40
  Speaker 1: the rotation. So I saw it a few times as
• 12:43
  Speaker 1: a kid, but not since then. So there, I shream
• 12:47
  Speaker 1: like you. I had like a twenty year gap or
• 12:49
  Speaker 1: so between screenings of this movie, and I was reminded
• 12:57
  Speaker 1: that it is an extremely fun and watchable piece of coppaganda.
• 13:02
  Speaker 1: It is this movie is I forgot, very much, forgot
• 13:06
  Speaker 1: to the extent that this movie is an L A
• 13:08
  Speaker 1: p D specific copaganda piece. I also forget that they
• 13:13
  Speaker 1: also just made them look way cooler than they did.
• 13:16
  Speaker 1: They do, like, their outfits are cooler there, I don't know,
• 13:19
  Speaker 1: they're hot they're just they're hot, they're they're KIANU reeves,
• 13:22
  Speaker 1: they're smart and capable. They're always yelling about how they
• 13:25
  Speaker 1: have sex and like none of this is true to
• 13:28
  Speaker 1: let like, let's all be could all three of us
• 13:32
  Speaker 1: very firmly. I think we can all agree that the
• 13:34
  Speaker 1: l a p D a cab but like extra for them,
• 13:38
  Speaker 1: it's a it's a special kind of hatred that we
• 13:41
  Speaker 1: saved for the l a p D. And this is
• 13:43
  Speaker 1: very effective copaganda for them, And I think, I mean,
• 13:46
  Speaker 1: we'll talk about this later in the episode, but the
• 13:47
  Speaker 1: like exact moment that this movie came out was a
• 13:51
  Speaker 1: time where the l a p D needed some image rehabilitation,
• 13:55
  Speaker 1: let's say, because this movie was written and produced the
• 14:00
  Speaker 1: year after Rodney King and oh my god, so it's
• 14:03
  Speaker 1: that's a good point. I did not put that together.
• 14:06
  Speaker 1: And it was released the week before the O. J.
• 14:09
  Speaker 1: Simpson Highway Chase. So I think that when this movie
• 14:12
  Speaker 1: came out, I was seeing that a lot of people
• 14:15
  Speaker 1: were like, how did the movie Speed know that we
• 14:17
  Speaker 1: were going to be really interested in highway chases? Because
• 14:20
  Speaker 1: it happened literally the week after Speed came out. What
• 14:23
  Speaker 1: if that inspired O. J. Simpson. What like, like I
• 14:27
  Speaker 1: saw this amazing movie. God, what if speed was the
• 14:31
  Speaker 1: catalyst for that. I mean, movies are influential, so it
• 14:38
  Speaker 1: could be it could be a subconscious choice to you know,
• 14:42
  Speaker 1: he wouldn't even really realize. I think he did. I think,
• 14:46
  Speaker 1: I mean r I pinicle. But it's just yeah, it's
• 14:49
  Speaker 1: so the the exact moment that this came out was
• 14:52
  Speaker 1: such a I don't know, it was just a very bizarre.
• 14:55
  Speaker 1: But also I would guess fairly strategic timing for the
• 14:59
  Speaker 1: l PEG to have a really popular piece of copaganda
• 15:02
  Speaker 1: come out around because this movie was shot in so
• 15:06
  Speaker 1: it would have been like less than a year after
• 15:08
  Speaker 1: RANDI King. That is very intentional for sure. I mean
• 15:12
  Speaker 1: that just goes to show it's like there's no really
• 15:15
  Speaker 1: accidents with what I not usually with like what gets
• 15:17
  Speaker 1: picked up as far as like it's political or not.
• 15:20
  Speaker 1: I think what movies get picked up by means So
• 15:23
  Speaker 1: that's unsettling. Yeah, sure, and yet it's a rob It's
• 15:27
  Speaker 1: God damn it. What I think we can replace, Like
• 15:32
  Speaker 1: I think we can make a universe or like a
• 15:34
  Speaker 1: group of people that aren't cops but are badasses. I
• 15:38
  Speaker 1: can't figure out who they are. But it totally would
• 15:41
  Speaker 1: have worked. It totally would have worked if like Keanu
• 15:45
  Speaker 1: was just like Mr. I don't know, like whatever in
• 15:48
  Speaker 1: that nineties action movie way of like I'm Mr. Action
• 15:53
  Speaker 1: and like he didn't. I don't know. I don't think
• 15:55
  Speaker 1: it was necessary, But the way the movie is written,
• 15:57
  Speaker 1: it's very like and all the cops worked together in
• 16:00
  Speaker 1: cups are amazing heroes and they're like hitting that point
• 16:05
  Speaker 1: over and over and they're so smart and they figure
• 16:07
  Speaker 1: out puzzles. But I'm also thinking back to so many
• 16:11
  Speaker 1: action movies of this decade of decades before and after
• 16:16
  Speaker 1: it that have protagonists who are cops. Like that is
• 16:21
  Speaker 1: so many action movies. So that's what I'm saying. It's
• 16:24
  Speaker 1: like a lot of movies make they need like a
• 16:27
  Speaker 1: group of good guys, you know, a group of heroes
• 16:29
  Speaker 1: you could root for. And this was all before obviously
• 16:32
  Speaker 1: Marvel and like comic book movies. So I feel like
• 16:36
  Speaker 1: people just wanted a good group of guys to root for,
• 16:39
  Speaker 1: and they were happy to be cops. That's why I
• 16:40
  Speaker 1: think there has to be a different group, Like it
• 16:42
  Speaker 1: doesn't happen to know who it should be, who it
• 16:44
  Speaker 1: should be a group of vigilante podcasters. Oh yeah, yeah,
• 16:50
  Speaker 1: but Robert might be listening. Do let's say it? Oh no,
• 16:56
  Speaker 1: oh no, yeah, please don't at least Robert. I'm talking
• 17:00
  Speaker 1: specifically about the three of us. We should be action heroes,
• 17:03
  Speaker 1: We should be the ki of our generation. Yes, there
• 17:06
  Speaker 1: are so many moments in this movie where I'm like, well,
• 17:09
  Speaker 1: that's where I would have jumped out a window, Like,
• 17:12
  Speaker 1: that's where I would have just leapt out the bus. Yeah,
• 17:15
  Speaker 1: I mean, I guess it's we're already kind of having
• 17:17
  Speaker 1: this conversation in anyways. I mean that, Yeah, the the
• 17:21
  Speaker 1: amount of copaganda is so wild, and it sent me
• 17:24
  Speaker 1: back into the amount of times that coppaganda sneaks into
• 17:28
  Speaker 1: genres you wouldn't even expect, because in the action genre
• 17:31
  Speaker 1: at least, it's a pretty expected trope basically where I
• 17:36
  Speaker 1: think that really people's only criticism of this movie at
• 17:38
  Speaker 1: the time was that it was like, oh, I'm seeing
• 17:40
  Speaker 1: the die Hard similarities here, which you definitely do. But
• 17:45
  Speaker 1: I was going back and reading any pieces on like
• 17:48
  Speaker 1: how I mean, Katelie, We've talked about this in the
• 17:50
  Speaker 1: past episode, how like the movie Bridesmaids includes elements of
• 17:54
  Speaker 1: coppaganda with like and just like the extent that like
• 17:59
  Speaker 1: the good like sweet goofy cop is built into I
• 18:04
  Speaker 1: mean specifically, American storytelling is so disturbing, I don't very disturbing.
• 18:11
  Speaker 1: And the way that Kanu's character behaves in this movie,
• 18:13
  Speaker 1: it sometimes feels like a fantasy where it's like, oh
• 18:16
  Speaker 1: an l a p D officer d escalating a situation.
• 18:20
  Speaker 1: Um Like it's interesting because so the director first time directing,
• 18:25
  Speaker 1: but he was a cinematographer of die Hard. I think
• 18:27
  Speaker 1: that's also why there are so many visual similarities. That's
• 18:30
  Speaker 1: why he got brought onto the project. Yeah, that they're like,
• 18:33
  Speaker 1: you're you're an experienced coppaganda filmmaker. Come on, and Keanu
• 18:39
  Speaker 1: Reeves was an experienced coppaganda actor. They're like, Okay, we'll
• 18:43
  Speaker 1: just shave your head this time, and you're you're a
• 18:45
  Speaker 1: new man. Although some of the Kianu line reads in
• 18:48
  Speaker 1: this movie are so iconically confusing, it was Ken's. It
• 18:53
  Speaker 1: was Ken. Yeah, he was like when he said that
• 18:58
  Speaker 1: there is a line that is like very clear in
• 19:02
  Speaker 1: writing copaganda because someone says, are they gonna help us?
• 19:05
  Speaker 1: And then the reply is sure they are there the police. Yes,
• 19:09
  Speaker 1: it was so like, it was so like I don't know,
• 19:12
  Speaker 1: and I was getting like galaxy brainy at the time,
• 19:14
  Speaker 1: where I was like, are they trying to say something?
• 19:16
  Speaker 1: And I'm just not like because moments like that that
• 19:19
  Speaker 1: was like the character who says that is like the
• 19:21
  Speaker 1: out of town er, he like self identifies as a yokel,
• 19:25
  Speaker 1: And I was like, Oh, is this supposed to be
• 19:27
  Speaker 1: like a naive view of the police, But that's definitely
• 19:30
  Speaker 1: not with the movie. Thinks Nope, They're they're like even
• 19:33
  Speaker 1: this man, this man from Minnesota knows that cops are
• 19:38
  Speaker 1: the greatest people to ever be born. Like I don't
• 19:41
  Speaker 1: know if it all it all was very just so frustrating,
• 19:45
  Speaker 1: And then I thought again that I was like, oh,
• 19:48
  Speaker 1: maybe there's some commentary being made when when you find
• 19:51
  Speaker 1: out when it's revealed that Dennis Hopper is a former cop,
• 19:55
  Speaker 1: and I'm like, you will get into something, but it
• 19:58
  Speaker 1: kind of it just goes nowhere. They're just like he
• 20:00
  Speaker 1: was he was he was a cop, which is like,
• 20:03
  Speaker 1: I mean, it's still a piece of copaganda at that
• 20:06
  Speaker 1: point in the movie, no matter what. But I was like, Oh,
• 20:08
  Speaker 1: maybe they're going to try to comment on something. But
• 20:11
  Speaker 1: then they're just but then that just as kind of
• 20:13
  Speaker 1: they're like, he's a cop. Nope, is that interesting. Yeah,
• 20:16
  Speaker 1: they're just sort of like they're like, well, you know,
• 20:19
  Speaker 1: one bad apple, but the rest of them are great. Yeah.
• 20:23
  Speaker 1: It totally ends up buying into that entire bad apple narrative.
• 20:27
  Speaker 1: I mean, and then before this, like like the Golden
• 20:31
  Speaker 1: State Killer and then like a couple of cops did
• 20:34
  Speaker 1: become like these villains in real life, right, So it's
• 20:37
  Speaker 1: it's interesting, they're just like, we're just saying that. It's
• 20:40
  Speaker 1: like there's one bad apple, right, and the rest are
• 20:42
  Speaker 1: good apples versus the opposite where it's like very much true.
• 20:46
  Speaker 1: But there are a few moments in this movie where
• 20:49
  Speaker 1: I think it was like I just kept looking for
• 20:52
  Speaker 1: something because I enjoy watching the movie where I'm like, oh,
• 20:55
  Speaker 1: maybe they're trying to say something and it was really subtle.
• 20:58
  Speaker 1: But um, ultimately that is not true. That's not true.
• 21:03
  Speaker 1: Let's take a quick break and then we'll come back
• 21:06
  Speaker 1: and recap the movie. And we are back and here
• 21:18
  Speaker 1: comes the recap of speed Beep from Beep Beep, Why
• 21:26
  Speaker 1: the heck is this bus going so fast? Okay, so
• 21:31
  Speaker 1: the movie opens on a long chunk where we are
• 21:36
  Speaker 1: not on a bus. By the way, I forgot that
• 21:38
  Speaker 1: there's like two different action movies at the beginning and
• 21:41
  Speaker 1: end of this movie. Yeah, I totally forgot about that,
• 21:45
  Speaker 1: no recollection at all. I just remember it was Cans
• 21:48
  Speaker 1: and the Bizarrow. You remember the Cans line. Oh, the
• 21:52
  Speaker 1: Cans is unforgettable. Kyle and I had a ball with
• 21:55
  Speaker 1: the Cans line. And then I remember to my credit
• 21:58
  Speaker 1: all the way back and like whatever year, I was
• 22:02
  Speaker 1: being like, they're making out in a train car and
• 22:05
  Speaker 1: people are just taking pictures, Like that's what I was thinking,
• 22:10
  Speaker 1: Like your friend, just a friend died. And then also
• 22:13
  Speaker 1: the way that was. But like when Sandra Bullock is
• 22:16
  Speaker 1: like flirting, but also her friend the bus driver is
• 22:19
  Speaker 1: like bleeding to death behind her, I'm like, yes, there's
• 22:22
  Speaker 1: some total dissance. Love is more important, you know what
• 22:26
  Speaker 1: I mean. Love Trump's everything, even when you're even when
• 22:30
  Speaker 1: your friend is actively dying. I totally forgot about the
• 22:34
  Speaker 1: Cans So just imagine me being like, what the fuck
• 22:38
  Speaker 1: it was? Kens it was? But though the two of
• 22:42
  Speaker 1: the fact that there are two action movies on either side,
• 22:45
  Speaker 1: I mean, it's a great action film for that reason,
• 22:47
  Speaker 1: Like I had they just combined so many different elements
• 22:50
  Speaker 1: of action movies. It's just I don't know. Well. Also,
• 22:53
  Speaker 1: the original script was just having the whole movie be
• 22:57
  Speaker 1: on a bus, but then the studio was like, audiences
• 23:01
  Speaker 1: are going to get bored if we're just on a
• 23:03
  Speaker 1: bus the whole time, so let's do a long sequence
• 23:06
  Speaker 1: before and a long sequence after the bus. Then that's
• 23:10
  Speaker 1: when they green lit it. So originally it was just
• 23:13
  Speaker 1: a bus. I do kind of appreciate that they I mean, also,
• 23:16
  Speaker 1: this movie is like one of those nineties movies that
• 23:19
  Speaker 1: you watch and you're like, this looks so expensive, Oh
• 23:23
  Speaker 1: my good. So many explosions, so many cars getting damaged,
• 23:28
  Speaker 1: airplane exploded. I'm glad that they milked. I mean, that
• 23:31
  Speaker 1: shot was five hundred hours long. But I'm like, I
• 23:33
  Speaker 1: would I guess if I were the director of this movie,
• 23:35
  Speaker 1: I would milk that shot to what a nightmare. I
• 23:37
  Speaker 1: did appreciate the like the added intro in the backstory,
• 23:41
  Speaker 1: because it did make Jeff daniels demise a little bit
• 23:44
  Speaker 1: more like sad, you know, like their backstory of being
• 23:47
  Speaker 1: like good friends and the weird banter they have. Everything's
• 23:50
  Speaker 1: a joke. But yeah, the added intro isn't bad to
• 23:54
  Speaker 1: me or the ending. I liked it. I liked it all.
