Latest / The Bechdel Cast / Don't Tell Mom the Babysitter's Dead with Amy Nicholson

Transcript

Don't Tell Mom the Babysitter's Dead with Amy Nicholson · The Bechdel Cast

• 0:00
  Speaker 1: On the beck Doll Cast, the questions asked if movies
• 0:03
  Speaker 1: have women in them? Are all their discussions just boyfriends
• 0:07
  Speaker 1: and husbands? Do they have individualism? The patriarchy? Zef invest
• 0:12
  Speaker 1: start changing it with the beck del Cast. Hey, Jamie,
• 0:17
  Speaker 1: Hey Caitlin, it's me, your mean old babysitter, and and
• 0:25
  Speaker 1: I have a list of rules and a list of
• 0:28
  Speaker 1: chores for you to do, okay, such as talk about movies.
• 0:35
  Speaker 1: Oh see, I thought you were going to do uh.
• 0:37
  Speaker 1: I thought you were gonna do Rose Lindsay. And I
• 0:39
  Speaker 1: thought that I was going to have to reply to you.
• 0:41
  Speaker 1: I'm right on top of that, Caitlin. Oh that makes
• 0:44
  Speaker 1: more sense because that is way more what the movie
• 0:47
  Speaker 1: is about than the babysitter being dead. So I kind
• 0:50
  Speaker 1: of fumbled it. Yeah, it's about learning to navigate your
• 0:54
  Speaker 1: way through life as a girl boss when you're when
• 0:57
  Speaker 1: you're a liar. I love it. And you know, start early.
• 1:01
  Speaker 1: It's never too soon. You know, when you're seventeen with
• 1:04
  Speaker 1: your hot dog job and us start selling uniforms to
• 1:11
  Speaker 1: members of a gigantic chemical conglomerate, something they go out
• 1:15
  Speaker 1: of the way to tell us about. For some reason,
• 1:17
  Speaker 1: I love this movie uh, welcome to the Bechtel Cast.
• 1:22
  Speaker 1: My name's Jamie Loftus and I'm I'm right on top
• 1:24
  Speaker 1: of that, Caitlin. Thank you so much, Jamie. And my
• 1:27
  Speaker 1: name is Caitlin Darante and I'm your boss and your
• 1:30
  Speaker 1: babysitter and your mom. And this is our podcast in
• 1:37
  Speaker 1: which we examine movies through an intersectional feminist lens, using
• 1:41
  Speaker 1: the Bechtel test simply as a jumping off point to
• 1:44
  Speaker 1: initiate a larger conversation. But Jamie, what is the Bechtel test? Well,
• 1:51
  Speaker 1: I'm right on top of that, Caitlin, I can tell
• 1:53
  Speaker 1: you what it is. This is about to not pass
• 1:55
  Speaker 1: the Bechtel test. But is that what men say when
• 1:57
  Speaker 1: they're having sex with you? I'm right on top of that, Kate, alright,
• 2:03
  Speaker 1: moving right along. And then and then I turn around
• 2:07
  Speaker 1: and they're dead, just like the baby, and they just
• 2:11
  Speaker 1: slumped to the ground. I don't. I don't have sex
• 2:14
  Speaker 1: as much as I watched Julia Child and then stop
• 2:18
  Speaker 1: smoking so much weed. This movie rocks, okay. The Bechtel
• 2:21
  Speaker 1: Test is a media matric created by queer cartoonist Alice
• 2:25
  Speaker 1: and Bechtel, sometimes called the Bechtel Wallace test originally made
• 2:29
  Speaker 1: as a bit of a goof a bit of a
• 2:31
  Speaker 1: bit for comics she made in the eighties a bit
• 2:34
  Speaker 1: a bit of a bit, but has since become a
• 2:38
  Speaker 1: very popular way of analyzing media. Lots of versions of
• 2:41
  Speaker 1: the test. Here's ours. We require that piece of media
• 2:46
  Speaker 1: have two characters of a marginalized gender with names who
• 2:51
  Speaker 1: speak to each other about something other than a man
• 2:54
  Speaker 1: for two lines of dialogue, and it should be a
• 2:57
  Speaker 1: narratively impactful uh line of dialogues such as such as,
• 3:02
  Speaker 1: I'm right on top of that rose, and thank you
• 3:05
  Speaker 1: Jamie for being right on top of explaining the Bechtel tests.
• 3:08
  Speaker 1: Was an incredible job. I'm so impressed. Actually I am not.
• 3:12
  Speaker 1: I did none of the prep for this episode today.
• 3:15
  Speaker 1: I had Kimmy Robertson do it for me. Did you
• 3:18
  Speaker 1: Did you delegate it to a colleague who is obsessed
• 3:22
  Speaker 1: with doing busy work? Yeah? Sorry? I actually took advantage
• 3:26
  Speaker 1: of the most vulnerable person in the workplace I could
• 3:28
  Speaker 1: find and was rewarded for it. So yeah, yeah, yeah, yeah, cool,
• 3:33
  Speaker 1: good job. There's only two people in our workplace. I'm like,
• 3:36
  Speaker 1: I don't know who. We don't have a Kimmy robertson,
• 3:38
  Speaker 1: maybe we should know we shouldn't get an employee and
• 3:41
  Speaker 1: exploit them. What am I talking about. Let's get this
• 3:43
  Speaker 1: episode started, yes by introducing our wonderful guest. She's a
• 3:48
  Speaker 1: film critic for The New York Times and host of
• 3:50
  Speaker 1: the podcast Unspoiled. It's Amy Nicholson. Hello everybody, and welcome.
• 3:58
  Speaker 1: It's so nice to be here. I've been I've been
• 4:00
  Speaker 1: wanting to tell you, you you know, like my podcast since
• 4:02
  Speaker 1: we started, because we were going through the a fight
• 4:04
  Speaker 1: top one and then like realizing we could get rid
• 4:06
  Speaker 1: of a lot of them. We absolutely asked the graduate. Yes,
• 4:12
  Speaker 1: I loved you guys going hard on the movie. I
• 4:14
  Speaker 1: hate that movie so much. That movie sucks, so fuck
• 4:18
  Speaker 1: you the Graduate. It's gone. Thank you brings me so
• 4:20
  Speaker 1: much joy. It's so bad and Unspooled is incredible. Thank
• 4:26
  Speaker 1: you so you brought us. Don't tell mom the Babysitters Dead.