• 23:57
  Speaker 1: I just forgot that there was I first ever and
• 24:00
  Speaker 1: I was like, oh, at the beginning, Kiana gets then
• 24:02
  Speaker 1: a bus. I forgot he was a cop. I forgot
• 24:04
  Speaker 1: there was a setup. I forgot there was a second
• 24:06
  Speaker 1: climax of the movie. I forgot she got damseled all
• 24:09
  Speaker 1: this stuff. Yeah for sure. Okay, So we do open
• 24:13
  Speaker 1: on Dennis Hopper putting a bomb on an elevator in
• 24:17
  Speaker 1: an office building. He then holds a bunch of people
• 24:21
  Speaker 1: hostage on the elevator and demands a three million dollar
• 24:24
  Speaker 1: ransom from the l A p D. Several officers show up.
• 24:29
  Speaker 1: Among them is Jack Travin played by Kiana Reeves, who
• 24:34
  Speaker 1: he doesn't really play by the rules, but he feels
• 24:38
  Speaker 1: so kind of nice. But like we're introduced to him
• 24:41
  Speaker 1: like chewing gum for the first like fifteen minutes. He's
• 24:44
  Speaker 1: so cool, he's so laid back, so chill, just chewing gum.
• 24:49
  Speaker 1: I just really liked that addition. I feel like they
• 24:53
  Speaker 1: did like take the die hard character and they like
• 24:57
  Speaker 1: Kiana Reeves defied him. They just made him like more
• 25:00
  Speaker 1: fun to be around right for sure. His partner is
• 25:05
  Speaker 1: Harry Temple played by Jeff Daniels and Daniel The name
• 25:09
  Speaker 1: Harry Temple is funny um last name was Temple until
• 25:16
  Speaker 1: he just said it. I didn't catch them. Yeah, okay,
• 25:20
  Speaker 1: So they managed to save the hostages and find Dennis Hopper,
• 25:24
  Speaker 1: but then Dennis Hopper blows himself up. But it turns
• 25:28
  Speaker 1: out that Dennis Hopper is not dead. I still don't
• 25:31
  Speaker 1: fully understand that. I don't understand how they said he
• 25:34
  Speaker 1: was dead, Like they didn't find anything. He just called
• 25:37
  Speaker 1: He's like, guess what, I'm alive, and I was like, oh,
• 25:40
  Speaker 1: I was thinking, like in my mind, I was like, okay,
• 25:43
  Speaker 1: it has to be believable. So maybe he left a
• 25:45
  Speaker 1: tooth there or something like, maybe he like left a
• 25:47
  Speaker 1: body part, but no, he didn't do that. It's really confusing.
• 25:51
  Speaker 1: Hopper is like low key a magician, like he has
• 25:54
  Speaker 1: magical elements to his character, where like his motive seems
• 25:58
  Speaker 1: to be changing a lot of time times. I feel
• 26:00
  Speaker 1: like he's almost like the Joker of Speed, where he's
• 26:04
  Speaker 1: you're You're like, he just wants chaos. It seems like
• 26:08
  Speaker 1: I don't know what he wants and we know his
• 26:10
  Speaker 1: origin story. We know the origin story. It's revealed to
• 26:13
  Speaker 1: us later, so which I wish that they used that
• 26:15
  Speaker 1: origin story more effectively in story. I feel like they
• 26:18
  Speaker 1: could have at least tried to say something with his
• 26:20
  Speaker 1: origin story, because they do provide it, but then it's
• 26:23
  Speaker 1: like then it goes nowhere. Anyways, Dennis Hopper is fun
• 26:26
  Speaker 1: to watch. We talked about this on our episode on
• 26:31
  Speaker 1: the Rock, where the Ed Harris character is like ex
• 26:36
  Speaker 1: military I think the Marines or something like his wife
• 26:42
  Speaker 1: and his wife and he didn't receive the you know, support,
• 26:48
  Speaker 1: whether financial or whatever, that he was expecting after having
• 26:52
  Speaker 1: served in the military, and it was like not that
• 26:56
  Speaker 1: that movie was actively making commentary on like wow, we
• 26:58
  Speaker 1: need like better social programs and support systems for the
• 27:02
  Speaker 1: veterans and stuff like that, but that is like that
• 27:05
  Speaker 1: was his motivation in the movie, and I feel like
• 27:07
  Speaker 1: there's like they're kind of trying to do that or
• 27:10
  Speaker 1: like there was a seed of that and speed, but
• 27:13
  Speaker 1: it doesn't go anywhere. Saying something that if Michael Bay
• 27:16
  Speaker 1: was making stronger commenting, that's interesting. I mean, but what
• 27:22
  Speaker 1: we know they get compensated extremely fairly, like they make
• 27:25
  Speaker 1: more than teachers. So I'm a little confused, like why
• 27:27
  Speaker 1: they're still bitter about it, you know what I mean,
• 27:29
  Speaker 1: Like these like people are writing these characters kind of
• 27:32
  Speaker 1: thing like yeah, I don't know. Yeah, And that's like
• 27:35
  Speaker 1: referenced repeatedly to like that the police officers feel that
• 27:39
  Speaker 1: they're getting a raw deal because they're doing stunts every day,
• 27:43
  Speaker 1: and it's like, well, yeah, most cops are not doing
• 27:45
  Speaker 1: stunts every day. They're just antagonizing people. Maybe we're watching
• 27:50
  Speaker 1: these and people are like, oh, cops need more funding,
• 27:52
  Speaker 1: like they should make more. So the general public is like,
• 27:55
  Speaker 1: let's give cops more money that I feel sorry for them. Well,
• 27:58
  Speaker 1: that was a huge plot issue that I was having,
• 28:01
  Speaker 1: where whatever, we're not rooting for Dennis Hopper obviously, but
• 28:05
  Speaker 1: he's asking for I mean, comparatively to a police station budget,
• 28:11
  Speaker 1: he's asking for a very low amount. He's asking for
• 28:13
  Speaker 1: three point seven million dollars. The l a p D
• 28:16
  Speaker 1: and their last round of funding received over one billion dollars.
• 28:21
  Speaker 1: They have three point seven millions. So the fact that
• 28:24
  Speaker 1: people's lives are and I feel like the tension there
• 28:27
  Speaker 1: is like, well, we don't want to give him what
• 28:29
  Speaker 1: he wants. It's like, well, there's twenty lives of working
• 28:32
  Speaker 1: class people in the balance. You might want to just
• 28:34
  Speaker 1: give this guy what he wants and find him later,
• 28:37
  Speaker 1: you know. Like so the fact that the whole plot
• 28:39
  Speaker 1: of this movie is the l a p D counting
• 28:42
  Speaker 1: their pennies, like, oh, we don't have enough a money
• 28:45
  Speaker 1: is like bullshit, they have a billion dollars. Oh God,
• 28:50
  Speaker 1: I hate the l a p D so much. It's
• 28:52
  Speaker 1: like creeping in your mind. They're trying to influence you subconsciously,
• 28:55
  Speaker 1: and it works because yeah, I totally. And and the
• 28:59
  Speaker 1: fact that like and they're also implying this entire movie
• 29:01
  Speaker 1: that the average cop is Jack Traven Draven Traven. I
• 29:07
  Speaker 1: kept calling him Jack Tavern, which I think is a
• 29:10
  Speaker 1: way better name, especially if his partner's name is Harry Temple.
• 29:13
  Speaker 1: You got a Temple, you got a Tavern? Big miss
• 29:16
  Speaker 1: on the last name Travin, Yeah, Travin was was absolutely
• 29:20
  Speaker 1: miss But they're also like in that the beginning that
• 29:23
  Speaker 1: beginning sequence with Jeff Daniels and Keanu, like Keanus like,
• 29:27
  Speaker 1: remind me why I do this job? Agin He's like,
• 29:29
  Speaker 1: oh for a pinsion in through two years and like
• 29:31
  Speaker 1: cops aren't doing this this doesn't happen. Were they like
• 29:36
  Speaker 1: a special unit, Like were they swat or like I
• 29:38
  Speaker 1: feel like they were like bomb squad or something. But
• 29:42
  Speaker 1: still cops. Okay. So it turns out that Dennis Hopper
• 29:47
  Speaker 1: is not dead. He plants a bomb on a bus
• 29:49
  Speaker 1: in Santa Monica, right where Jack tavern. It's travern. Wait.
• 29:55
  Speaker 1: Before before that happens, Dennis Hopper says, don't funk with daddy,
• 30:00
  Speaker 1: don't work with daddy. I have to mention that. I
• 30:02
  Speaker 1: just have to He's daddy, He's daddy, Daddy. I love
• 30:07
  Speaker 1: when people say daddy in movies. So anyway, that's all
• 30:11
  Speaker 1: I wanted to interject, don't funk with daddy. Oh God, okay.
• 30:16
  Speaker 1: So Jack just happens to be right where this bus is,
• 30:19
  Speaker 1: and then Dennis Hopper calls Jack on a pay phone
• 30:24
  Speaker 1: and tells him that he still wants his money and
• 30:27
  Speaker 1: that he has planted another bomb on a different bus,
• 30:30
  Speaker 1: and once that bus goes fifty miles an hour, it's
• 30:33
  Speaker 1: going to arm the bomb. And after that, if the
• 30:36
  Speaker 1: bus goes below fifty miles an hour, the bomb will detonate.
• 30:39
  Speaker 1: The most amazing concept for a movie of all time.
• 30:44
  Speaker 1: I hate that it's cops, because that's such a good idea.
• 30:48
  Speaker 1: We'll talk about later where that idea is stolen from.
• 30:51
  Speaker 1: Oh okay, not so creative, but I thought it was.
• 30:53
  Speaker 1: It was stolen from like it was like, I mean
• 30:56
  Speaker 1: it was. It wasn't like stolen. It was like a
• 30:58
  Speaker 1: cool like line of influence. But yeah, it's such an
• 31:01
  Speaker 1: amazing concept. Yeah, okay, So the police are not allowed
• 31:06
  Speaker 1: to take any passengers off the bus or Dennis Hopper
• 31:10
  Speaker 1: will blow it up, and they have three hours to
• 31:12
  Speaker 1: get Dennis Hopper his money, which is now three point
• 31:15
  Speaker 1: seven million dollars. I guess he's charging interest for pissing
• 31:20
  Speaker 1: him off. Yeah, exactly. I would have doubled it. I
• 31:23
  Speaker 1: was like if I was Dennis Hopper, which would be interesting.
• 31:27
  Speaker 1: I was like the fact that he only went up
• 31:29
  Speaker 1: seven hundred thousand dollars was like I was literal. I
• 31:33
  Speaker 1: was like I wrote down, like, seems reasonable given the
• 31:36
  Speaker 1: whole elevator chaft thing. Yeah right, And it also makes
• 31:41
  Speaker 1: three point seven million. It's such an arbitrary number, Like
• 31:44
  Speaker 1: why wouldn't he go up to like four million? I
• 31:46
  Speaker 1: would have been like ten million dollars like Dr Evil style.
• 31:50
  Speaker 1: There's a moment where we find out that Jack eats muffins,
• 31:54
  Speaker 1: and I think that just helps us think he's like
• 31:56
  Speaker 1: a nice guy or something. I don't know, I really
• 31:58
  Speaker 1: picked up on that, Like why at that moment, Yeah,
• 32:01
  Speaker 1: this cop doesn't eat donuts, he eats muffins. He's not
• 32:06
  Speaker 1: like the other cops. He's he choose gum and he
• 32:12
  Speaker 1: eats muffins. Ever seen a cop like this before. I
• 32:15
  Speaker 1: guess the cops must be good. He knows the bus
• 32:18
  Speaker 1: driver's name, you know what I mean, good terms on
• 32:20
  Speaker 1: the like the one that in the beginning, Oh the
• 32:23
  Speaker 1: yeah who then immediately die? Oh my god, the one
• 32:26
  Speaker 1: they set up to die? That was I mean. But
• 32:28
  Speaker 1: again I was like, I was like, that was effective storytelling.
• 32:31
  Speaker 1: But what bummer? Yes, So then we cut to the
• 32:36
  Speaker 1: bus with the bomb on it. We see Annie. That's
• 32:39
  Speaker 1: Sandra Bullock. She gets on the bus. Sam the bus
• 32:43
  Speaker 1: driver and the other passengers have no reason to suspect
• 32:46
  Speaker 1: anything is wrong. They have no idea that the bomb
• 32:48
  Speaker 1: is on this bus. They're just loving life on l
• 32:51
  Speaker 1: A metro been there, that's right. They're going from downtown
• 32:54
  Speaker 1: to Venice, which is a long trip. Okay, Keanu rushes
• 32:59
  Speaker 1: to find the bus. He eventually catches up with it,
• 33:02
  Speaker 1: he manages to get on it. He communicates to everyone
• 33:07
  Speaker 1: with the situation is and by that point the bus
• 33:10
  Speaker 1: has gone over fifty miles, so now they have to
• 33:13
  Speaker 1: make sure they never go back below fifty. One of
• 33:17
  Speaker 1: the passengers has a gun and is freaking out because
• 33:23
  Speaker 1: he So this is like very problematic in a lot
• 33:26
  Speaker 1: of ways. I think that he thinks he's being arrested
• 33:30
  Speaker 1: for something else that he's done. He misreads the situation
• 33:34
  Speaker 1: and panics. That was how I was reading that too. Yeah,
• 33:38
  Speaker 1: and that's very whatever. That's a very charged writing choice
• 33:42
  Speaker 1: that we'll talk about. But I also think maybe it
• 33:45
  Speaker 1: was the beginning of being like this is what people
• 33:47
  Speaker 1: do when they're afraid. They like people are irrational situations.
• 33:52
  Speaker 1: Maybe I'm like over analyzing it, but like that's not
• 33:55
  Speaker 1: Now looking back on it, I'm thinking that I totally agree.
• 33:57
  Speaker 1: It's like there's like this was kind of a throw
• 34:00
  Speaker 1: I note, but it was like this movie is an
• 34:02
  Speaker 1: interesting examination of what your average person would do if
• 34:06
  Speaker 1: they were faced with the plot of speed like a
• 34:11
  Speaker 1: lot of different but yeah, like he he's I guess
• 34:13
  Speaker 1: the first bus passenger to the panic before everyone even
• 34:17
  Speaker 1: knows what's going on, right, so he pulls out a gun.
• 34:21
  Speaker 1: The gun ends up going off and hits Sam the driver.
• 34:25
  Speaker 1: Um so then Annie is right there. She takes the wheel.
• 34:28
  Speaker 1: Things are kind of back under control for a moment.
• 34:31
  Speaker 1: Jack finds the bomb but realizes he can't dismantle it.
• 34:36
  Speaker 1: Annie meanwhile is driving the bus speeding through the city.
• 34:39
  Speaker 1: It's it's pretty chaotic. She has to blow through any obstructions,
• 34:45
  Speaker 1: road blockagees, other cars, a baby carriage full of cass.
• 34:53
  Speaker 1: It was what a flimsy, confusing set up because it's like, yeah,
• 34:59
  Speaker 1: it makes no sense. I mean, I feel like the
• 35:01
  Speaker 1: ultimate implication was that one woman was going to go
• 35:05
  Speaker 1: redeem the cans for money, which implies that she doesn't
• 35:09
  Speaker 1: have a lot of money at very least. But but
• 35:12
  Speaker 1: I don't know that. It's just such a bizarro movie
• 35:16
  Speaker 1: set up. I think that Sandra Bullock genuinely does an
• 35:20
  Speaker 1: awesome job in this movie where she's like, she does
• 35:23
  Speaker 1: a good job of being like did I just kill somebody?
• 35:26
  Speaker 1: And then Kiana was like no, no, and she's like okay,
• 35:29
  Speaker 1: and then she keeps driving like iconic duo Sandra Bullock
• 35:34
  Speaker 1: who's also in another compaganda movie, I think a couple
• 35:38
  Speaker 1: of years before this Demolition Man. So yeah, yeah, yeah, yeah,
• 35:42
  Speaker 1: you're right. I forgot that she had compaganda prior experience.
• 35:47
  Speaker 1: I mean, she goes on to play a lot of cops,
• 35:49
  Speaker 1: you know, congeniality, Miss Congeniality, that is compaganda as well. Yeah,
• 35:55
  Speaker 1: and the heat and the heat, Oh my gosh. I
• 36:01
  Speaker 1: guess having a woman driving and like controlling the bus
• 36:03
  Speaker 1: the whole time is kind of badass. I thought that
• 36:06
  Speaker 1: that was like, I thought that we'll talk about that. Yeah,
• 36:10
  Speaker 1: there's some I didn't hate that choice. But then the
• 36:14
  Speaker 1: more I learned about the production and writing process of
• 36:16
  Speaker 1: the movie, then where I was like, it could have
• 36:18
  Speaker 1: been better, but whatever, I don't I don't hold Sandra
• 36:21
  Speaker 1: Bullock personally accountable. I think she did a great job,
• 36:25
  Speaker 1: right right, right, Okay, So then they get onto a
• 36:28
  Speaker 1: freeway that is not in use and Jack and Annie
• 36:32
  Speaker 1: flirt while Sam is dying. There was a point in
• 36:36
  Speaker 1: the movie where I'm like, did Sam die? And we
• 36:38
  Speaker 1: didn't even find out because I would have been really
• 36:41
  Speaker 1: but but I don't know. I mean, I guess, like
• 36:43
  Speaker 1: we're talking loose, but I'm like if I were writing
• 36:46
  Speaker 1: this movie, I would have no idea when to shift
• 36:48
  Speaker 1: the focus to each character, like, because for a long
• 36:52
  Speaker 1: swath of the movie, I'm like, what happened to Sam?
• 36:54
  Speaker 1: He seemed like he was pretty mortally wounded, and then
• 36:58
  Speaker 1: they just like whenever that whenever the writer is like, oh, Okay,
• 37:02
  Speaker 1: now we're going to bring him back. You know, I
• 37:04
  Speaker 1: would have liked to see this movie in theaters. It
• 37:06
  Speaker 1: sounds like it would have been a fun theater experience.
• 37:10
  Speaker 1: So then the l a p. D Show up alongside
• 37:13
  Speaker 1: the bus and they're figuring out how to get the
• 37:15
  Speaker 1: passengers off, but the news helicopters that are following the
• 37:18
  Speaker 1: bus are like broadcasting what's happening, and Dennis Hopper is
• 37:23
  Speaker 1: watching the news so he knows everything that they're doing. Um,
• 37:27
  Speaker 1: So then Jack negotiates with Dennis Hopper to let Sam
• 37:33
  Speaker 1: the driver off the bus. But then a woman named
• 37:36
  Speaker 1: Helen also tries to get off the bus, and the
• 37:40
  Speaker 1: bomber activates a small bomb that kills her. He has
• 37:44
  Speaker 1: all these mini bombs around just in case the plot
• 37:47
  Speaker 1: of the movie Speed happens and he needs it. He's
• 37:52
  Speaker 1: got a bomb for every occasion and still it has
• 37:56
  Speaker 1: all these little like Tamagotchi style style bombs, just in
• 38:00
  Speaker 1: random locations in case something happens. Right, yes, then up
• 38:05
  Speaker 1: ahead there's a large gap in the freeway, but they
• 38:09
  Speaker 1: managed to jump over it thanks to some good driving.
• 38:13
  Speaker 1: That was like one of the three things I remembered
• 38:15
  Speaker 1: about this movie was that they jump a highway so
• 38:19
  Speaker 1: good they would have been such gonners. This movie, like
• 38:25
  Speaker 1: many action movies, I'm not saying anything new here, but
• 38:29
  Speaker 1: the defying of gravity and other laws of physics is staggering.
• 38:36
  Speaker 1: I kind of like that this movie really goes for
• 38:38
  Speaker 1: it though, where it's like there's just like so many
• 38:41
  Speaker 1: points in this movie where not only would they have died,
• 38:43
  Speaker 1: but they would have died like by a wide margin.
• 38:47
  Speaker 1: But but the movie is like, no, fifty ft it
• 38:51
  Speaker 1: is what it is. Yeah, they're trying to make you
• 38:54
  Speaker 1: convinced like they're not going to make it, Like at
• 38:56
  Speaker 1: the edge of your seat watching they're like, they can't
• 38:58
  Speaker 1: make that jump. You know it works, they do. I
• 39:02
  Speaker 1: do wish I could have seen this moviea theaters for
• 39:04
  Speaker 1: the first time. Like it's uh, there's so many moments
• 39:07
  Speaker 1: where you're like, oh, if you're in a theater, you
• 39:08
  Speaker 1: would have been like like the baby moment, the highway
• 39:12
  Speaker 1: jump moment. Yeah, why is it? Cop agandem man? So
• 39:18
  Speaker 1: they eventually get to the airport because that is restricted
• 39:22
  Speaker 1: airspace where the helicopters can't go, and then Jack directs
• 39:27
  Speaker 1: Annie to drive around the tarmac for a while. He
• 39:31
  Speaker 1: tries to dismantle the bomb but is unsuccessful. Uh, they
• 39:35
  Speaker 1: are leaking gas now um. And then meanwhile, Harry Temple
• 39:40
  Speaker 1: figures out who the bomber is, so they go to
• 39:43
  Speaker 1: his house, but he has rigged it to explode and
• 39:46
  Speaker 1: Harry dies in the explosion. So back at L a X,
• 39:50
  Speaker 1: the cops unload the passengers off the bus to safety,
• 39:55
  Speaker 1: which happens after they figure out that, like, there's also
• 39:58
  Speaker 1: a camera on the bus that the bomber is watching,
• 40:01
  Speaker 1: so they have to create this like fake loop so
• 40:04
  Speaker 1: that he doesn't notice that they're unloading. The passengers love
• 40:07
  Speaker 1: that plot point right. Jack and Annie are the last
• 40:12
  Speaker 1: to get off the bus, which is the first climax
• 40:16
  Speaker 1: of the movie. The empty bus runs into a plane
• 40:19
  Speaker 1: on the tarmac that I guess was empty, and there's
• 40:24
  Speaker 1: a huge explosion, and then Jack and Annie share a
• 40:27
  Speaker 1: horny moment together. I was surprised that that Sandra Bullocks
• 40:32
  Speaker 1: first question wasn't were there people on that plane? Like yeah,
• 40:36
  Speaker 1: because I watched them twice, and I'm like, am I
• 40:39
  Speaker 1: missing something? Like did they estacide that they had evacuated
• 40:42
  Speaker 1: the that they had evacuated L A X. I'm sure
• 40:45
  Speaker 1: that that's what happened, or would have had to have happened.
• 40:48
  Speaker 1: So it was a courier plane, so they wouldn't have passengers,
• 40:52
  Speaker 1: but there would still you would think, be like personnel.
• 40:55
  Speaker 1: There was a worker who was like shit, like yeah,
• 41:01
  Speaker 1: he runs away. The first time that Kanu and Sandra
• 41:04
  Speaker 1: tumbled together, yes, there's there are two tumbles and there
• 41:07
  Speaker 1: are two climaxes, and we just saw the first of both.
• 41:10
  Speaker 1: I supposed to say when they tumbled, I thought that
• 41:13
  Speaker 1: I was like, well, it's not ideal, but it's a
• 41:17
  Speaker 1: charismatic exchange, and Okay, I guess I'll accept this ending
• 41:21
  Speaker 1: a romantic thing like that would happen in a romcom
• 41:24
  Speaker 1: or something. But also I thought it was funny. But
• 41:27
  Speaker 1: the only person that ever got hurt with Sandra Bullock,
• 41:29
  Speaker 1: like Kanu never had a scratch on right strange, I
• 41:34
  Speaker 1: was like having trouble remembering exactly what, like the specifics
• 41:39
  Speaker 1: of the movie. So there's that moment where Kanu is
• 41:42
  Speaker 1: trying to disarm the bomb on the bus and then
• 41:45
  Speaker 1: his little skateboard thing comes out from under him, and
• 41:49
  Speaker 1: I thought his ass, like his ass would have been
• 41:52
  Speaker 1: bleeding scraped off. He would have been bleeding out of
• 41:55
  Speaker 1: his butt cheeks death. And I wondered if that was
• 41:59
  Speaker 1: going to be like I thought. I thought, at least
• 42:01
  Speaker 1: you were going to get a shot to his pants
• 42:03
  Speaker 1: to be like, wow, my pants are gone, but my
• 42:05
  Speaker 1: my cheeks are great or whatever, like I don't know
• 42:08
  Speaker 1: what would have happened, like missed opportunity for a cheesy joke.
• 42:11
  Speaker 1: His ass was dragging on cement at like sixty miles,
• 42:16
  Speaker 1: like his ass would have been damn mint for several
• 42:19
  Speaker 1: minutes for a while, he was still without a scratch.
• 42:22
  Speaker 1: And Sandra Bullock was cut up like she was because
• 42:25
  Speaker 1: she's a delicate lady and Jack is a tough man.
• 42:29
  Speaker 1: But I am glad that Sandy Sandy drives the bus
• 42:32
  Speaker 1: till the fucking finish. Like that's kind of feminism that
• 42:38
  Speaker 1: it's I mean that feminism right there, Maybe spice girls
• 42:42
  Speaker 1: feminism Okay, So the bus explodes, but the bomber doesn't
• 42:49
  Speaker 1: know it exploded, and he is still demanding his money.
• 42:53
  Speaker 1: So they're basically setting up this sting operation to catch
• 42:57
  Speaker 1: him and capture him at the drop off Lokay San.
• 43:01
  Speaker 1: But then Dennis Hopper figures out what's going on, like
• 43:04
  Speaker 1: that video loop was made, you know, he's one step
• 43:07
  Speaker 1: ahead of them. He gets the money and he takes Annie,
• 43:11
  Speaker 1: who for some reason was hanging out at this handoff location.
• 43:14
  Speaker 1: We'll talk about that, but he takes her hostage and
• 43:18
  Speaker 1: brings her onto the l A Metro. So Jack chases
• 43:22
  Speaker 1: after them her. She's got a bomb strap to her.
• 43:26
  Speaker 1: Now she's that's feminism. I totally forgot about this and
• 43:31
  Speaker 1: it I was so frustrated because I was like, okay,
• 43:35
  Speaker 1: you know what. It wasn't perfect, but Sandra Bullock's character
• 43:39
  Speaker 1: was like critical and making the entire plot happen. Okay,
• 43:43
  Speaker 1: there's much worse movies from this era. And then they
• 43:46
  Speaker 1: I totally forgot that she's completely damseled at the end.
• 43:49
  Speaker 1: I was so frustrated. Yes, and it sucks because you
• 43:53
  Speaker 1: could still have that train sequence without damseling her. Yeah,
• 43:58
  Speaker 1: but she is completely in capacitated because she's a Bomba's
• 44:02
  Speaker 1: chap to her and then she's handcuffed to a like
• 44:05
  Speaker 1: pull on the metro, so she's completely immobile. She can't
• 44:09
  Speaker 1: do anything, but just like wait for Jack to you know,
• 44:13
  Speaker 1: find the metro fight Dennis Hopper. They're fighting on the roof.
• 44:18
  Speaker 1: Dennis Hopper gets decapitated. That was incredible though, Like and
• 44:24
  Speaker 1: I I really I must have like rewound that shot
• 44:27
  Speaker 1: like five hundred It's very good. Loved it. I love
• 44:32
  Speaker 1: they It was really well done where you see it
• 44:34
  Speaker 1: coming and then you they I don't know why I'm
• 44:37
  Speaker 1: about to be like, why don't we get a satisfying,
• 44:40
  Speaker 1: like campy decapitation shot, But when you get it with
• 44:43
  Speaker 1: Dennis Hopper, it's so satisfying. I'm so glad you got
• 44:47
  Speaker 1: to see his head gets it falls off. Several jokes
• 44:52
  Speaker 1: are made at the expense of his decapitation. It's beautiful.
• 44:58
  Speaker 1: It took me. Maybe I'm the one brain cell person here,
• 45:03
  Speaker 1: but it took me. It took me a few times.
• 45:06
  Speaker 1: When Kanu kept saying like when he didn't keep saying,
• 45:09
  Speaker 1: I kept rewinding it. Uh he said, he said, like, well,
• 45:14
  Speaker 1: I'm taller than you and I was like, what is
• 45:16
  Speaker 1: he talking about? I was like, oh, I don't understand
• 45:19
  Speaker 1: what that means. Dennis Hopper lost his head, so now
• 45:23
  Speaker 1: Keanu is taller. I think he was implying they were
• 45:25
  Speaker 1: once the same height, but now Dennis doesn't have a head,
• 45:29
  Speaker 1: so ki him. I did not understand that at all.
• 45:33
  Speaker 1: I have all these notes that were like, his comeback
• 45:35
  Speaker 1: is unrelated to the plot. It is nonsensical. Yeah, there
• 45:41
  Speaker 1: are there are a lot of quips, but I don't
• 45:44
  Speaker 1: think that one's the best. I don't like that one.
• 45:46
  Speaker 1: It's possibly the worst. You know. I think it's the word.