• 4:30
  Speaker 1: What is your relationship your history with this movie. Yeah,
• 4:35
  Speaker 1: I was thinking about that, and I was thinking, I
• 4:37
  Speaker 1: think this might be one of the first movies I
• 4:39
  Speaker 1: ever saw in a theater. Maybe you know, I'm a
• 4:43
  Speaker 1: child was alive in the eighties, but I don't remember
• 4:45
  Speaker 1: a ton of the eighties, and we didn't go to
• 4:46
  Speaker 1: movies a lot when I was a kid, but I'm
• 4:49
  Speaker 1: pretty sure I saw this around the time that I
• 4:51
  Speaker 1: saw Home Alone, and I have loved this movie deeply
• 4:54
  Speaker 1: since I was a child. I watched a lot of
• 4:56
  Speaker 1: TV instead, so I watched Married Children all the time,
• 4:58
  Speaker 1: and the idea that there was a movie with Bundy
• 5:01
  Speaker 1: was the coolest thing in the world. And I thought
• 5:03
  Speaker 1: this movie was the coolest thing in the world. And
• 5:04
  Speaker 1: I still kind of do think it's one of the
• 5:07
  Speaker 1: coolest movies in the world. Hell yeah, have you guys
• 5:10
  Speaker 1: seen it before? What's your whole thing? I had not
• 5:12
  Speaker 1: seen it before, And so coming into this movie, this
• 5:16
  Speaker 1: and the other classic babysitter movie of well, I guess
• 5:21
  Speaker 1: that maybe there's a handful because there's like the Babysitter
• 5:23
  Speaker 1: Club movie, which I also haven't seen, but I did
• 5:26
  Speaker 1: read those books. And then there's Adventures in Babysitting, which
• 5:30
  Speaker 1: was maybe what like five or six years before you
• 5:33
  Speaker 1: I've still never seen that one, also with Keith Coogan.
• 5:36
  Speaker 1: Oh is he in it? Also? Wow, he's really niche.
• 5:40
  Speaker 1: Babysitter content Getting Getting typecast and Baby Baby Set brutal,
• 5:50
  Speaker 1: So I have seen that one, but I missed all
• 5:52
  Speaker 1: of those movies as a as a youth, so I
• 5:55
  Speaker 1: hadn't seen Don't Tell Mom the Babysitters Dead until I
• 5:58
  Speaker 1: started prepping for this episode, and I didn't love it. Um,
• 6:03
  Speaker 1: it's okay, it's okay to be wrong every once in
• 6:05
  Speaker 1: a while. It's okay. Thank you, thank you for giving
• 6:08
  Speaker 1: me permission to be wrong. But I just I found
• 6:11
  Speaker 1: all of the characters very irritating, even the ones you're
• 6:14
  Speaker 1: supposed to be rooting for and um, And I think
• 6:17
  Speaker 1: it's because I resent movies that are clearly for like
• 6:22
  Speaker 1: teens and kids that are like all the adults in
• 6:25
  Speaker 1: this movie suck and the kids are awesome. I know
• 6:29
  Speaker 1: I'm getting old because watching those movies as an adult,
• 6:32
  Speaker 1: I get like, very unreasonably annoyed about movies like that.
• 6:38
  Speaker 1: So that's kind of my That was my reaction to this.
• 6:40
  Speaker 1: But I think this movie does, like addresses some interesting
• 6:44
  Speaker 1: things that I was not expecting it to address, So
• 6:47
  Speaker 1: I'm excited to talk about it. Jamie, what about you?
• 6:49
  Speaker 1: What's your relationship with this movie? Also very recent, but
• 6:53
  Speaker 1: I had the opposite takeaway from this movie. I watched
• 6:57
  Speaker 1: this movie for the first time. In some point in Lockdown,
• 7:01
  Speaker 1: I was in the mood for something silly and did
• 7:04
  Speaker 1: not really like I didn't know. I'm trying to think
• 7:07
  Speaker 1: of movies where there's like this kind of comparable effect
• 7:11
  Speaker 1: where the title of the movie has kind of nothing
• 7:14
  Speaker 1: to do with what happens in the movie. But I
• 7:16
  Speaker 1: was ready for a whole like I don't know, Weekend
• 7:19
  Speaker 1: that Bernie's babysit or high Jinks or something, and not
• 7:23
  Speaker 1: like Girl Boss, Working Girl. But I really really enjoyed it.
• 7:26
  Speaker 1: When I saw it, I was like surprised at the
• 7:29
  Speaker 1: number of things that this movie tries to take on
• 7:34
  Speaker 1: while staying pretty silly and um, I thought, I don't know,
• 7:38
  Speaker 1: I guess I would. We can get into it in
• 7:40
  Speaker 1: the discussion, but I would argue that not all the
• 7:42
  Speaker 1: adults in this movie suck um, or or that there
• 7:46
  Speaker 1: are at least some I think that all the adult
• 7:48
  Speaker 1: men in this movie suck, and that doesn't bother me
• 7:51
  Speaker 1: for sure, But I think Rose Lindsay is um It's
• 7:55
  Speaker 1: a character that we can root for, and even you know,
• 7:58
  Speaker 1: I was okay, I think my in battle watching this
• 8:01
  Speaker 1: movie with analysis. Outside of early nineties tropes that we'll
• 8:05
  Speaker 1: talk about is I was trying to get a gauge
• 8:08
  Speaker 1: for like how people feel about their mom, and their
• 8:12
  Speaker 1: mom is such a polarizing character even it seems like
• 8:17
  Speaker 1: with fans of this movie, where there are some people
• 8:19
  Speaker 1: who are like, you know, their mom's supposed to be
• 8:23
  Speaker 1: thirty six in the movie and has five kids in
• 8:26
  Speaker 1: a house that is absolutely falling apart. Uh, and she
• 8:31
  Speaker 1: does funk off to Australia, and some people think that
• 8:33
  Speaker 1: that is practice and amazing, and other people think that
• 8:37
  Speaker 1: that is negligion. And I was like, oh, I guess
• 8:43
  Speaker 1: I was off. I had a crisis last night where
• 8:46
  Speaker 1: I was like, oh, I was yeah. I always sort
• 8:49
  Speaker 1: of thought that's not great parenting, but then I'm like,
• 8:52
  Speaker 1: maybe that's my internal misogyny. But then I'm like, no,
• 8:55
  Speaker 1: I think it's bad parenting. You shouldn't just go to
• 8:58
  Speaker 1: Australia when you have kid as young as yeah, five
• 9:02
  Speaker 1: kids ranging from I don't know, the youngest one seems
• 9:05
  Speaker 1: to be like seven, yeah, and then there's like old
• 9:10
  Speaker 1: she left them with a full on stranger. One thing
• 9:12
  Speaker 1: about people in this movie is they don't check resume,
• 9:15
  Speaker 1: is they don't vet how could you it was the nineties.
• 9:19
  Speaker 1: I think it's great gen X parenting because, like, I
• 9:22
  Speaker 1: know we're going to get into all of this, but
• 9:24
  Speaker 1: like that mom has had it, and I would say
• 9:27
  Speaker 1: as much as the not all of the adults suck,
• 9:30
  Speaker 1: at least not Rose. I think the kids do kind
• 9:32
  Speaker 1: of suck. And I'm like, if I was that mom,
• 9:35
  Speaker 1: absolutely I'm getting out of here, like I'm over it.
• 9:37
  Speaker 1: Nobody helps her. She's so mad. I know we'll get
• 9:40
  Speaker 1: into this, but I need that needed to be said. Also,
• 9:43
  Speaker 1: to be clear, I don't think that Rose sucks. It's
• 9:45
  Speaker 1: more like every adult in the movie is presented in
• 9:48
  Speaker 1: a particular way. Many some of them are like mean
• 9:51
  Speaker 1: and conniving, nagging, but Rose is just kind of like clueless.
• 9:56
  Speaker 1: I mean, she's very nice, and she's like a supportive
• 9:58
  Speaker 1: boss since she seems good to work for. But just
• 10:01
  Speaker 1: the way that every adult is presented in a rather
• 10:04
  Speaker 1: cartoonish and usually unflattering way, I feel like that's that's
• 10:09
  Speaker 1: sort of my I don't know, it depends on the movie.