• 45:48
  Speaker 1: Kiana's delivery doesn't help either, because it doesn't emphasize a
• 45:52
  Speaker 1: single word. And so you're just like, what is he
• 45:55
  Speaker 1: talking about? Does that mean now I'm taller than you?
• 46:00
  Speaker 1: Or no? He's like, well I'm taller than you. Yeah,
• 46:02
  Speaker 1: there's no like now, just like I guess I thought
• 46:04
  Speaker 1: he was always taller than I. I was just like, right,
• 46:07
  Speaker 1: I was like, I thought Dennis Hopper was like always,
• 46:10
  Speaker 1: But I guess that. I guess that maybe that line
• 46:12
  Speaker 1: was written before anyone was cast, maybe and they didn't know.
• 46:17
  Speaker 1: I also feel Dennis Hopper was four inches shorter than
• 46:20
  Speaker 1: him to begin with. I think so I feel like
• 46:22
  Speaker 1: Dennis Hopper is probably like five ten and Kiana Reeves
• 46:27
  Speaker 1: is like six three. So like, I mean, I'm getting
• 46:30
  Speaker 1: this is a pure guest, but I feel like I
• 46:32
  Speaker 1: could be right about this. He does have six three energy.
• 46:34
  Speaker 1: He does have six three energy. I've seen him in
• 46:36
  Speaker 1: real life. He's very tall. How where did you see
• 46:40
  Speaker 1: him in real life? We've both had personal interactions with
• 46:44
  Speaker 1: Keiana Reeves, Jamie and I have Let's repeat them, let's
• 46:47
  Speaker 1: repeat them, Let's I love them. You go first, Caitlin, Okay,
• 46:52
  Speaker 1: there was a I don't know if it was like
• 46:55
  Speaker 1: special features for something or just like some kind of
• 46:59
  Speaker 1: or if it was like a document to read, but
• 47:00
  Speaker 1: it was some kind of. It was an interview with
• 47:03
  Speaker 1: the two leads of Bill and Ted, Kiana Reeves and
• 47:08
  Speaker 1: that other guy whose name I always forget, Alex Winters.
• 47:11
  Speaker 1: Alex Winters. Yes, So whoever was making whoever was like
• 47:14
  Speaker 1: producing this like video interview needed a place to shoot
• 47:17
  Speaker 1: and I was the program director of Nerd Melt at
• 47:21
  Speaker 1: the time, this comedy venue in l A. And they
• 47:24
  Speaker 1: asked if they could shoot there and I was like
• 47:27
  Speaker 1: absolutely yes, without a moment's hesitation, and so Kiana Reeves
• 47:32
  Speaker 1: and Alex Winters show up, they get interviewed. I have
• 47:36
  Speaker 1: a picture of Kiana Reeves on my phone. He drove
• 47:39
  Speaker 1: up to the interview on his motorcycle. Oh my god,
• 47:44
  Speaker 1: it was the coolest moment of my life, Jamie. What's
• 47:47
  Speaker 1: your story? KIANU Reeves? So, when I first moved to
• 47:52
  Speaker 1: l A, I got a job working at book Soup
• 47:55
  Speaker 1: in West Hollywood, which I didn't realize at the time
• 47:59
  Speaker 1: was the books store to the Stars. So we had
• 48:02
  Speaker 1: a lot of because it's like on the Sunset Strip
• 48:05
  Speaker 1: and so it was like to this day, I still
• 48:07
  Speaker 1: have not had as many celebrity encounters a cumulatively as
• 48:12
  Speaker 1: I did in my first like six months living there,
• 48:15
  Speaker 1: because it was it was a very cool place to work.
• 48:18
  Speaker 1: I liked it a lot. But Kiana Reeves was one
• 48:20
  Speaker 1: of our regulars and like he reads books first of all,
• 48:25
  Speaker 1: he reads books, and he and I was like briefed
• 48:28
  Speaker 1: because I worked in the back most of the time
• 48:30
  Speaker 1: at the back counter, and they were like okay. So
• 48:32
  Speaker 1: Kiana Reeves comes every Wednesday to buy a new like
• 48:37
  Speaker 1: he buy. He would buy one fiction book and one
• 48:41
  Speaker 1: book of Sudoku puzzles and he would do sudoku on set.
• 48:46
  Speaker 1: I guess he didn't tell that to me, but like
• 48:49
  Speaker 1: he he would come on his motorcycle every Wednesday evening,
• 48:53
  Speaker 1: so if you're doing the closing shift, you knew that
• 48:56
  Speaker 1: he was going to come. And he would always call
• 48:58
  Speaker 1: in advance and he'd be like, Hi, this is Mr Reeves,
• 49:01
  Speaker 1: Um are my Are my books ready? And I would
• 49:05
  Speaker 1: be like, yes, they're ready, and then he would like
• 49:08
  Speaker 1: come and he would give him his like his new
• 49:14
  Speaker 1: fiction book and his new Sudoku book, and then he
• 49:17
  Speaker 1: would take off. It was so nice. There were so
• 49:20
  Speaker 1: many celebrities that were very, very not nice at that store,
• 49:25
  Speaker 1: and Kiana Reeves was like a standout icon. Kiana Reeves,
• 49:29
  Speaker 1: Emma Roberts, Amy Adams, the three nicest in Miranda July
• 49:33
  Speaker 1: all very nice, loves, Ellen de generous and Elton John nice.
• 49:39
  Speaker 1: That doesn't surprise me. They made us evacuate the stores
• 49:42
  Speaker 1: so they could show. Of course Ellen is like the
• 49:44
  Speaker 1: worst person. Elton John. I'll give Elton John a pass
• 49:47
  Speaker 1: because I even though he did make us evacuate the store,
• 49:51
  Speaker 1: I'm obsessed with him, so I don't care like I
• 49:53
  Speaker 1: was like, you know what, you deserve it, you deserve
• 49:55
  Speaker 1: the story. Yeah. He and Ellen made us empty out
• 49:58
  Speaker 1: the store for him to come in, and Ring a
• 50:00
  Speaker 1: Star came once. He was nice. Oh I wouldn't know
• 50:02
  Speaker 1: what he looked like, to be honest, I know, he
• 50:04
  Speaker 1: just I was like, this could be any old British man,
• 50:07
  Speaker 1: but he was very nice. Yeah. Wow, that Kiana experience
• 50:11
  Speaker 1: is so beautiful. It's just so beautiful and all it's
• 50:15
  Speaker 1: regular and and he reads most importantly, he reads and sudoku.
• 50:22
  Speaker 1: He's a puzzle boy. He's a puzzle boy. I was
• 50:25
  Speaker 1: a puzzle boy too. I tweeted about that once and
• 50:29
  Speaker 1: I got so many responses from people who had had
• 50:32
  Speaker 1: random encounters with Kiana and they were all, I just
• 50:34
  Speaker 1: want to really quickly list my top two because I
• 50:37
  Speaker 1: forget if I've said this on the show before, but
• 50:39
  Speaker 1: they both made me very happy. The first one someone
• 50:43
  Speaker 1: who had worked at an l A movie theater and
• 50:46
  Speaker 1: Kiana Reeves came in in the late two thousand's with
• 50:50
  Speaker 1: like I believe the anecdote included he was wearing his
• 50:54
  Speaker 1: motorcycle helmet when he walked in, and he like ordered
• 50:58
  Speaker 1: a bunch of food and got one ticket for Vicky
• 51:01
  Speaker 1: Christina Barcelona. He saw it alone. That's a Woody Ellen movie.
• 51:06
  Speaker 1: But I want to move on. The second one is
• 51:10
  Speaker 1: that there was once in like I think the late
• 51:12
  Speaker 1: nineties early two thousand's a struggling actress's car broke down
• 51:16
  Speaker 1: and she didn't know what to do. She's broken down
• 51:19
  Speaker 1: on the side of an l A like a busy
• 51:21
  Speaker 1: l A street and who comes along But Keanu reeves
• 51:25
  Speaker 1: and he knows how to help her, and he like says,
• 51:28
  Speaker 1: get out of the car, don't worry, get yourself a coffee, whatever,
• 51:31
  Speaker 1: I'll help. He knows how to fix stuff. He fixes it.
• 51:34
  Speaker 1: And then the best part of the story at the
• 51:36
  Speaker 1: end is and who was that actress bought Octavia Spencer?
• 51:42
  Speaker 1: It was pre famous Octavia Spencer. Oh my god. Wild
• 51:47
  Speaker 1: is that he's an angel from heaven? That is an angel.
• 51:51
  Speaker 1: He's not real, he can't be real's perfect. He's a
• 51:55
  Speaker 1: perfect person. Also, that's an amazing story. That is so
• 52:00
  Speaker 1: amazing because he didn't know that was going to be
• 52:02
  Speaker 1: a famous person. She just did it for anybody. He's
• 52:05
  Speaker 1: just got a good heart. Yeah, can you imagine like
• 52:08
  Speaker 1: being on the road and someone's needs help and the
• 52:11
  Speaker 1: first thing, the first thought you have is like I'm
• 52:13
  Speaker 1: going to help them, and then you do it. I
• 52:15
  Speaker 1: mean I feel like how I don't know how different
• 52:18
  Speaker 1: a person anyone could be if they knew how to
• 52:21
  Speaker 1: fix cars. I guess if I knew how to fix cars,
• 52:24
  Speaker 1: I would be like, I'll fix any car just to
• 52:27
  Speaker 1: show what I can do. But I don't know. But
• 52:30
  Speaker 1: also like if you see a broken down car, even
• 52:32
  Speaker 1: if you know how to fix cars, the probability that
• 52:35
  Speaker 1: you can you can fix any car with any problem, like,
• 52:38
  Speaker 1: that's PROFI you have a lot of that's a lot
• 52:41
  Speaker 1: of skills to a lot of skills. Yeah, well, thank
• 52:45
  Speaker 1: you for sharing, Thank you for sharing. So that was
• 52:48
  Speaker 1: a lot of Kian. But yeah, he's I mean we've
• 52:50
  Speaker 1: said it multiple times in the show. He's an amazing person. Yes, absolutely. Okay,
• 52:56
  Speaker 1: so just a little bit of the recap left, Um,
• 52:58
  Speaker 1: Dennis Hopper has been to appitated then, But but the
• 53:02
  Speaker 1: train that they're on won't stop and there's a gap
• 53:07
  Speaker 1: in the tracks ahead. The tracks are not finished. There's
• 53:10
  Speaker 1: always a gap, and it seems like he got a
• 53:14
  Speaker 1: speed up. I mean, alas always under construction. They got
• 53:18
  Speaker 1: that right, it's true. That is true, and it seems
• 53:21
  Speaker 1: like Annie might die because he can't get her loose
• 53:24
  Speaker 1: from like being handcuffed to the poll. But he's like,
• 53:26
  Speaker 1: wait a minute, I'm going to speed up, and somehow
• 53:29
  Speaker 1: that makes it so the train goes upward onto street
• 53:34
  Speaker 1: level and crashes up from underground onto the street, and
• 53:39
  Speaker 1: so they're safe. As a red Line user, I could
• 53:42
  Speaker 1: not make heads or tails of this, but also this
• 53:47
  Speaker 1: so maybe I don't know who knows, but they are
• 53:52
  Speaker 1: safely make it onto the street, and then Jack and
• 53:55
  Speaker 1: Annie make out on the street, and then the credits
• 54:00
  Speaker 1: aren't rolling. So that is the story. Let's take another
• 54:03
  Speaker 1: quick break and then we will come back to discuss,
• 54:12
  Speaker 1: and we're back. So we have I think we kind
• 54:15
  Speaker 1: of had the copy Ganda discussion at the beginning of
• 54:19
  Speaker 1: this movie um or episode, but I wanted to touch
• 54:23
  Speaker 1: on really quickly just um some production history notes on
• 54:28
  Speaker 1: this movie. Some of it is just like interesting and
• 54:30
  Speaker 1: then others are more relevant to our discussions. So the
• 54:34
  Speaker 1: I mean top to bottom. This movie is a male
• 54:40
  Speaker 1: production directed by Jean Dabant, who is a Dutch filmmaker
• 54:46
  Speaker 1: who Sharne, as you pointed out, started as a cinematographer,
• 54:49
  Speaker 1: became a director, went on to direct another ROMP that
• 54:52
  Speaker 1: I haven't watched in five hundred years, Twisters. That's another
• 54:56
  Speaker 1: big movie. Was written by Graham Yost, who is uh nepotism,
• 55:02
  Speaker 1: but also is a very accomplished writer. Uh he's Canadian nepotism.
• 55:07
  Speaker 1: Imagine it. He did, he did. Uh. This was his
• 55:12
  Speaker 1: first like major production, but he went on to make
• 55:15
  Speaker 1: I'm pretty sure several beloved coppaganda series such as Justified,
• 55:21
  Speaker 1: which I haven't seen, so correct me if that's not capaganda.
• 55:24
  Speaker 1: I'm pretty sure it is, and The Americans, which is
• 55:29
  Speaker 1: it's complicated, several layers of copaganda, but there are elements
• 55:33
  Speaker 1: of it. There's definitely elements of like serving your country
• 55:37
  Speaker 1: nationalism to a lot of his work. But that said,
• 55:41
  Speaker 1: I've seen the first three seasons of the Americans and
• 55:43
  Speaker 1: I enjoyed it. But anyways, this was his script. He
• 55:47
  Speaker 1: started writing the script when he heard about a movie
• 55:50
  Speaker 1: called Runaway Train by John That started John that song
• 55:58
  Speaker 1: that wait, I wonder if it is because there is
• 56:01
  Speaker 1: an original song for Speed by Billy Idol that's the
• 56:03
  Speaker 1: ending credits song. Really I didn't want lyrics are really amazing.
• 56:10
  Speaker 1: It's speed give me what I need, Blast me to
• 56:13
  Speaker 1: Heaven just for loving you. Okay, that's that's very fun
• 56:19
  Speaker 1: up that I agree. Original Billy Idol song, Yeah it um.
• 56:23
  Speaker 1: I of course was referring to the Soul Asylum song
• 56:27
  Speaker 1: Runaway Train, with such lyrics as runaway Train never going back,
• 56:34
  Speaker 1: wrong way on a long way track that song. I
• 56:38
  Speaker 1: was thinking of the Ozzy Osbourne song and I had
• 56:40
  Speaker 1: the wrong title in my mind. So I have conversation, yes,
• 56:46
  Speaker 1: and he went back to Runaway Train, the movie. So
• 56:48
  Speaker 1: Graham Yost heard from his nepotism daddy about this movie
• 56:52
  Speaker 1: called Runaway Train that started John Voight that has a
• 56:55
  Speaker 1: similar ish premise. The premise of Runaway Train is from
• 57:00
  Speaker 1: You're not going to see this coming Akira Kurosawa. So
• 57:04
  Speaker 1: Speed owes its success to a concept by Akira Kurosawa.
• 57:10
  Speaker 1: So maybe that's fine, it's good. I don't know, but
• 57:13
  Speaker 1: never think you would say that. I would never think
• 57:15
  Speaker 1: that's where that was going, right, So it's like this
• 57:17
  Speaker 1: kind of it's an interesting way that this movie was conceived,
• 57:20
  Speaker 1: Like part of it has to do with the screenwriter's
• 57:23
  Speaker 1: father misremembering the plot to Runaway train and in the
• 57:28
  Speaker 1: process of misremembering it kind of conceiving of a of speed. Um.
• 57:34
  Speaker 1: So that anyways, I thought that that that the way
• 57:37
  Speaker 1: that this movie was conceived of was pretty interesting and
• 57:39
  Speaker 1: was clearly produced because die Hard had been such a success,
• 57:44
  Speaker 1: and so there were there's a whole uh scholarly journal
• 57:49
  Speaker 1: Wikipedia section on the various changes that went on during
• 57:52
  Speaker 1: this movie. The one that I thought was particularly worth
• 57:56
  Speaker 1: mentioning is that Joss Whedon was brought on to write
• 58:00
  Speaker 1: this movie. And we've discussed the paradox of Josh Weeden
• 58:05
  Speaker 1: and male writers who present themselves as feminists and later
• 58:09
  Speaker 1: you learned that they were actually deeply abusive towards women.
• 58:12
  Speaker 1: We've we've had this discussion. It's the absolute worst. We're
• 58:18
  Speaker 1: not vouching for him in any way here. I think
• 58:20
  Speaker 1: that we've had I mean, I guess our deepest discussion
• 58:22
  Speaker 1: was on the Matreon for the Cabin in the Woods episode,
• 58:24
  Speaker 1: but we've had this discussion um in the Avengers episode
• 58:28
  Speaker 1: as well. All that to say, Josh Weeden, I guess,
• 58:32
  Speaker 1: is responsible for the majority of the dialogue in this movie.
• 58:36
  Speaker 1: Is what the credited screenwriter Graham Yost said is that
• 58:40
  Speaker 1: Josh Weeden was brought in a couple of weeks before production,
• 58:43
  Speaker 1: and he basically rewrote the dialogue to fit the actors
• 58:47
  Speaker 1: who had been cast, which makes sense to me, Like
• 58:50
  Speaker 1: he rewrote the villain lines to sound more like Dennis
• 58:54
  Speaker 1: Hopper lines, and rewrote the Jack lines to sound more
• 58:58
  Speaker 1: like Keanu Reeves line, and he rewrote and thee's lines
• 59:02
  Speaker 1: to sound like a love interest, which is I wanted
• 59:05
  Speaker 1: to hit on. There is that, um, the casting and
• 59:10
  Speaker 1: the writing for this movie, it seemed like deeply studio
• 59:14
  Speaker 1: notes and how it ended the way it ended where
• 59:18
  Speaker 1: originally and this is uh scholarly journal Wikipedia, but also
• 59:24
  Speaker 1: um is from an Entertainment Weekly article from for the
• 59:29
  Speaker 1: Speed twentieth anniversary. But the anti character was originally a
• 59:34
  Speaker 1: black woman and a paramedic, Oh my god. Yeah, and
• 59:38
  Speaker 1: which which actually makes a lot more sense because a
• 59:41
  Speaker 1: paramedic would understand how to get somewhere fast in an emergency,
• 59:48
  Speaker 1: which is why she was That character was written that
• 59:50
  Speaker 1: way to like justify why she'd be able to like
• 59:53
  Speaker 1: take control of the right. Yeah. Right, And so so
• 59:57
  Speaker 1: this is like a very frustrating point where yeah, the
• 1:00:00
  Speaker 1: the original script had Annie as a black paramedic, and
• 1:00:05
  Speaker 1: then the role was offered to Halle Berry. She said no.
• 1:00:10
  Speaker 1: I don't know why, but she said no. And then
• 1:00:13
  Speaker 1: instead of pursuing other black actors, they decided to change
• 1:00:19
  Speaker 1: the character entirely, and the character was then rewritten to
• 1:00:23
  Speaker 1: be a driver's ed teacher that was more comic relief,
• 1:00:26
  Speaker 1: and that role was offered to Ellen Degenerous. Speaking of
• 1:00:30
  Speaker 1: book soup, customers did not see that twist. Twist, I
• 1:00:37
  Speaker 1: don't think I would have enjoyed that, but like so,
• 1:00:40
  Speaker 1: then Ellen was offered the part. Presumably Ellen passed. I
• 1:00:44
  Speaker 1: don't really have info on that. And then I feel
• 1:00:47
  Speaker 1: like the final phase of studio notes took hold when
• 1:00:50
  Speaker 1: they said, well, let's reimagine Annie as a love interest,
• 1:00:54
  Speaker 1: and then the part was whitewashed and removed of all
• 1:00:59
  Speaker 1: prof national authority or knowledge and it became a random
• 1:01:06
  Speaker 1: white woman played by Sandra Bullock named Annie. And so essentially,
• 1:01:11
  Speaker 1: as far as I can understand, Josh Weeden wrote, basically
• 1:01:14
  Speaker 1: that entire part based off of Sandra Bullocks existing persona
• 1:01:19
  Speaker 1: at that time. Also like her, like the drivers and
• 1:01:23
  Speaker 1: teacher can drive, the paramedic can drive, and Sandra Bullock
• 1:01:27
  Speaker 1: has gotten a ticket for speed. Her license were both
• 1:01:29
  Speaker 1: for speeding, and that's why she's good at driving this
• 1:01:31
  Speaker 1: buss and that's all we know about her too, that's
• 1:01:34
  Speaker 1: all we know. And then she she misses her car. Yeah,
• 1:01:38
  Speaker 1: so I found I mean, I'm glad that that. It's
• 1:01:41
  Speaker 1: I feel like we were talking all the time about
• 1:01:43
  Speaker 1: how like studio notes potentially influenced scripts, but this one
• 1:01:47
  Speaker 1: is like pretty well documented. And the way that this
• 1:01:50
  Speaker 1: character of Vault was is just like so typical and
• 1:01:55
  Speaker 1: frustrating where it was like for sure, it sounds like
• 1:01:57
  Speaker 1: the originally written version would have been the most effective
• 1:02:00
  Speaker 1: and was ditched because here's one of my big issues. Well,
• 1:02:06
  Speaker 1: I mean, I've got many issues with this otherwise perfect movie.
• 1:02:10
  Speaker 1: That's amazing, um that her becoming the like de facto
• 1:02:17
  Speaker 1: bus driver happens almost randomly, where like while it is
• 1:02:23
  Speaker 1: cool that like we do see a woman driving a
• 1:02:25
  Speaker 1: bus and like, you know, for the most part, keeping
• 1:02:27
  Speaker 1: her cool under pressure and like keeping the bus going
• 1:02:31
  Speaker 1: the speed it needs to be going, and like helping
• 1:02:35
  Speaker 1: everyone stay alive and stuff like that's cool to see
• 1:02:39
  Speaker 1: in this like way that you know, it's it's this
• 1:02:41
  Speaker 1: prolonged part of the movie too, you know, she's necessary
• 1:02:44
  Speaker 1: to the plot of the movie, but her being the
• 1:02:49
  Speaker 1: bus driver basically happens randomly, where like Jack is highly
• 1:02:55
  Speaker 1: skilled or so we are led to believe, and that's
• 1:02:57
  Speaker 1: why he's that's why it's important. He's an active participant
• 1:03:01
  Speaker 1: in the story. But Annie wasn't given any special skills
• 1:03:05
  Speaker 1: or training by the screenwriter, unless you count that she
• 1:03:08
  Speaker 1: like speeds and then gets pulled over for it, and like, yeah,
• 1:03:12
  Speaker 1: maybe it was like they were trying to be subtle
• 1:03:15
  Speaker 1: when she first when Jack first gets on the train,
• 1:03:17
  Speaker 1: she stands up to him and she's like trying to
• 1:03:21
  Speaker 1: take charge. So I mean that's I'm I'm reaching. I
• 1:03:24
  Speaker 1: am reaching, But like I have the same that though,
• 1:03:27
  Speaker 1: like she was like at least had the confidence to
• 1:03:31
  Speaker 1: put herself into that. Yeah, yeah, yeah, I I sort of.
• 1:03:37
  Speaker 1: I was. I feel like it would have really helped
• 1:03:40
  Speaker 1: the story, truly only helped the story if she had
• 1:03:44
  Speaker 1: had more knowledge of driving or just like more character.
• 1:03:49
  Speaker 1: Like I just like we don't we we knew nothing
• 1:03:51
  Speaker 1: about her really, and Sandra Bulok is a great actress
• 1:03:55
  Speaker 1: and that you still kind of like liked watching her
• 1:03:58
  Speaker 1: and she was like funny and stuff. But yeah, we
• 1:04:00
  Speaker 1: don't know details, like she's on her way to work,
• 1:04:03
  Speaker 1: which is why she's catching the bus, but what's her job?
• 1:04:06
  Speaker 1: We never Also, she is not creditive with the last name.
• 1:04:10
  Speaker 1: I noticed that immediately. She and three Okay, so she
• 1:04:15
  Speaker 1: doesn't have a last name, which gave me very Ali
• 1:04:18
  Speaker 1: from Lady Gaga a star is born vibes where it's
• 1:04:21
  Speaker 1: like Jackson Maine. That's a part of what everything we
• 1:04:24
  Speaker 1: know about that character, that's cannon Ali period, Like that's
• 1:04:28
  Speaker 1: all you know. I mean, I hate that, so complete
• 1:04:33
  Speaker 1: garbage but heart degree. But anyways, like I mean, the
• 1:04:38
  Speaker 1: female protagonists not having a last name is pretty glaring.
• 1:04:41
  Speaker 1: And then on top of that, the only three passengers
• 1:04:44
  Speaker 1: on the bus that don't have any name at all
• 1:04:48
  Speaker 1: or even a nickname are women of color on the bus,
• 1:04:51
  Speaker 1: which is like, that's something that I don't know. I mean,
• 1:04:55
  Speaker 1: I guess we should we should talk about Annie and
• 1:04:56
  Speaker 1: then get to the people on the bus. But Annie,
• 1:05:00
  Speaker 1: I mean, it sucks because it's like I totally agree
• 1:05:03
  Speaker 1: with you shearine that everything I like about Annie has
• 1:05:06
  Speaker 1: more to do with Sandra Bullocks performance that how the
• 1:05:10
  Speaker 1: character is actually because there's really not much there. There's
• 1:05:15
  Speaker 1: nothing there. And this happens a lot in action movies
• 1:05:17
  Speaker 1: where the protagonist is a man with action movie skills,
• 1:05:22
  Speaker 1: like he's good at fighting, he's good at shooting guns,
• 1:05:25
  Speaker 1: or whatever other like action movie skills you might have,
• 1:05:28
  Speaker 1: and then the one female character usually is just kind
• 1:05:31
  Speaker 1: of like along for the ride, or if she does
• 1:05:35
  Speaker 1: have a special skill, it's not really anything that allows
• 1:05:38
  Speaker 1: her to participate in the action parts of this movie.
• 1:05:41
  Speaker 1: This movie doesn't really fall into that category because, like
• 1:05:44
  Speaker 1: she does end up driving the whole thing. So the
• 1:05:47
  Speaker 1: fact that she ends up driving the bus and like
• 1:05:50
  Speaker 1: her actions are very important to this movie. But again
• 1:05:53
  Speaker 1: it's kind of random. But she, again she's not equipped
• 1:05:57
  Speaker 1: with any like special training or action movie skills. She
• 1:06:01
  Speaker 1: ended up needing a lot of like help and guidance
• 1:06:04
  Speaker 1: from the man who does have these skills. She's constantly
• 1:06:09
  Speaker 1: like asking Jack what she should do. But if she
• 1:06:12
  Speaker 1: was given if she was like a paramedic for example,
• 1:06:15
  Speaker 1: and like had to drive an ambulance for her job,
• 1:06:19
  Speaker 1: like she would just have more agency, even a driver's
• 1:06:22
  Speaker 1: at teacher, she would have had a like an authoritative
• 1:06:25
  Speaker 1: view of the road, Like yeah, multiple elements, Like first,
• 1:06:29
  Speaker 1: the fact that this character was whitewashed from the first draft,
• 1:06:32
  Speaker 1: and then that she was also stripped of her agency
• 1:06:36
  Speaker 1: or authority in the situation. On top of that, I
• 1:06:39
  Speaker 1: thought it was really interesting and like frustrating that the
• 1:06:43
  Speaker 1: two additional action movies, in this action movie at the
• 1:06:47
  Speaker 1: beginning and the end, we're not in that original draft
• 1:06:51
  Speaker 1: that included a paramedic. And so I think that by
• 1:06:54
  Speaker 1: the time the character had been whitewashed and stripped of agency,
• 1:06:58
  Speaker 1: that made it all the easy year for people doing
• 1:07:01
  Speaker 1: rewrites to damsel her, because theoretically previous versions of the
• 1:07:05
  Speaker 1: character would have been much more difficult to damsel because
• 1:07:08
  Speaker 1: you knew more about her, And like, I feel like
• 1:07:11
  Speaker 1: they almost take advantage of the fact that the audience
• 1:07:14
  Speaker 1: knows nothing about Annie to make it plausible that she
• 1:07:18
  Speaker 1: would be easily damseled by the Dennis Hopper character because
• 1:07:22
  Speaker 1: we don't know is she a very naive person. We
• 1:07:25
  Speaker 1: have kind of no idea, and so when that happens,
• 1:07:28
  Speaker 1: it's like, I guess I have I don't really understand
• 1:07:32
  Speaker 1: whether this is something the character. I didn't think it
• 1:07:34
  Speaker 1: would be something that character would go for it. But
• 1:07:35
  Speaker 1: also it's a police authority figure intervening and maybe she
• 1:07:39
  Speaker 1: would say, Okay, I'll go with you. It just it
• 1:07:43
  Speaker 1: obscures what she's about so much that it almost that
• 1:07:46
  Speaker 1: it makes it believable that she would be damseled like that,
• 1:07:49
  Speaker 1: and that sucks, I know. Yeah, another drawback of not
• 1:07:53
  Speaker 1: equipping her with any special skills or training or agency,
• 1:07:58
  Speaker 1: like if she did have some reason that would justify
• 1:08:01
  Speaker 1: her being at that like money drop off location, like
• 1:08:04
  Speaker 1: if she was actively helping out with that situation, the
• 1:08:08
  Speaker 1: story would make more sense because right now there's absolutely
• 1:08:11
  Speaker 1: no reason why a civilian would have been brought. They're like,
• 1:08:15
  Speaker 1: she probably I don't know, admittedly, I don't know anything
• 1:08:17
  Speaker 1: about like police procedure. I don't know yet. It seems
• 1:08:20
  Speaker 1: like she's like waiting for Jack for like a date
• 1:08:23
  Speaker 1: to get off work. Like if I received a bullock,
• 1:08:26
  Speaker 1: I'd be like bring me home. I'll like look up
• 1:08:29
  Speaker 1: your badge number later or whatever, like if I need
• 1:08:32
  Speaker 1: to date a cop. Well, because she's in the ambulance
• 1:08:35
  Speaker 1: and he's like I'll be right back, and then he's
• 1:08:37
  Speaker 1: not right back, and she's concerned, like where is But
• 1:08:40
  Speaker 1: that makes no sense. She would have been probably taken
• 1:08:43
  Speaker 1: to a hospital because she did sustain injuries. They just
• 1:08:47
  Speaker 1: put like nail polish remover on her. They're like, she's fine.