• 10:12
  Speaker 1: My mileage with that sort of varies, but sometimes I
• 10:15
  Speaker 1: like my favorite movie when I was a kid for
• 10:17
  Speaker 1: a while was Jimmy neutron because all the parents suck
• 10:20
  Speaker 1: and then they're kidnapped by aliens. I mean, I think
• 10:26
  Speaker 1: this is a movie about how growing up sucks, and
• 10:29
  Speaker 1: nobody ever goes up that much. In Rose can still
• 10:32
  Speaker 1: be swede and bubbleheaded and easily distracted. True, I mean relatable. Yall?
• 10:41
  Speaker 1: Shall I do the recap and we'll go from there.
• 10:45
  Speaker 1: Let's do it right. So we meet Swell, who you
• 10:50
  Speaker 1: eventually learn is a that's a nickname for Sue Ellen,
• 10:54
  Speaker 1: which is a name. I was like, I'm sorry, her
• 10:56
  Speaker 1: name is Swell. I was very confused for a while.
• 10:58
  Speaker 1: But Swell is played by Christina Applegate. She just graduated
• 11:04
  Speaker 1: from high school and she thinks she's about to have
• 11:06
  Speaker 1: a fun summer of freedom because her mom is about
• 11:10
  Speaker 1: to leave for Australia to go with I think her
• 11:12
  Speaker 1: boyfriend for two months. Yeah. I like to think that
• 11:16
  Speaker 1: there's an alternate timeline of like when the mom gets back.
• 11:19
  Speaker 1: I'm always like and what was she up to out there?
• 11:22
  Speaker 1: Like what did she We know that she's had a
• 11:26
  Speaker 1: big fashion change at least something something in her core
• 11:29
  Speaker 1: has been alot. She's a she's a freeer woman. But
• 11:32
  Speaker 1: she says, I've had a very rough thirty seven years
• 11:34
  Speaker 1: and I need a break. Yeah yeah, Mom, she good
• 11:37
  Speaker 1: for her. I like that she has I like an
• 11:40
  Speaker 1: eat prey love while her children's lives are falling apart. Okay,
• 11:46
  Speaker 1: so Swell thinks she's going to have all this freedom
• 11:48
  Speaker 1: this summer, But surprise, her mom has hired a babysitter,
• 11:52
  Speaker 1: Mrs Sturak, to look after Swell and her four younger
• 11:56
  Speaker 1: siblings for the summer. Much too, Swells dismay. Mrs Sturic
• 12:02
  Speaker 1: seems like a sweet old lady at first, but as
• 12:05
  Speaker 1: soon as their mom leaves, she reveals that she's actually
• 12:08
  Speaker 1: very mean, and she has a tyrant, a list of
• 12:11
  Speaker 1: rules and chores for Swell and her siblings, who are
• 12:16
  Speaker 1: Walter he's the youngest, Melissa, I think his next youngest.
• 12:21
  Speaker 1: She's a bit of a you know, quote unquote tomboy.
• 12:24
  Speaker 1: Then there's Zach, who's like a tween. He seems like
• 12:29
  Speaker 1: he's maybe like twelve or so. He's very romantic. He
• 12:32
  Speaker 1: has a girlfriend he really likes. He's also the kid
• 12:34
  Speaker 1: that sells Kiana Reeves the surfboard and point break no Way.
• 12:39
  Speaker 1: Yeah wow. Gotta love nineties kid actors um and then
• 12:47
  Speaker 1: there's Kenny, who seems only a little bit younger than Swell.
• 12:51
  Speaker 1: He's probably like sixteen, maybe fifteen. Um, he's like a
• 12:56
  Speaker 1: kind of rebel teen punk kid. You know it's weird.
• 13:00
  Speaker 1: It's like they give the ages for the kids on Wikipedia,
• 13:03
  Speaker 1: and I don't know about you, guys, I have like
• 13:05
  Speaker 1: a total blindness for kid ages. Like I couldn't tell
• 13:07
  Speaker 1: you how any kid is. No clue. They say the
• 13:11
  Speaker 1: youngest kid is eleven, it's started eleven, and then like
• 13:16
  Speaker 1: the girl is twelve, and then the heart drop is fourteen,
• 13:19
  Speaker 1: and then it doesn't bother saying with Kenny's but he
• 13:21
  Speaker 1: could drive. I assume that that is simply not correct.
• 13:25
  Speaker 1: There's no way that Walter is eleven that no. I
• 13:29
  Speaker 1: was at Target yesterday, um, buying a baby shar gag. Okay, yeah,
• 13:35
  Speaker 1: I'm pretty wealthy. Uh, but I was. I had like
• 13:40
  Speaker 1: a half hour to kill some I'm like, all right,
• 13:41
  Speaker 1: I'm just going to sit in the Starbucks area of
• 13:43
  Speaker 1: Target and kill some time. There were these two kids
• 13:47
  Speaker 1: next to me who I could not I was trying
• 13:49
  Speaker 1: to figure out how old they were, had no idea,
• 13:51
  Speaker 1: but they were actively planning to shoplift the whole and
• 13:55
  Speaker 1: it was so fun to listen to them because they
• 13:58
  Speaker 1: were just like not not setting themselves up for success.
• 14:02
  Speaker 1: I was rooting for them steal from a big box store,
• 14:05
  Speaker 1: of course, but they one of them just kept like
• 14:08
  Speaker 1: hissing at the other. Yeah, man, everything has barcodes on it. Okay,
• 14:12
  Speaker 1: stop asking me. What were they prioritizing? What are the
• 14:16
  Speaker 1: kids these days into? As far as I know, the
• 14:18
  Speaker 1: plan was to steal a bunch of Halloween candy. I
• 14:21
  Speaker 1: think bigger I know I And then but then when
• 14:25
  Speaker 1: they left, there was a mysterious they had. They were
• 14:28
  Speaker 1: looking at TikTok. They did a TikTok dance. This sounds
• 14:31
  Speaker 1: like a vision I had, but they were they were real.
• 14:34
  Speaker 1: And then they had like a can of shaving cream
• 14:37
  Speaker 1: with them, which they also may have stolen, and they
• 14:39
  Speaker 1: put a bunch of shaving cream all over the table
• 14:42
  Speaker 1: they had been sitting at. And then they stole Halloween
• 14:44
  Speaker 1: candy and uh disappeared into the America Halloween. If they
• 14:48
  Speaker 1: wait a couple of weeks, they're gonna get Halloween candy
• 14:50
  Speaker 1: for free. Steal a steal a DVD. I guess they
• 14:53
  Speaker 1: don't know how to work DVDs, but steal something they
• 14:56
  Speaker 1: could sell for candy, steal something smaller st v D.
• 15:01
  Speaker 1: I know they were. They were absolutely blowing up. Wow.
• 15:04
  Speaker 1: I like that story though, but I was like, they
• 15:06
  Speaker 1: are these kids like eight or are they fourteen? Like?