• 1:08:51
  Speaker 1: So it makes absolutely no sense that she is there.
• 1:08:56
  Speaker 1: And literally the only reason the script brings her along
• 1:09:00
  Speaker 1: is so that she can be kidnapped and damseled. Right,
• 1:09:04
  Speaker 1: She's just so frustrating and accessory. For sure. It's stinks.
• 1:09:08
  Speaker 1: It's stinks, especially because up to that point not and
• 1:09:12
  Speaker 1: this was prior to me knowing about the writing history
• 1:09:15
  Speaker 1: of the anti character. My general feeling was like, Okay,
• 1:09:19
  Speaker 1: it's definitely not perfect, but this could have been way worse.
• 1:09:24
  Speaker 1: And then and then the more you learn, and then
• 1:09:26
  Speaker 1: the more the movie goes on, you're like, God. But
• 1:09:29
  Speaker 1: the third act definitely like reeks to me of studio notes,
• 1:09:32
  Speaker 1: which is like a good and bad thing, because do
• 1:09:35
  Speaker 1: I dislike the train sequence, Not at all. I think
• 1:09:39
  Speaker 1: the train sequence is awesome. I love seeing Kioto be
• 1:09:42
  Speaker 1: like speed it up, like whatever the he said, You're like, oh,
• 1:09:47
  Speaker 1: he's doing it again. So we never see the dead
• 1:09:51
  Speaker 1: driver ever, there's there's no remorse for the dead driver
• 1:09:54
  Speaker 1: or anything, even when they crash, and do we ever
• 1:09:59
  Speaker 1: find out I say him is like oh no, I
• 1:10:01
  Speaker 1: mean the driver of the train. Yeah, yeah, I mean
• 1:10:04
  Speaker 1: Sam is okay, he got help, he was good. We
• 1:10:07
  Speaker 1: hope that he made it out alive and well, but yeah,
• 1:10:11
  Speaker 1: a lot of people die and there's not Sometimes a
• 1:10:15
  Speaker 1: tear is shed, but otherwise it's like, all right, let's
• 1:10:18
  Speaker 1: move along. Even Harry Temple, no one cried for Harry Temple,
• 1:10:21
  Speaker 1: not even did have like a breakdown. He went good.
• 1:10:27
  Speaker 1: I mean, he had an outburst, but like then Annie
• 1:10:31
  Speaker 1: quickly calmed him down because she does that as a woman,
• 1:10:35
  Speaker 1: and she's very nurturing, so she fixed him. The romantic
• 1:10:39
  Speaker 1: couple in this movie do have the superpower to get
• 1:10:43
  Speaker 1: over extreme trauma very quickly because Sam, like realistically, which
• 1:10:48
  Speaker 1: obviously it's like, what's even the point of having that
• 1:10:50
  Speaker 1: discussion for this movie, But like, if you were Annie,
• 1:10:53
  Speaker 1: and it's clue that she and Sam are friends. They
• 1:10:55
  Speaker 1: see each other every day. He's shot, it's very unclear,
• 1:10:59
  Speaker 1: at least me as an audience member, if like if
• 1:11:02
  Speaker 1: it's something he will survive or not. And then she's
• 1:11:04
  Speaker 1: kind of up friend like la la am I going
• 1:11:07
  Speaker 1: fast enough, you're cute and there's like your friend and
• 1:11:12
  Speaker 1: he's and then and then when you do find out
• 1:11:15
  Speaker 1: that Sam is going to survive. He's directly behind her,
• 1:11:19
  Speaker 1: like if she didn't even talk to him once, you know, yeah,
• 1:11:23
  Speaker 1: she'll we talk about the bus passengers. I mean, I
• 1:11:25
  Speaker 1: have a whole yes, Do you have anything else? Does
• 1:11:28
  Speaker 1: anyone have anything else to say about Andy's character? Um,
• 1:11:31
  Speaker 1: I'll just I mean, like I do think it's so
• 1:11:35
  Speaker 1: hilarious that flirting is still a thing, even in the
• 1:11:38
  Speaker 1: face like certain death. And like there's a moment where
• 1:11:41
  Speaker 1: she takes off her cardigan and Kanu was like looking
• 1:11:44
  Speaker 1: at her, being like, oh, she's taking off her cardigan
• 1:11:47
  Speaker 1: like hit and He's like wow. Yeah. And it's also
• 1:11:52
  Speaker 1: like trauma bodging is real, Like that's there's there's a
• 1:11:56
  Speaker 1: lot there. It is real. But it but this is
• 1:12:00
  Speaker 1: like the most wedged in love story for sure. I
• 1:12:04
  Speaker 1: agree and disagree, like of all of that, like we've
• 1:12:09
  Speaker 1: we've dealt with so many implausible forest love stories. But Sharie,
• 1:12:13
  Speaker 1: I agree, trauma bonding could be a strong argument for this.
• 1:12:18
  Speaker 1: And they they do call attention to yeah yeah twice
• 1:12:23
  Speaker 1: and but and then again they are just too hot people,
• 1:12:26
  Speaker 1: you know, they found each other. Hot people near each
• 1:12:29
  Speaker 1: other will fall in love and kiss in a movie
• 1:12:31
  Speaker 1: happens every time. I mean the ending. The last thing
• 1:12:34
  Speaker 1: she says is she wants to base the relationship off sex.
• 1:12:38
  Speaker 1: I kind of loved that for them. I was like,
• 1:12:39
  Speaker 1: you know what, iconic have a ton of sex. And
• 1:12:42
  Speaker 1: then then maybe they stopped talking a week from the
• 1:12:45
  Speaker 1: end of the movie. We don't know, we have no idea.
• 1:12:47
  Speaker 1: I mean, speed Too didn't have Kyoto. She is dating
• 1:12:49
  Speaker 1: someone else and speed To so I mean, yeah, I
• 1:12:53
  Speaker 1: guess canonically buddies and then they weren't. I kind of
• 1:12:57
  Speaker 1: love that, So that's Annie whatever. The love story is very,
• 1:13:02
  Speaker 1: very forced, but that's don't Maybe it's just because that's
• 1:13:05
  Speaker 1: like far from one of my my more intense criticisms
• 1:13:08
  Speaker 1: of the movie that the love story like is so
• 1:13:11
  Speaker 1: corny and sucks. But like, I don't know, it didn't
• 1:13:14
  Speaker 1: bother me as much as other elements. Well, I think
• 1:13:18
  Speaker 1: maybe that was on purpose because part of the reason
• 1:13:20
  Speaker 1: that Cascian it was because he's attractive to the ladies,
• 1:13:23
  Speaker 1: as they say, and so maybe they added that element
• 1:13:26
  Speaker 1: also to appeal to their women. They're like what they
• 1:13:30
  Speaker 1: imagine straight women watchers, you know what I mean. So
• 1:13:33
  Speaker 1: it's like, maybe that's what they were going for to
• 1:13:36
  Speaker 1: like everyone's satisfied with this movie. We ticked all the boxes. Yeah,
• 1:13:39
  Speaker 1: that is a thing in Hollywood where like executives and
• 1:13:43
  Speaker 1: you know, people who are giving all these studio notes
• 1:13:46
  Speaker 1: are like, well, this is an action movies and girls
• 1:13:49
  Speaker 1: hate action. They like love and those are the rules.
• 1:13:52
  Speaker 1: So we have to put love in the action movie
• 1:13:55
  Speaker 1: so that women will come to see this. And it's like,
• 1:13:57
  Speaker 1: you know that all genders will come for both of
• 1:13:59
  Speaker 1: those themes exactly. Everyone wants to see Kanu and Sandy.
• 1:14:04
  Speaker 1: Fuck like, that's that desire knows no no bounds. The
• 1:14:09
  Speaker 1: sequel to Speed is not Speed to Cruise Control. It
• 1:14:13
  Speaker 1: is actually The lake House. So it is I saw
• 1:14:18
  Speaker 1: The lake House in theaters same so did I Do
• 1:14:22
  Speaker 1: you know that Sandra Bullock won the MTV Movie Award
• 1:14:25
  Speaker 1: for Most Desirable Woman for Speed Most Desirable Woman. That's
• 1:14:31
  Speaker 1: a category that was where it was the MTV movie
• 1:14:35
  Speaker 1: words are like so, I mean I covered that briefly
• 1:14:38
  Speaker 1: in Lolita podcast, where there was an adaptation of Lolita
• 1:14:42
  Speaker 1: that was nominated for Best Movie. Kiss Like the MTV
• 1:14:46
  Speaker 1: Movie Awards fucking suck, Like I'm most desirable woman is
• 1:14:52
  Speaker 1: also the most creepy way to phrase that award. Truly, Yeah,
• 1:14:57
  Speaker 1: that's the award, that is the award most desirable Women.
• 1:15:01
  Speaker 1: I hope she uses it as like a toilet paper dispenser.
• 1:15:06
  Speaker 1: But yeah, it's like every action movie you can think
• 1:15:08
  Speaker 1: of it. I mean not everyone, but like every James
• 1:15:11
  Speaker 1: Bond movie, every Mission Impossible, there's some type of like
• 1:15:15
  Speaker 1: hotness for the guy and also romance for the ladies,
• 1:15:19
  Speaker 1: like assumed ladies, but you know it's the same um.
• 1:15:25
  Speaker 1: But yeah, as far as the secondary and tertiary characters
• 1:15:28
  Speaker 1: who are women, as far as like the opening elevator sequence,
• 1:15:34
  Speaker 1: there's a woman who is really scared to get off
• 1:15:37
  Speaker 1: the elevator and she's basically presented as this like woman
• 1:15:41
  Speaker 1: being quote unquote hysterical and that being treated as an
• 1:15:45
  Speaker 1: obstacle like it often is in movies. That same woman
• 1:15:49
  Speaker 1: loses her shoe that that's what I was laughing about
• 1:15:54
  Speaker 1: my shoe, and it's like it's because women be loving shoes. Also,
• 1:16:01
  Speaker 1: the way that that sequence is shot, well for I
• 1:16:04
  Speaker 1: had I had I had written down uh feminist icon
• 1:16:09
  Speaker 1: ha ha he he lady, where there's a woman in
• 1:16:12
  Speaker 1: that first sequence where she's like she's got this very
• 1:16:16
  Speaker 1: like she has a blonde blowout because it and every
• 1:16:21
  Speaker 1: time we see her, we don't know anything about her,
• 1:16:22
  Speaker 1: but she's always going ha ha or he or she's
• 1:16:25
  Speaker 1: whispering to a man like she's flirting. She's just like,
• 1:16:29
  Speaker 1: we're right. And then when you see her pulled out
• 1:16:33
  Speaker 1: of the elevator, eventually it's like you see up a
• 1:16:36
  Speaker 1: woman's skirt. During the elevator scene, you see like a
• 1:16:39
  Speaker 1: woman's but when she's being pulled out like the way
• 1:16:43
  Speaker 1: that particularly in that sequence. It doesn't happen quite as
• 1:16:47
  Speaker 1: much in the bus sequence, but particularly in the elevator sequence,
• 1:16:50
  Speaker 1: there's a lot of like like very I felt like
• 1:16:54
  Speaker 1: intentionally shot up the skirt or like skirts riding up
• 1:16:58
  Speaker 1: of the female characters for sure, like they did not
• 1:17:02
  Speaker 1: need to position the camera that way. The wardrobe could
• 1:17:06
  Speaker 1: have been different, like you know, women wear pants sometimes
• 1:17:10
  Speaker 1: it was very intentional to like to show these like
• 1:17:14
  Speaker 1: this hot but sexualized this little underwear. Yeah, it reminded
• 1:17:18
  Speaker 1: me of the office scene in die Hard at the beginning,
• 1:17:21
  Speaker 1: where you see a woman topless for no reason other
• 1:17:25
  Speaker 1: than they're like we had to titilate the crowd at
• 1:17:28
  Speaker 1: the beginning, like I think it was like very similar
• 1:17:32
  Speaker 1: motivations there for sure. And then as far as the
• 1:17:36
  Speaker 1: women on the bus, Jamie, you mentioned that many of
• 1:17:40
  Speaker 1: them are women of color, but they do not speak
• 1:17:43
  Speaker 1: ever really though, you just see like close up shots
• 1:17:46
  Speaker 1: of them being afraid. Right, we do not know their
• 1:17:49
  Speaker 1: names or any information about them. The only thing do
• 1:17:53
  Speaker 1: be afraid, yes, and they're great. One more like kind
• 1:17:58
  Speaker 1: of secondary character who is given a name and a
• 1:18:02
  Speaker 1: small arc I suppose is Helen played by Beth Grant,
• 1:18:10
  Speaker 1: a notable character actor. She is made to be similarly
• 1:18:15
  Speaker 1: quote unquote hysterical to the point that it gets her
• 1:18:19
  Speaker 1: killed because she's trying to get off the bus after
• 1:18:22
  Speaker 1: being repeatedly told that she can't get off the bus
• 1:18:25
  Speaker 1: or the bus will explode. But she's just painted as
• 1:18:29
  Speaker 1: again a very common thing in action movies. This happens
• 1:18:34
  Speaker 1: in horror movies to where like a woman will just
• 1:18:39
  Speaker 1: be her again quote unquote hysteria that has been ascribed
• 1:18:44
  Speaker 1: to this character makes her abandon all like logic and
• 1:18:50
  Speaker 1: sense of reason. And that's what women do, That's what
• 1:18:55
  Speaker 1: they're saying. Women put up, We put ourselves in danger,
• 1:18:58
  Speaker 1: and it's the only no, only not hysterical woman in
• 1:19:02
  Speaker 1: this movie. Is that one lady cop that I don't
• 1:19:05
  Speaker 1: think she has a name, maybe it's on her shirt
• 1:19:07
  Speaker 1: or something. But the one lady cop that's like talking
• 1:19:09
  Speaker 1: to Jeff Daniels for one, Yeah, I wrote that too,
• 1:19:13
  Speaker 1: and I was like, well, ultimately it's a compaghetti pizza, Like, well,
• 1:19:17
  Speaker 1: I guess it's a wash, but yeah, it's like the
• 1:19:19
  Speaker 1: lady cop does all this investigative work off screen and
• 1:19:23
  Speaker 1: then to show that and she's like, I figured out
• 1:19:25
  Speaker 1: who the bad guy is. And then Jeff Daniels is like,
• 1:19:27
  Speaker 1: that's feminism, and that's feminism. Oh my god. I mean
• 1:19:32
  Speaker 1: I wanted to could just give another shout out to
• 1:19:34
  Speaker 1: uh Beth Grant, who is also in another movie we
• 1:19:38
  Speaker 1: covered recently at Too Wong Foo. Yes she is. She's
• 1:19:41
  Speaker 1: in that as well. She's also in Little Miss Sunshine.