• 15:11
  Speaker 1: I have no idea. It's it's hard. I really can't
• 15:13
  Speaker 1: tell children. But I'd refuse to believe that Walter is
• 15:18
  Speaker 1: as old as eleven. That doesn't seem right at all. Okay,
• 15:21
  Speaker 1: So Mrs Derek is mean and a tyrant, and so
• 15:26
  Speaker 1: Swell goes to confront her about her authoritarian rule, and
• 15:31
  Speaker 1: when she does that, Swell discovers that the babysitters dead.
• 15:37
  Speaker 1: She must have died in her sleep, and the siblings
• 15:41
  Speaker 1: realized that if they call, their mom will be notified
• 15:45
  Speaker 1: and come back home. And they don't want their mom
• 15:47
  Speaker 1: to come back home just yet. They want to have freedom,
• 15:51
  Speaker 1: so they decide to leave Mrs Directs body on the
• 15:55
  Speaker 1: doorstep of the mortuary and then spend the next two
• 15:58
  Speaker 1: months taking advantage of their mom being gone. They're horrible, like, yeah,
• 16:05
  Speaker 1: they're not good, they're bad kids. But so the next morning,
• 16:09
  Speaker 1: Swell goes to buy groceries with the money their mom
• 16:13
  Speaker 1: had left to Mrs Sturk to like buy food and
• 16:18
  Speaker 1: for spending money and stuff. But the envelope is empty,
• 16:21
  Speaker 1: and they realized that Mrs Dorrick must have, you know,
• 16:24
  Speaker 1: just like had the money on her when they left
• 16:27
  Speaker 1: her body at the mortuary. So they don't have access
• 16:31
  Speaker 1: to that money anymore. So Swell now needs to get
• 16:35
  Speaker 1: a job, so she goes to work at a place
• 16:38
  Speaker 1: called clown Dog, which is a fast food joint. Can
• 16:42
  Speaker 1: you imagine how that makes me feel? To see I
• 16:45
  Speaker 1: was thinking about you the whole time, Jamie, so as
• 16:49
  Speaker 1: I I was thinking about your respect for the meat.
• 16:52
  Speaker 1: Thanks Fred there. I have been to if if we
• 16:55
  Speaker 1: have any listeners in Albuquerque in a greater Albuquerque area,
• 17:00
  Speaker 1: they do have a place called clown Dog hot Dog Curler,
• 17:03
  Speaker 1: and I wonder if it was inspired by this movie
• 17:06
  Speaker 1: because it opened after it came out. Also there the
• 17:09
  Speaker 1: hot dogs clown Dog in Albuquerque are not chili dogs
• 17:13
  Speaker 1: as this fake one is. It's very fucked Their whole
• 17:16
  Speaker 1: thing is like we make fucked up hot dogs. And
• 17:19
  Speaker 1: I got this thing they're called the three ring Circus.
• 17:22
  Speaker 1: That was like a hot dog with onion rings and
• 17:25
  Speaker 1: like spaghettios. Okay, I'm listening and like a third circular.
• 17:29
  Speaker 1: It was so nasty. And then it was like and
• 17:32
  Speaker 1: they're like, no, it's clown it's a joke, Like this
• 17:35
  Speaker 1: is what I have to eat. It obviously different kind
• 17:39
  Speaker 1: of clown Dog place. No, but you're touching on something
• 17:42
  Speaker 1: I think we're gonna wind up talking about in this movie.
• 17:44
  Speaker 1: Presenting something disgusting and then being like it's a joke.
• 17:48
  Speaker 1: I'm kidding, right, yes, oh yeah, because that's the that's
• 17:51
  Speaker 1: the whole gust the perports line. Yeah, um and the job.
• 17:58
  Speaker 1: Swell does not like the job, and she quits it
• 18:02
  Speaker 1: almost immediately, but not before she meets Brian, another teen
• 18:08
  Speaker 1: worker at clown Dog, played by Josh Charles So. Then
• 18:13
  Speaker 1: Swell goes to apply for a receptionist job at a
• 18:16
  Speaker 1: clothing manufacturing company with a resume that she copied and
• 18:20
  Speaker 1: pasted from a book, and there she meets Rose, the
• 18:25
  Speaker 1: senior vice president of operations, who hires her on the
• 18:29
  Speaker 1: spot to be her executive administrative assistant, which is a
• 18:33
  Speaker 1: phrase they repeat forty seven times throughout the movie. I
• 18:38
  Speaker 1: really like, I think there is like a lot of
• 18:40
  Speaker 1: good satire of like corporate life in this movie, and
• 18:44
  Speaker 1: It felt very on point first for someone to just
• 18:48
  Speaker 1: like meet someone that they sort of liked and they're like, yeah,
• 18:51
  Speaker 1: I'll hire you over this person who's worked here for
• 18:53
  Speaker 1: years because I just don't like them for reasons, and
• 18:57
  Speaker 1: thus enemies are made. Vital vital enemies are made in
• 19:00
  Speaker 1: this film, Yes, exactly. So what happens is that this
• 19:05
  Speaker 1: executive administrative assistant position was supposed to go to this woman, Caroline,
• 19:10
  Speaker 1: but Carolyn is mean and Rose doesn't like her or
• 19:13
  Speaker 1: went to work with her, which is why she gives
• 19:16
  Speaker 1: a job to Swell. So Rose shows Swell around the office.
• 19:21
  Speaker 1: She introduces her to Gus, which is Rose's colleague slash boyfriend,
• 19:26
  Speaker 1: although they have a mutually unexclusive relationship as they define it.
• 19:32
  Speaker 1: So then Swell and her siblings go out to eat
• 19:36
  Speaker 1: at I think according to scholarly journal wikipe Ch Cheese,
• 19:42
  Speaker 1: he's in the background. Oh, I didn't even notice. Yes,
• 19:46
  Speaker 1: the locations in this movie were really like Taylor made
• 19:49
  Speaker 1: to thrill me. I was gonna say, not to blow
• 19:52
  Speaker 1: up your spot, Jamie, but I feel like it's all
• 19:54
  Speaker 1: of your major food groups hot dog from hot dog
• 19:59
  Speaker 1: to check e cheese pizza. They aren't a Chuck e Cheese. Um,
• 20:02
  Speaker 1: you can see for all my Chucky Cheese heads, you
• 20:05
  Speaker 1: can see the early nineties Chuck suit, the one that
• 20:07
  Speaker 1: always looked crusty in the background of a few scenes.
• 20:12
  Speaker 1: I love that. Okay. So they're leaving Chucky Cheese and
• 20:16
  Speaker 1: as they're leaving, a few drag queens steal their car,
• 20:21
  Speaker 1: a k Mrs Dorex car that Swell had been driving around.
• 20:26
  Speaker 1: So Swell calls Brian, the guy she met at clown Dog,
• 20:30
  Speaker 1: for a ride and then he asks her on a
• 20:33
  Speaker 1: date and she says yes. Then Swell goes to her
• 20:35
  Speaker 1: first day at her job at the clothing company, but
• 20:39
  Speaker 1: she she's in over her head. She asks another assistant, Kathy,
• 20:45
  Speaker 1: to help her with the Q E D report a k.
• 20:49
  Speaker 1: She basically has Cathy do part of her job for her,
• 20:52
  Speaker 1: and it's Kimmy Robertson from Twin Peaks. Okay, that's okay,
• 20:59
  Speaker 1: I know. I was like, am I supposed to know
• 21:01
  Speaker 1: this name that Jimmy's saying? Like it's just her voice? Yeah,
• 21:06
  Speaker 1: for sure, I recognize her now, Okay. So then Swell
• 21:10
  Speaker 1: discovers that the mean receptionist woman Caroline, is Brian's older sister.
• 21:16
  Speaker 1: Oh no. She also meets Bruce, who is played by
• 21:21
  Speaker 1: David du Koffney. He was not expecting to be in
• 21:24
  Speaker 1: this movie, especially in a role this um small and
• 21:28
  Speaker 1: small pick and sleazy. Yes, right before he was he
• 21:33
  Speaker 1: was not anything at this point, right heall good cheekbones man,
• 21:37
  Speaker 1: right exactly. Yeah, so he's an asshole and he's also
• 21:41
  Speaker 1: Caroline's boyfriend because there's a lot of inter office dating
• 21:46
  Speaker 1: at this company. Yeah. Well, there's also no HR department
• 21:49
  Speaker 1: that I was able to find, which is because they
• 21:51
  Speaker 1: would have been really busy if they right, if they
• 21:54
  Speaker 1: had thought to hire. So meanwhile, Swell learns that she
• 21:58
  Speaker 1: won't be paid for two weeks, but they've run out
• 22:00
  Speaker 1: of food at home. And then Swell learns about petty
• 22:04
  Speaker 1: cash in her desk and takes some of it to
• 22:07
  Speaker 1: buy groceries. Her plan is to borrow it and then
• 22:10
  Speaker 1: pay it back when she gets her first paycheck. Um.
• 22:13
  Speaker 1: And then meanwhile at home, Swell is assuming more and
• 22:16
  Speaker 1: more of kind of like a mother slash guardian role
• 22:21
  Speaker 1: for her younger siblings. She's supportive when they need it,
• 22:25
  Speaker 1: she disciplines them when they need it. Stuff like that.
• 22:28
  Speaker 1: Back at the office, Swells starts to get the hang
• 22:31
  Speaker 1: of things. Uh Gus takes Swell to lunch. He's a
• 22:36
  Speaker 1: disgusting creep. Swell also goes on a couple dates with Brian,
• 22:41
  Speaker 1: but she won't tell him where she works, partially because
• 22:45
  Speaker 1: Caroline is his sister, and he gets upset that she
• 22:49
  Speaker 1: won't be honest and forthcoming with him, so he storms off.
• 22:54
  Speaker 1: She's upset about that. She's upset that she has had
• 22:57
  Speaker 1: to take on all these you know, adult responsibility ease
• 23:00
  Speaker 1: when she feels she should be enjoying her youth. And
• 23:03
  Speaker 1: You're just like, at this point, You're like, these kids
• 23:05
  Speaker 1: hate their mom because this is getting so dire. Um,
• 23:11
  Speaker 1: they must really hate their mom. I did, like, I
• 23:14
  Speaker 1: feel like a lesser movie, and I know we'll get
• 23:17
  Speaker 1: into the Swell and Brian relationship, but I feel like
• 23:19
  Speaker 1: a lesser movie would have her really like, you know,
• 23:22
  Speaker 1: like she's upset that they sort of break up, but
• 23:25
  Speaker 1: she's also like, but I have things to do. And
• 23:27
  Speaker 1: then Brian just disappears from the movie for the next
• 23:30
  Speaker 1: half hour because she she has shipped to deal with
• 23:33
  Speaker 1: and so she just um like a real like a
• 23:36
  Speaker 1: real single mom girl boss compartmentalizes it and forges ahead.
• 23:41
  Speaker 1: She takes her bubble bass. She complains about how nobody
• 23:46
  Speaker 1: in the house, none of her none of her younger
• 23:47
  Speaker 1: siblings care respect the work that she's doing. She just
• 23:51
  Speaker 1: gets on with it anyways, because that's the rule. And
• 23:53
  Speaker 1: she's got so much to deal with because meanwhile her
• 23:56
  Speaker 1: siblings steal a lot of the petty cash. They buy
• 24:00
  Speaker 1: home entertainment system, Zack buys a diamond for his girlfriend,
• 24:06
  Speaker 1: They buy some other stuff. Also, Walter falls off the
• 24:10
  Speaker 1: roof because he's trying to do something with the antenna
• 24:13
  Speaker 1: for the new TV. He has to go to the
• 24:15
  Speaker 1: hospital nineties injury. Yeah, Kenny is being an insolent little
• 24:22
  Speaker 1: ship all the time. And then meanwhile at work, Caroline
• 24:26
  Speaker 1: is trying to dig up dirt on Swell to get
• 24:28
  Speaker 1: her fired. Gus continues to be creepy. Also, sales are
• 24:32
  Speaker 1: way down at the company where like Rose was trying
• 24:36
  Speaker 1: to make this deal to sell uniforms to a school,
• 24:39
  Speaker 1: but they lose that account and now the company might
• 24:41
  Speaker 1: go under, So things are really falling apart for Swell
• 24:44
  Speaker 1: and Friends. Eats an eminem off the floor, which, uh
• 24:49
  Speaker 1: is maybe one of my favorite parts of the movie Wild.
• 24:53
  Speaker 1: So things are falling apart, but Swell gets an idea
• 24:56
  Speaker 1: to make the uniforms that they design and sell, make them,
• 25:00
  Speaker 1: you know, snazzier and more fashionable, and and to put
• 25:03
  Speaker 1: on a runway show to impress possible clients. And her
• 25:08
  Speaker 1: boss Rose thinks this is a great idea, and she's like,
• 25:11
  Speaker 1: rent a banquet hall and pay for it with the
• 25:13
  Speaker 1: petty cash, which of course is all gone, and Swell
• 25:16
  Speaker 1: can't reveal that, so she's like, let's just have the
• 25:20
  Speaker 1: fashion show in my house. So then Swell has her
• 25:24
  Speaker 1: siblings clean up the house because it's a mess, and
• 25:28
  Speaker 1: everyone rallies and they managed to put on a nice
• 25:31
  Speaker 1: event and the fashion show is going well, but oh no,
• 25:35
  Speaker 1: Caroline and Bruce have discovered that Swell is only seventeen,
• 25:39
  Speaker 1: so they try to blow up her spot at the event.