• 1:19:44
  Speaker 1: But we had the bench cast love a good character actor,
• 1:19:47
  Speaker 1: so there's that there. There are a number of good
• 1:19:50
  Speaker 1: character actors in this movie. But yeah, I mean there's
• 1:19:52
  Speaker 1: I would say that there's for me, there were like
• 1:19:55
  Speaker 1: four passengers that had discernible arcs, and it was Helen,
• 1:19:59
  Speaker 1: who is the only other one when we meet, which
• 1:20:01
  Speaker 1: isn't another white woman who has killed immediately. Then there
• 1:20:06
  Speaker 1: is Ortiz, who the most we learned about his background
• 1:20:10
  Speaker 1: is that he has a wife and he's tough. The
• 1:20:15
  Speaker 1: first thing he out says to him is he calls
• 1:20:17
  Speaker 1: him gigant Or, which I did not like. That was like,
• 1:20:21
  Speaker 1: sir at least or Ties is like, my name is Ortiz,
• 1:20:24
  Speaker 1: and he's like, okay, or I guess I'll call you
• 1:20:27
  Speaker 1: that instead of gigant Or. That was so like what
• 1:20:33
  Speaker 1: gigantic was, like, was that established in anyway? That's a
• 1:20:37
  Speaker 1: draw sweeded and Ortiz like has at least some sort
• 1:20:42
  Speaker 1: of like he is like actively involved in the plot
• 1:20:45
  Speaker 1: from there on. The same goes for the yokel guy,
• 1:20:50
  Speaker 1: who I will say like that was like one of
• 1:20:53
  Speaker 1: the first things that I noticed once Sandra Book was
• 1:20:56
  Speaker 1: on screen is that he's like low key. I feel
• 1:20:59
  Speaker 1: like it wasn't known as like harassment, like public transit harassment,
• 1:21:04
  Speaker 1: but he was harassing her at the beginning of that movie.
• 1:21:06
  Speaker 1: And she's like, um, I'm and honestly like, unfortunately I
• 1:21:10
  Speaker 1: took note of her strategy because I'm like, that's not
• 1:21:12
  Speaker 1: the worst thing I've ever heard. She's like, there's gun
• 1:21:14
  Speaker 1: on my seat, I have to move. I was like, oh,
• 1:21:16
  Speaker 1: I might use that in the future. So that guy,
• 1:21:19
  Speaker 1: they gave him so much character though, like he was
• 1:21:21
  Speaker 1: taking pictures of the of the disaster part and then
• 1:21:26
  Speaker 1: he was just like he had this weird intense moment.
• 1:21:29
  Speaker 1: He's like I shouldn't be here, and it's just like
• 1:21:31
  Speaker 1: they could have spent that time making a woman talk
• 1:21:35
  Speaker 1: absolutely shit about him. The most hated character to me, Yeah,
• 1:21:41
  Speaker 1: I didn't give a shit about him when he almost
• 1:21:43
  Speaker 1: died at the end of like by like whatever, who cares? Sorry?
• 1:21:47
  Speaker 1: But and then the last character that you learned something
• 1:21:50
  Speaker 1: about I don't know if you ever learned his name
• 1:21:52
  Speaker 1: is the guy who mistakenly shoots Sam the bus driver
• 1:21:57
  Speaker 1: at the beginning of the movie, which I had a
• 1:21:59
  Speaker 1: lot of like issues with where it's like, Okay, you're
• 1:22:02
  Speaker 1: putting this movie on a bus, which is going to
• 1:22:05
  Speaker 1: imply lower income people are going to be on this
• 1:22:10
  Speaker 1: and I feel like they it's a diverse group of
• 1:22:13
  Speaker 1: people on the bus, so you're like, Okay, where is
• 1:22:16
  Speaker 1: this going. And then immediately the first person of color
• 1:22:19
  Speaker 1: you get to know on the bus pulls a gun
• 1:22:22
  Speaker 1: is assumed to have committed a crime and that's why
• 1:22:27
  Speaker 1: he pulls the gun and then shoot somebody. And I
• 1:22:30
  Speaker 1: was like, this fucking sucks. Like I don't know who
• 1:22:33
  Speaker 1: is responsible for writing this, but it was. It was
• 1:22:35
  Speaker 1: just like so where this setting specifically gives you such
• 1:22:41
  Speaker 1: an interesting opportunity to get to know like working class
• 1:22:45
  Speaker 1: Angelino's and it just kind of it misses that opportunity
• 1:22:49
  Speaker 1: and then like reinforces negative stereotypes on top of that.
• 1:22:53
  Speaker 1: I was just so bummed out by just every writing
• 1:22:56
  Speaker 1: instinct with the characters on the bus, right because said
• 1:23:00
  Speaker 1: they spend way more time on the tourist guy from
• 1:23:03
  Speaker 1: who knows where, but like it's like this white guy
• 1:23:06
  Speaker 1: played by Alan Ruck doesn't even go here, doesn't even
• 1:23:11
  Speaker 1: out of town, Like who can no disrespect to Allan
• 1:23:14
  Speaker 1: Rock whatever, live your life. And clearly Jehan de Borne
• 1:23:19
  Speaker 1: liked him because he was also a twister. Oh yeah
• 1:23:22
  Speaker 1: he was. And then even before Kiana gets on the bus,
• 1:23:26
  Speaker 1: there's that there's a chunk of the movie where like
• 1:23:29
  Speaker 1: Kanu common Deer's a guy's vehicle to try to catch
• 1:23:34
  Speaker 1: up with the bus. He is credited as Jaguar owner.
• 1:23:40
  Speaker 1: He's played by actor Glenn Plummer. Who shows up in
• 1:23:43
  Speaker 1: Speed to Cruise Control BT. He was great in this movie.
• 1:23:47
  Speaker 1: I liked watching him, but but his license plate did
• 1:23:50
  Speaker 1: say Tuned Man. It did stay Tuned Man. And then
• 1:23:52
  Speaker 1: he also at one point he does identify as Maurice. Okay,
• 1:23:59
  Speaker 1: he does have name, but he's not credited as that
• 1:24:02
  Speaker 1: name in the credits. But then I went back and
• 1:24:05
  Speaker 1: watched that, like I wrote him down as Maurice. But
• 1:24:07
  Speaker 1: then apparently whoever made the credits wasn't even watching the
• 1:24:10
  Speaker 1: movie very carefully because they're just like Jaguar on But like,
• 1:24:15
  Speaker 1: so you've got Kanu who's like waving his badge and
• 1:24:20
  Speaker 1: gun around, points a gun in this black man's face,
• 1:24:24
  Speaker 1: being like, I need your car, and just like I
• 1:24:27
  Speaker 1: was like, how is this going to? Like because I
• 1:24:30
  Speaker 1: didn't remember exactly what happened during that moment. Well there's
• 1:24:34
  Speaker 1: a moment because he says, the cop comes up and
• 1:24:36
  Speaker 1: the Maurice immediately says, this car isn't stolen, like I said,
• 1:24:40
  Speaker 1: if that's what he's going to with a black man
• 1:24:43
  Speaker 1: driving a Jaguar, and then Kanu has another quip he
• 1:24:46
  Speaker 1: said it is now because I'm stealing it, and then
• 1:24:49
  Speaker 1: he ruins his car. Oh my gosh, it was. It
• 1:24:53
  Speaker 1: was difficult to watch. Yeah, that scene was really fresh
• 1:24:56
  Speaker 1: because because it felt again like that was a scene
• 1:24:59
  Speaker 1: where I was like, Okay, the is being shot in
• 1:25:02
  Speaker 1: is there going to be some attempt at commentary on
• 1:25:06
  Speaker 1: how l a p D officers would have very rightfully
• 1:25:09
  Speaker 1: been perceived at this time, especially, But then it did
• 1:25:14
  Speaker 1: like you're sancuying. It just like devolves into quips and
• 1:25:18
  Speaker 1: they take that really charged set up and they just
• 1:25:22
  Speaker 1: they're like, well and they and they just turn it
• 1:25:25
  Speaker 1: into like t he ha ha, and well that makes
• 1:25:28
  Speaker 1: me think about the casting of Joe Morton as Mac,
• 1:25:33
  Speaker 1: the police captain. He's also a black man. And I'm
• 1:25:37
  Speaker 1: not saying there weren't any like black police officers on
• 1:25:41
  Speaker 1: absolutely at this time, but I wonder, because this is
• 1:25:45
  Speaker 1: like such a capaganda piece and this was happening in
• 1:25:49
  Speaker 1: the wake of the Rodney King riots, I wonder if
• 1:25:53
  Speaker 1: that was a very Yeah, I feel like that was
• 1:25:54
  Speaker 1: a very intentional choice to be like, well, how can
• 1:25:57
  Speaker 1: the l a p D be racist? You've got a
• 1:26:00
  Speaker 1: black police captain in the movie Speed, And it's like, yeah, right,
• 1:26:05
  Speaker 1: I wanna yeah, I want to link to a few
• 1:26:07
  Speaker 1: resources on that topic in in the notes of this
• 1:26:11
  Speaker 1: episode as well, because that definitely, like is at this point,
• 1:26:14
  Speaker 1: like it's been a trope that has been recognized and
• 1:26:17
  Speaker 1: written about. There are a lot of black police officers
• 1:26:21
  Speaker 1: police in movies and TV. Yeah, like particularly now too,
• 1:26:26
  Speaker 1: even in like Brooklyn or even in these funny copaganda
• 1:26:30
  Speaker 1: sitcoms or whatever. Watchman is a big one. Watchman. Watchman
• 1:26:35
  Speaker 1: was a big one. I Black Klansman was one that
• 1:26:38
  Speaker 1: I saw brought up a lot. I just watched Mayra
• 1:26:41
  Speaker 1: Vise Town. Uh, that's the other show where the chief
• 1:26:45
  Speaker 1: of police is. There so many Yeah, there there is
• 1:26:49
  Speaker 1: like a huge trend of casting black actors as influential
• 1:26:55
  Speaker 1: cops and not and Caitlin Lakers like there. It's not
• 1:26:59
  Speaker 1: as if that doesn't happen. It absolutely does, But just
• 1:27:02
  Speaker 1: making that choice in media and like popular media specifically,
• 1:27:07
  Speaker 1: it's like it comes with a lot of baggage that
• 1:27:11
  Speaker 1: intentional because it's because you're assuming that they have to
• 1:27:16
  Speaker 1: climb up the ranks to even get to that position.
• 1:27:18
  Speaker 1: They have a lot of respect, you know, and then
• 1:27:21
  Speaker 1: they can't be racist because they're being told to do
• 1:27:24
  Speaker 1: by black man, you know what I mean? Like it's
• 1:27:26
  Speaker 1: I don't know bad boys. That's another that's another big yeah.
• 1:27:30
  Speaker 1: I mean there's there's a really good article I read
• 1:27:34
  Speaker 1: about it from Black Art in America by a writer
• 1:27:37
  Speaker 1: named Steve Chambers that I want to link in the
• 1:27:40
  Speaker 1: description because yeah, I don't feel like I can talk
• 1:27:44
  Speaker 1: about it with any amount of authority. But it definitely
• 1:27:47
  Speaker 1: is like a trope that has been kind of on,
• 1:27:50
  Speaker 1: if not on the rise, definitely continued up to like
• 1:27:55
  Speaker 1: right as we're recording this episode with no real sign
• 1:27:59
  Speaker 1: of stopping. Yeah, and yeah, And I feel like that
• 1:28:01
  Speaker 1: is like that kind of speaks to the limitations that
• 1:28:06
  Speaker 1: like having strictly a representation conversation can have at times,
• 1:28:10
  Speaker 1: as like the view of like well, if there is
• 1:28:15
  Speaker 1: a woman or a person of color or a queer
• 1:28:17
  Speaker 1: person apart, then I have no more questions. Like we
• 1:28:21
  Speaker 1: did it, We did it, We did our job. Yeah,
• 1:28:24
  Speaker 1: like that our asses are covered kind of thing. Yeah, yeah,
• 1:28:27
  Speaker 1: where it's like, well that there's clearly like context is necessary,
• 1:28:31
  Speaker 1: as there would be for any actor. And imagine if
• 1:28:34
  Speaker 1: Wesley Snipes was the lead, Like I wonder like that
• 1:28:38
  Speaker 1: would be a huge copaganda piece, right, especially after Rodney King.
• 1:28:43
  Speaker 1: That's sure to think about. And then on the other end,
• 1:28:47
  Speaker 1: it's like, yeah, I would have liked to see Wesley
• 1:28:50
  Speaker 1: Snipes in this part. Like it's just he would have
• 1:28:52
  Speaker 1: been great. I love Wesley Snips. He would have been great,
• 1:28:55
  Speaker 1: but it's it would be a much different movie. Yeah,
• 1:28:58
  Speaker 1: And it's like and I feel again, it's like, it
• 1:29:01
  Speaker 1: would have been cool to see actors in in the
• 1:29:04
  Speaker 1: part of Jack as like renegade guy versus l APG
• 1:29:09
  Speaker 1: cop who we love and respect. I do want to
• 1:29:13
  Speaker 1: shout out Joe Morton, who plays the police captain, because
• 1:29:16
  Speaker 1: he's another iconic character actor who's been in a bajillion movies.
• 1:29:21
  Speaker 1: I know he rules. He's an iconic character actor and
• 1:29:24
  Speaker 1: is I was looking through his UM whatever his IMDb. Yes, yes,
• 1:29:30
  Speaker 1: and he has played cops and like high ranking cops
• 1:29:34
  Speaker 1: several times in his career. And he also plays a
• 1:29:36
  Speaker 1: lot of doctors. So um, but I'm always happy to
• 1:29:40
  Speaker 1: see Joe Morton. It's this is just the fucking worst. Yeah.