• 25:43
  Speaker 1: This is also when Brian shows up to profess his
• 25:47
  Speaker 1: love for Swell via like the truck the drug the
• 25:53
  Speaker 1: circus truck Um. And it's also when Swell and her
• 25:57
  Speaker 1: siblings Mom comes back a week really from Australia, so
• 26:02
  Speaker 1: everything you know, falls apart for a moment, and Swell
• 26:05
  Speaker 1: admits that she's only seventeen. She's not ready for all
• 26:08
  Speaker 1: of this responsibility. She's in way over her head. And
• 26:12
  Speaker 1: while her mom is upset that she threw a big
• 26:16
  Speaker 1: party and things have gone off the rails, she's like,
• 26:19
  Speaker 1: wait a minute, the house looks good and everything actually
• 26:23
  Speaker 1: kind of seems to be under control, even though my
• 26:25
  Speaker 1: youngest son has a broken leg. Um. Rose is also
• 26:30
  Speaker 1: impressed with Swell and no one is actually that mad,
• 26:36
  Speaker 1: and then Swell and Brian kiss and makeup, and then
• 26:39
  Speaker 1: the movie ends with swells mom being like, Hey, whatever
• 26:44
  Speaker 1: happened to the babysitter? And then we cut to two
• 26:47
  Speaker 1: guys visiting her grave thanking her for the money that
• 26:51
  Speaker 1: she left them a k a. They found the cash
• 26:54
  Speaker 1: that was on her body, and they even do have
• 26:59
  Speaker 1: gambled it all the way in Vegas, and that money
• 27:02
  Speaker 1: could have gone towards feeding children. Tragic. So that's the
• 27:07
  Speaker 1: end of the movie. Let's take a quick break and
• 27:09
  Speaker 1: then we'll come back to discuss and we are back. Okay,
• 27:21
  Speaker 1: where do we want to start? I don't know. There's
• 27:23
  Speaker 1: actually kind of a lot of different aspects of this
• 27:26
  Speaker 1: movie worth discussing. Does anything jump out to you right away? Abe?
• 27:30
  Speaker 1: You know, I would say, if there's one like top
• 27:33
  Speaker 1: line thing that jumps out at me in this in
• 27:35
  Speaker 1: this movie, and it's it's a phrase I didn't know
• 27:37
  Speaker 1: when I saw this for the first time that this
• 27:39
  Speaker 1: is a movie about a young woman discovering invisible labor
• 27:43
  Speaker 1: that all women do, that her mother has been carrying
• 27:48
  Speaker 1: this burden of the house. Nobody has been seeing the
• 27:50
  Speaker 1: mother's labor. Nobody cares about the mother's labor. This house
• 27:54
  Speaker 1: is trashed, nobody's helping her with the dishes. The mother's like, fine,
• 27:58
  Speaker 1: I'm gonna do some visible pleasure for myself. Screw you guys,
• 28:01
  Speaker 1: and then sue well and realizes, oh ship, this world
• 28:04
  Speaker 1: is not fair to the expectations it puts on women,
• 28:08
  Speaker 1: and nobody will help me, and realizing how much adulthood sucks.
• 28:14
  Speaker 1: Like one of one of the things one of the
• 28:15
  Speaker 1: jokes I love about the Petty Cash is like she
• 28:17
  Speaker 1: just assumed she'll get her first paycheck and then pay
• 28:19
  Speaker 1: it all back in full and then even without her
• 28:22
  Speaker 1: family stealing from her, just like they did from their mom.
• 28:25
  Speaker 1: She finds out about taxes and she's like, what's this taxes?
• 28:30
  Speaker 1: I mean, I find a love it very relatable as
• 28:32
  Speaker 1: the person who remembers getting my first office job and
• 28:34
  Speaker 1: being like, what do you mean I have medical benefits.
• 28:36
  Speaker 1: I don't even know what that is, right, Like, yeah,
• 28:40
  Speaker 1: I I agree, and I like that to a lesser extent,
• 28:44
  Speaker 1: I like that this movie is very much Swells movie,
• 28:47
  Speaker 1: but you do also get a little bit of the
• 28:50
  Speaker 1: invisible labor understanding from Kenny to even though he's still
• 28:54
  Speaker 1: like I would argue, he's still almost a complete and
• 28:57
  Speaker 1: total asshole the whole movie, because it's like this combination
• 29:01
  Speaker 1: of he behaves very traditionally masculine in that he has
• 29:06
  Speaker 1: no issue with calling his sister the mainest thing he
• 29:09
  Speaker 1: can think of, and he doesn't apologize for anything, but
• 29:13
  Speaker 1: he also learned, but he's I I think it's kind
• 29:16
  Speaker 1: of cool that the movie puts him in the role
• 29:19
  Speaker 1: of having to keep the house together and like realizing
• 29:23
  Speaker 1: that you can't just funk off, or like someone will
• 29:26
  Speaker 1: get hurt like Walter gets hurt, or like you will starve.
• 29:32
  Speaker 1: I just I don't know. This movie is so campy
• 29:35
  Speaker 1: and funny that it's like, via watching Julia Child's PBS broadcast,
• 29:41
  Speaker 1: a young Stoner learns that he should finish high school
• 29:45
  Speaker 1: you're just like, yeah, cool, great, good for him. He
• 29:49
  Speaker 1: learns about brie and room macky creole mushrooms, like he's
• 29:53
  Speaker 1: like leveled up when he starts catering. I like, an,
• 29:56
  Speaker 1: you're right, I mean, And it's kind of arbitrary that
• 29:58
  Speaker 1: it divides out this way where it's like a woman
• 30:01
  Speaker 1: in the workforce, man keeping the hearth because they flip
• 30:04
  Speaker 1: a pizza box right, like they flipped like a frozen
• 30:07
  Speaker 1: to decide who's gonna work, and it just works out
• 30:09
  Speaker 1: this way where like they wind up in kind of
• 30:11
  Speaker 1: the quote unquote opposite stereotypical roles of like she being
• 30:16
  Speaker 1: the supporter, him having to keep you know, the kids fed,
• 30:19
  Speaker 1: which he does a terrible job at for most of
• 30:21
  Speaker 1: the entire movie because he's hanging out with his buddies. Hellhound, Skull,
• 30:25
  Speaker 1: lizard in mole. Those are their names. I didn't even
• 30:28
  Speaker 1: catch that. Those are their names. Oh yeah, when they're
• 30:31
  Speaker 1: like valets at the end, they have hellhound and skull
• 30:33
  Speaker 1: and lizard like on their name tags. Honestly iconic. Um yeah,
• 30:40
  Speaker 1: I found that. And then there's one scene in particular
• 30:42
  Speaker 1: that really helps to like fully demonstrate this towards the
• 30:46
  Speaker 1: end where Swell and Kenny have an argument where Kenny
• 30:51
  Speaker 1: is like, oh, you're always working. You didn't even call
• 30:53
  Speaker 1: to say you'd be home late, and you know, I
• 30:55
  Speaker 1: was working all day on this cast role, and you
• 30:58
  Speaker 1: didn't even mention how nice the house looks. And when
• 31:00
  Speaker 1: was the last time we even went out to dinner.
• 31:02
  Speaker 1: You don't appreciate me. And she's like, why go out
• 31:05
  Speaker 1: there and bust my ask to earn money for us
• 31:07
  Speaker 1: and put food on the table, And it's it's an
• 31:09
  Speaker 1: argument we've seen before, but it would be traditionally between
• 31:13
  Speaker 1: a mother and a father, so like not teen brother
• 31:17
  Speaker 1: and sister. But the movie is like, very clearly and
• 31:19
  Speaker 1: like for comedic effect, mapping those dynamics onto these like
• 31:24
  Speaker 1: teen siblings. But it is like kind of you know,
• 31:26
  Speaker 1: quote unquote gender swapped in terms of traditional gender roles
• 31:30
  Speaker 1: and expectations, where Swell is like the quote unquote man
• 31:34
  Speaker 1: or father because she's the breadwinner, and Kenny is the like,
• 31:38
  Speaker 1: you know, quote unquote woman or mother because he's doing
• 31:41
  Speaker 1: domestic and like caretaking work, which I wasn't really expecting
• 31:47
  Speaker 1: for the movie to acknowledge. So I found that really interesting.
• 31:50
  Speaker 1: And this movie does a lot of cool stuff I
• 31:52
  Speaker 1: don't know like and and also that I mean, I
• 31:55
  Speaker 1: don't know. I guess that they don't maybe this isn't
• 31:58
  Speaker 1: a criticism, but they don't like explicitly say that at
• 32:02
  Speaker 1: any point that but like that this is like they're
• 32:05
  Speaker 1: falling apart at doing these respective jobs and their mom
• 32:08
  Speaker 1: was expected to do both of those jobs at once. Amy.
• 32:12
  Speaker 1: I like your take on the mom being like fuck
• 32:15
  Speaker 1: you guys, Like I'm out of here, because it's like
• 32:18
  Speaker 1: they can't you know, it's like there to be fair
• 32:21
  Speaker 1: their kids, but like they can't last you know, six
• 32:24
  Speaker 1: weeks doing what she does and they're only doing half
• 32:28
  Speaker 1: of it. And I like that it's sort of this, um,
• 32:32
  Speaker 1: I don't know. I I don't mind that the movie
• 32:34
  Speaker 1: isn't super critical and doesn't place a ton of value
• 32:38
  Speaker 1: a judgment on the mom. And that's why this like
• 32:40
  Speaker 1: debate exists. Is it just you sort of bring your
• 32:43
  Speaker 1: own baggage and opinions on parenting to the table. Yeah,
• 32:48
  Speaker 1: there's even that like tiny throwaway line because you're right,
• 32:51
  Speaker 1: she the mom is doing everybody's part, and like somebody
• 32:53
  Speaker 1: lines so I forget which a kid, but they're like
• 32:55
  Speaker 1: I wish dad was around and she just goes, no,
• 32:57
  Speaker 1: you don't. That's all we know about how their family was,
• 33:01
  Speaker 1: but that that house is a trash heat of disaster
• 33:05
  Speaker 1: of muldi bread and newspapers everywhere. But if it was
• 33:07
  Speaker 1: worse when their husband, the dad, was there, how bad
• 33:10
  Speaker 1: must it have been? Right now, there's also that moment
• 33:14
  Speaker 1: with I think the last time the dad comes up
• 33:16
  Speaker 1: is right after they've decided to get rid of the
• 33:20
  Speaker 1: babysitter's body, and I think like Swell says something to
• 33:24
  Speaker 1: Kenny where she's one of them, asked like she'll be
• 33:27
  Speaker 1: called that, and the other kid is just like, no,
• 33:30
  Speaker 1: he would not give a ship. That doesn't care. That's right,
• 33:33
  Speaker 1: dad doesn't care. And you know, I appreciate that has
• 33:36
  Speaker 1: a screenwriting choice because it would be so easy to
• 33:38
  Speaker 1: just make the dad dead or something. And the mom's
• 33:41
  Speaker 1: like a said widow and like maybe she gets this,
• 33:44
  Speaker 1: like get her grew back in austin Land stuff, But
• 33:47
  Speaker 1: like that the movie makes it part of casually being
• 33:49
  Speaker 1: like the dad's alive and he doesn't care. That's brutal.
• 33:53
  Speaker 1: I respect how brutal that is, right, and that there's
• 33:56
  Speaker 1: just like there are I don't know they're Caitlin to
• 34:00
  Speaker 1: Urban to make you like this movie. There need to
• 34:03
  Speaker 1: see there. I might on top of that too, we're
• 34:06
  Speaker 1: going to do it because there are like a lot
• 34:09
  Speaker 1: of like interesting like little some versions of like what
• 34:13
  Speaker 1: you expect of like teenage characters. Also, I really liked
• 34:17
  Speaker 1: the um I guess it's like this is just gonna
• 34:20
  Speaker 1: be a long conversation about Swell because that is like
• 34:23
  Speaker 1: she's just all over the place in this movie. But
• 34:25
  Speaker 1: I like that at the beginning of the movie she's like,
• 34:29
  Speaker 1: I don't really know if I want to go to college,
• 34:32
  Speaker 1: Like that is something that you don't usually hear about,
• 34:36
  Speaker 1: especially in a way that like her mom is concerned,
• 34:39
  Speaker 1: but like you know, she can't really control what her
• 34:42
  Speaker 1: her kid decides. I really like that conversation between Brian
• 34:45
  Speaker 1: and Swell where they're like, well, I like this, but
• 34:49
  Speaker 1: like do I want to, you know, get in debt
• 34:51
  Speaker 1: forever about it? I don't know, like I would rather.
• 34:54
  Speaker 1: And I was like, yeah, this is like all teenagers
• 34:56
  Speaker 1: should have this discussion with each other, because there's like
• 34:59
  Speaker 1: I don't the only way I didn't like where that landed,
• 35:02
  Speaker 1: even though it's probably like I guess, more realistic, but
• 35:05
  Speaker 1: at the end of like, swell, take that damn job.
• 35:08
  Speaker 1: What are you thinking you want to get into fashion
• 35:11
  Speaker 1: school debt? You were making thirty seven thousand dollars a
• 35:14
  Speaker 1: year in yeah, and so what if you lied to
• 35:19
  Speaker 1: get the job, but you were doing a pretty good
• 35:21
  Speaker 1: job at it. Care Also, I think I like the idea.
• 35:26
  Speaker 1: Well maybe I don't. I like the idea that from
• 35:30
  Speaker 1: a glance, this movie is about, you know, a young
• 35:33
  Speaker 1: woman who like learns responsibility and she kind of takes
• 35:37
  Speaker 1: control of things and she becomes you know, sort of
• 35:40
  Speaker 1: like a leader in a in a sense, and and like,
• 35:43
  Speaker 1: you know, things that we can be like woo who
• 35:45
  Speaker 1: it's a a girl doing stuff. But then she yeah,
• 35:47
  Speaker 1: like you she said, Jimmie, like becomes a girl boss.
• 35:49
  Speaker 1: And I don't know, but the point is, um, what
• 35:54
  Speaker 1: was my point? No, I don't remember it, going back
• 35:57
  Speaker 1: though to that scene, so like yeah, and then like
• 36:00
  Speaker 1: her and Brian are talking about and they're like, oh,
• 36:03
  Speaker 1: I thought that my parents, like our parents had like
• 36:05
  Speaker 1: a college fund for us, And it turns out they don't.