• 1:29:44
  Speaker 1: Do you think the police chief would still be black
• 1:29:46
  Speaker 1: if halle Berry was cast? I bet not. I bet
• 1:29:49
  Speaker 1: they'd be like, well, we filled our quota. They tried
• 1:29:52
  Speaker 1: with one black woman. The only woman they can think
• 1:29:55
  Speaker 1: of it popular and then they moved right along. That's
• 1:29:57
  Speaker 1: what they knew no other black women. They just didn't
• 1:30:01
  Speaker 1: know any other black women. That's kind of what that
• 1:30:03
  Speaker 1: says to me, too, is just like, oh, well, Hallie
• 1:30:06
  Speaker 1: Berry can't do it. Well, I guess we better start
• 1:30:08
  Speaker 1: asking white women as if there were no extremely talented
• 1:30:12
  Speaker 1: black actresses working at that time. I bet it was
• 1:30:15
  Speaker 1: also like a box office draw thing too, which is
• 1:30:18
  Speaker 1: like literally like, well, you know, there aren't any other
• 1:30:21
  Speaker 1: black actresses who will pull, like be a box office draw.
• 1:30:25
  Speaker 1: But Hollywood, that's your fault for never giving black women
• 1:30:30
  Speaker 1: the opportunity to be in like big budget movies and
• 1:30:33
  Speaker 1: like develop a box office draw. But also, Sandra Bullock
• 1:30:38
  Speaker 1: wasn't a big huge deal back then, like she had
• 1:30:40
  Speaker 1: been Demolition Man. But I think this really catapulted her
• 1:30:45
  Speaker 1: career in a different way. So it wasn't like she
• 1:30:47
  Speaker 1: was a huge box office draw, that's true, yeah, but
• 1:30:50
  Speaker 1: they were willing to They were like more willing to
• 1:30:53
  Speaker 1: see her potential as a white woman, that's right, And
• 1:30:56
  Speaker 1: it's very seldom that they would give the same opportunity
• 1:31:00
  Speaker 1: to a black woman or any woman of color. And
• 1:31:04
  Speaker 1: that goes back to a conversation that we've been having
• 1:31:06
  Speaker 1: for years, and I'm sure we will be having for
• 1:31:10
  Speaker 1: more years of the fact that the entire at least
• 1:31:15
  Speaker 1: the upper production team in this movie, we're all white guys,
• 1:31:19
  Speaker 1: and and so it stands to reason that no one
• 1:31:23
  Speaker 1: was even thinking to ask these questions. And it seems
• 1:31:27
  Speaker 1: like it was a very cookie cutter nineties. Um, okay,
• 1:31:32
  Speaker 1: this is our representation quota. We're not going to think
• 1:31:34
  Speaker 1: about the context of representation whatsoever, and we'll just shift
• 1:31:39
  Speaker 1: these puzzle pieces around until we've like done whatever the
• 1:31:43
  Speaker 1: equation for a box office hit is, and it worked.
• 1:31:48
  Speaker 1: Is The frustrating thing too, is that this movie was
• 1:31:52
  Speaker 1: wildly successful. It made back it's budget ten times. It
• 1:31:56
  Speaker 1: made three hundred and fifty million dollars in money on
• 1:32:01
  Speaker 1: a The numbers are a little unclear. It was budget
• 1:32:04
  Speaker 1: was like somewhere between thirty and thirties seven million dollars.
• 1:32:08
  Speaker 1: I do think it's interesting because Kianu is biracial, Like
• 1:32:11
  Speaker 1: he's not a white guy, but I think Hollywood treats
• 1:32:14
  Speaker 1: him as a white guy, you know what I mean. Like,
• 1:32:16
  Speaker 1: I don't think that they don't think they were like
• 1:32:19
  Speaker 1: we're casting a biracial person. They were just like, we're
• 1:32:22
  Speaker 1: casting counter Reeves. He's cool, you know what I mean, Like,
• 1:32:24
  Speaker 1: I don't think they think that critically about anything because
• 1:32:30
  Speaker 1: he's he has native Hawaiian and Chinese ancestry, but Hollywood
• 1:32:37
  Speaker 1: codes him white. Yeah, very wide passing. Yeah. God, I
• 1:32:42
  Speaker 1: love k He Also Kanu was also Morning River Phoenix
• 1:32:46
  Speaker 1: on the side of this movie. He's had a hard life.
• 1:32:50
  Speaker 1: I love him so much. That was the reason I
• 1:32:53
  Speaker 1: wanted to pick this movie. Just I told you in
• 1:32:55
  Speaker 1: the email. Anything with Kean, I'm honestly, I'm so thrilled
• 1:33:00
  Speaker 1: that you did pick this movie because there's so much
• 1:33:02
  Speaker 1: more to talk about than I remembered never was. And um,
• 1:33:07
  Speaker 1: on that note, we've got to speed up this bus. Yes, yeah,
• 1:33:10
  Speaker 1: you're going to speed at this bus because I have
• 1:33:12
  Speaker 1: therapy in six minutes. Oh yeah, Okay, So we established
• 1:33:15
  Speaker 1: that it does pass the Bechtel tests. Between Annie and Helen,
• 1:33:19
  Speaker 1: they talk about their commute to work, which is not
• 1:33:23
  Speaker 1: a man so amazing feminist moment in famous community is
• 1:33:29
  Speaker 1: genderless incredible. Um, as far as our nipple scale zero
• 1:33:33
  Speaker 1: to five nipples. Based on how the movie Fair is
• 1:33:37
  Speaker 1: looking at it from an intersectional feminist lens. I mean,
• 1:33:40
  Speaker 1: I suppose I would give this like a one point five.
• 1:33:46
  Speaker 1: It gets a little hot because there are kind of
• 1:33:48
  Speaker 1: comparable nineties action movies that usually get like a half
• 1:33:53
  Speaker 1: a nipple or zero nipples. This one gets a little
• 1:33:55
  Speaker 1: bit more because you do have a woman as a
• 1:33:59
  Speaker 1: dry ving force of the movie pun intended and is
• 1:34:05
  Speaker 1: made to be far more important than many other The
• 1:34:10
  Speaker 1: single woman in an action movie is she's helping to
• 1:34:15
  Speaker 1: drive the narrative again literally, but she is damseled. She
• 1:34:19
  Speaker 1: is forced into this like very wedged in love story
• 1:34:24
  Speaker 1: that didn't need to be there. The few women who
• 1:34:27
  Speaker 1: get to speak at all are white women. The women
• 1:34:30
  Speaker 1: of color are relegated to the background, and you know,
• 1:34:35
  Speaker 1: we learned nothing about them. Other women are made to
• 1:34:40
  Speaker 1: seem hysterical as an obstacle for the men to deal with.
• 1:34:44
  Speaker 1: So lots of problems still that are very typical of
• 1:34:49
  Speaker 1: the genre. Um, so I'll give it one point five.
• 1:34:53
  Speaker 1: I will give one nipple to Keanu and I will
• 1:34:57
  Speaker 1: give my half nipple to Joe Morton at the end. Um,
• 1:35:04
  Speaker 1: I guess, yeah, I guess I'll give this a one
• 1:35:07
  Speaker 1: nipple because it's which has nothing to do with the
• 1:35:12
  Speaker 1: movie's watchability, which it's like it pains me to say that,
• 1:35:17
  Speaker 1: in spite of the fact of the like all these
• 1:35:19
  Speaker 1: issues we've been talking about this movie, I'll still watch
• 1:35:22
  Speaker 1: it again. It's so fun to fucking there are very
• 1:35:26
  Speaker 1: few movies that can like make me feel like I'm
• 1:35:30
  Speaker 1: watching it for the first time again. I don't know,
• 1:35:33
  Speaker 1: Like it's just really well they did. They convinced us
• 1:35:37
  Speaker 1: to like this movie. Like they did their jobs. That's
• 1:35:40
  Speaker 1: saying something. We're yeah, you're totally right, like we're not
• 1:35:44
  Speaker 1: prime candidates to really want to watch this movie again.
• 1:35:47
  Speaker 1: But it's like we're cop haters and they tricked us
• 1:35:50
  Speaker 1: to loving this movie. It's I love this rude. It's
• 1:35:54
  Speaker 1: the copaganda hit so hard, Like it's uh, so yeah,
• 1:35:59
  Speaker 1: I can't this movie much higher because just the more
• 1:36:03
  Speaker 1: I learned about the production about the movie, the more
• 1:36:05
  Speaker 1: frustrating it becomes. Of the fact that the female lead
• 1:36:10
  Speaker 1: was whitewashed and stripped of agency in advance of shooting,
• 1:36:15
  Speaker 1: the fact that it is such a clear piece of coppaganda,
• 1:36:18
  Speaker 1: the fact that the bus is half populated by people
• 1:36:21
  Speaker 1: of color who we never get to know, and yet
• 1:36:23
  Speaker 1: we're like talking to this guy for this white guy
• 1:36:24
  Speaker 1: from Wisconsin for large swaths of scenes for some reason,
• 1:36:28
  Speaker 1: like there's just all this stuff that is so nineties.
• 1:36:32
  Speaker 1: And also the context of like when it was filmed
• 1:36:35
  Speaker 1: and came out just strikes me as so such a
• 1:36:39
  Speaker 1: gross overt piece of specific copaganda for the L A
• 1:36:43
  Speaker 1: p D specifically, that is just upsetting. It's just it
• 1:36:49
  Speaker 1: fucking sucks. And then on the other hand, it's so
• 1:36:52
  Speaker 1: much fun to watch. I do appreciate that, like, and
• 1:36:56
  Speaker 1: I do think most of the things that I like
• 1:36:57
  Speaker 1: about Annie are that I like Sandra Bulk and her
• 1:37:01
  Speaker 1: performance is really fun and Keanu is so funny and
• 1:37:05
  Speaker 1: good and hot, and I'm gonna give it one nipple,
• 1:37:09
  Speaker 1: and I'm gonna give the nipple to feminist icon the
• 1:37:13
  Speaker 1: bus hell. Yeah, Cherine, what about you. I want to
• 1:37:18
  Speaker 1: give Kanu five nipples, but I won't do that. Um.
• 1:37:23
  Speaker 1: I will give Keanu a single nipple. And I agree
• 1:37:25
  Speaker 1: with everything that Jamie said. I will give half a
• 1:37:28
  Speaker 1: nipple to just the fact that Sandra Bullock is a
• 1:37:31
  Speaker 1: badass driver, which I appreciated, But that's about it. Yeah,
• 1:37:37
  Speaker 1: it's just the fact that this happened so quickly after
• 1:37:40
  Speaker 1: the Rodney King riots just so fucked up to me,
• 1:37:43
  Speaker 1: like that is another level of capaganda, that is that's
• 1:37:47
  Speaker 1: fucked up. So I mean, but they still managed to
• 1:37:52
  Speaker 1: make me have a good time, and that's that is
• 1:37:55
  Speaker 1: troubling that it worked so well. I know it's only
• 1:37:59
  Speaker 1: been of Kanu. I really think so if it was
• 1:38:01
  Speaker 1: like that guy was or whatever. Yeah, like fun, No,
• 1:38:06
  Speaker 1: like I want to give a shit about this movie.
• 1:38:08
  Speaker 1: Yeah right again, this movie is basically the same premise
• 1:38:11
  Speaker 1: as die Hard, and I would not vouch for die
• 1:38:15
  Speaker 1: Hard for a second, no, but it is Keanu really
• 1:38:19
  Speaker 1: carries this movie. That's a game changer. Well, Sharine, thank
• 1:38:23
  Speaker 1: you so much for joining us, Thanks for having me,
• 1:38:26
  Speaker 1: thanks for having me just fangirl about Kanu. And I
• 1:38:30
  Speaker 1: love the stories that Jamie said. I'm wanting to think
• 1:38:32
  Speaker 1: of those for the rest of my life. There's more
• 1:38:34
  Speaker 1: where that came from. There's I mean, I'm waiting for
• 1:38:38
  Speaker 1: my interaction. It will happen one day If there is,
• 1:38:44
  Speaker 1: it's it's Sharne workin. People follow you online, check out
• 1:38:49
  Speaker 1: any stuff, any plug plug away. Okay, I'm on Twitter
• 1:38:55
  Speaker 1: at Shiro hero six six six s H E E R.
• 1:38:59
  Speaker 1: O A g R oh than and I want Instagram
• 1:39:03
  Speaker 1: at just shiro Hero. My website is in one of
• 1:39:06
  Speaker 1: those bios, and yeah, if you you can just google
• 1:39:09
  Speaker 1: me if you want to. I don't. I have a
• 1:39:12
  Speaker 1: poetry book on Amazon, but I'm trying to make my
• 1:39:14
  Speaker 1: second one happen because the first one is on Amazon,
• 1:39:18
  Speaker 1: and uh, it's also like very um it's like from
• 1:39:23
  Speaker 1: when I was sixteen to so it's kind of like
• 1:39:26
  Speaker 1: not my best writing. So hoping another one comes out soon.
• 1:39:30
  Speaker 1: But if you want the first one, you can go
• 1:39:32
  Speaker 1: get it on Amazon if you want to. Uh, you
• 1:39:35
  Speaker 1: can follow us on Twitter and Instagram at Bechtel Cast.
• 1:39:42
  Speaker 1: We've also got a Patreon a k A Matreon ever
• 1:39:48
  Speaker 1: ever heard of it, which has an enormous backlog of
• 1:39:54
  Speaker 1: bonus episodes triple digits, my goodness. If you subscribe, get
• 1:40:00
  Speaker 1: two of those bonus episodes a month, plus access to
• 1:40:03
  Speaker 1: that back catalog. It's five dollars a month and you
• 1:40:07
  Speaker 1: can access that via patreon dot com, slash backtel Cast
• 1:40:13
  Speaker 1: and hey, while you're at it, if you're in the
• 1:40:16
  Speaker 1: mood for a little slice of merch, you can go
• 1:40:20
  Speaker 1: to our t public store and that's the T public
• 1:40:23
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• 1:40:28
  Speaker 1: throw the the in there to really funk with people's heads,
• 1:40:32
  Speaker 1: keep them on their toe. Remember in the social network
• 1:40:36
  Speaker 1: when justin timber Like is like drop the the it
• 1:40:40
  Speaker 1: should just be Facebook. It's cleaner, that's what That's what
• 1:40:45
  Speaker 1: we should have said to T Public. But we did it. Yeah,
• 1:40:48
  Speaker 1: we did not say drop the We should have gone
• 1:40:51
  Speaker 1: to T public headquarters wherever the hell that is have
• 1:40:54
  Speaker 1: been like, drop the it's clean it's cleaner. That's the
• 1:40:58
  Speaker 1: only redeeming moment of Jeff into her like entire life,
• 1:41:01
  Speaker 1: which is wild. Um, so that's where you can find us. Uh,
• 1:41:07
  Speaker 1: if you'll excuse us, We have to go. I think
• 1:41:09
  Speaker 1: the bus is about to get here, Caitlin, Yeah, yeah, yeah,
• 1:41:13
  Speaker 1: we've got to get on the bus to go to work.
• 1:41:16
  Speaker 1: I'm sure it'll be fine. Nothing to feed here, Bye bye,