• 36:08
  Speaker 1: But you can assume it's because like they're lower middle
• 36:11
  Speaker 1: class and they can't afford to stave up for college
• 36:15
  Speaker 1: even in the early nineties. Yeah, I mean, I'll be honest,
• 36:18
  Speaker 1: that straight up happened to me, Like my parents will
• 36:21
  Speaker 1: made my whole life. They were saving from my college
• 36:23
  Speaker 1: and then marched my senior year after I'd only applied
• 36:26
  Speaker 1: to expensive private schools. They're like, oh, we had to
• 36:28
  Speaker 1: spend that. We're so sorry. I was like one similar
• 36:31
  Speaker 1: deal here, samilar I want to bet a state school,
• 36:34
  Speaker 1: which I love. I've like, do it again all over again,
• 36:36
  Speaker 1: then wind up with any fraction of college debt. But
• 36:38
  Speaker 1: oh my god, okay, oh wait, we can't talk. I'm
• 36:41
  Speaker 1: so sorry we can't talk about this date scene though
• 36:43
  Speaker 1: that we keep talking about that saying the most important
• 36:45
  Speaker 1: word in it, which is grunion. I had to look
• 36:49
  Speaker 1: up with a grunion. Did someone tell me what a
• 36:51
  Speaker 1: Grunnian is? You guys, the Grunian stuff happens here. Y'all
• 36:55
  Speaker 1: can go grun in this year, like yeah, gren Like
• 36:58
  Speaker 1: if you go to like Venice Beach, then am on,
• 36:59
  Speaker 1: it could be each I forget what time of beer
• 37:01
  Speaker 1: it is. I've done it once. These little fish wiggle
• 37:04
  Speaker 1: out and they come and they hop around on the
• 37:05
  Speaker 1: sand in the middle of the night, and like if
• 37:07
  Speaker 1: you go down there the ones time I win. I
• 37:08
  Speaker 1: remember it was like a party of people are drinking
• 37:09
  Speaker 1: beer waiting for the grunion to show up. Whoa, yeah,
• 37:12
  Speaker 1: it's a real deal. And the gun. You know, they
• 37:14
  Speaker 1: don't bone like us, but right there they're not horny. Um,
• 37:20
  Speaker 1: that's so cool. Okay, cool, that's good to know. Yeah,
• 37:23
  Speaker 1: we live in Grunnian country. This is the Greunian zone.
• 37:26
  Speaker 1: You might even call it Grunian Canyon. Oh god, thank you,
• 37:31
  Speaker 1: thank you so much. That was good. Oh wait, I
• 37:34
  Speaker 1: remember my Um the point I was going to make
• 37:37
  Speaker 1: the reason Generally, I like swells character and I like
• 37:41
  Speaker 1: the journey she goes through. I don't have a problem
• 37:44
  Speaker 1: with that, except that she takes credit for Cathy's work
• 37:49
  Speaker 1: and never like follows back up with Kathy to be like,
• 37:51
  Speaker 1: oh my god, Like I feel like she's not like
• 37:53
  Speaker 1: expressing enough gratitude for her and she's taking advantage of Kathy,
• 37:57
  Speaker 1: never giving the credit she's due. And big thing for
• 38:00
  Speaker 1: this episode is justice for Kathy. I agree with you
• 38:04
  Speaker 1: on that. I think there's a deleted scene where like
• 38:07
  Speaker 1: at the end of the movie, Sue Ellen tells Rose
• 38:10
  Speaker 1: and Ros like, please keep working for me. She's like
• 38:12
  Speaker 1: you need to hire Kathy. But I think they deleted that,
• 38:14
  Speaker 1: and they probably should have kept that. That would have
• 38:18
  Speaker 1: endeared me to both of them more because I sort
• 38:20
  Speaker 1: of that knowing that there's a deleted scene that sort
• 38:23
  Speaker 1: of clarifies it a little, because it's also like they
• 38:26
  Speaker 1: go through the trouble of like having Kathy be there,
• 38:29
  Speaker 1: so it seems like something is there's going to be
• 38:32
  Speaker 1: some sort of resolution with her, and there just isn't. Oh,
• 38:35
  Speaker 1: I wish that that was Cannon, because that does seem
• 38:38
  Speaker 1: like one of the few, like I mean, I guess
• 38:41
  Speaker 1: you could you could argue that, like Caroline Desert, I
• 38:46
  Speaker 1: think Caroline should just go work for another company. Honestly,
• 38:49
  Speaker 1: she's she's very she's very diabolical, and I think a
• 38:52
  Speaker 1: lot of companies need that. So I think she would
• 38:55
  Speaker 1: do great elsewhere. And she's very angry and condescending, and
• 38:58
  Speaker 1: she's like personal and l the way she's so mean.
• 39:04
  Speaker 1: I do like that. That was another thing that we
• 39:07
  Speaker 1: talked about, you know, sometimes where it's like, oh, these
• 39:10
  Speaker 1: two women who just irrationally dislike each other. But I
• 39:13
  Speaker 1: don't know, I felt like Caroline's character, you don't know
• 39:16
  Speaker 1: exactly why she's so angry, but it feels like more
• 39:18
  Speaker 1: in the way of like you don't know exactly why
• 39:21
  Speaker 1: their dad sucks, but it's like I had enough information.
• 39:24
  Speaker 1: And there's so many relationships between different sets of women
• 39:28
  Speaker 1: in this movie. They're all white women, which will get
• 39:31
  Speaker 1: to but there are so many different types of women
• 39:34
  Speaker 1: in this script that like having one who was like
• 39:37
  Speaker 1: grouchy and shitty like didn't bug me too much because
• 39:41
  Speaker 1: in that same office you have Rose and you have Kathy,
• 39:44
  Speaker 1: and they're all like really really different, uh flavors of
• 39:49
  Speaker 1: of person. But yeah, Kathy deserved better and she was
• 39:53
  Speaker 1: what a sweetheart where she was like, oh, yeah, I
• 39:56
  Speaker 1: put in for that job, but it must not have
• 39:58
  Speaker 1: been good enough. And I hope that I hope that
• 40:01
  Speaker 1: they gave her the promotion and they gave her a raise,
• 40:05
  Speaker 1: because it's not like like the only thing that I mean,
• 40:08
  Speaker 1: Swellen was good at delegating, but that's like a classic
• 40:12
  Speaker 1: I feel like that's part of the It felt like
• 40:14
  Speaker 1: that was like part of the corporate satire they were
• 40:17
  Speaker 1: trying to get at. That kind of goes away by
• 40:19
  Speaker 1: the end because by the end, I think you were
• 40:20
  Speaker 1: supposed to believe that Swell was good at her job
• 40:24
  Speaker 1: when she really wasn't. She just figured out how to
• 40:26
  Speaker 1: like fake it better, right, which can be a useful skill.
• 40:31
  Speaker 1: But yeah, because that is one of the ways that
• 40:33
  Speaker 1: Caroline tries to write her out. She's like, Kathy has
• 40:36
  Speaker 1: been doing all the q EAT reports and it's supposed
• 40:38
  Speaker 1: to be like Dune Dune done, but instead Rose is
• 40:40
  Speaker 1: like delegation amazing girl boss behavior, which I think is
• 40:45
  Speaker 1: really funny and I kind of want to say not
• 40:48
  Speaker 1: in Caroline's defense, but if you look at this movie
• 40:51
  Speaker 1: from her point of view, she's not wrong. She was
• 40:54
  Speaker 1: in line for a job this unqualified girl who strikes
• 40:56
  Speaker 1: her as a phony. She can't prove it, but she
• 40:58
  Speaker 1: has a sense that this role is not right. She's
• 41:02
  Speaker 1: right about that too, you know, she's like she's justly aggrieved,
• 41:06
  Speaker 1: but she's like playing the game in the wrong way.
• 41:09
  Speaker 1: She's playing the game of like this is what's right
• 41:11
  Speaker 1: and fair, and this office is like, but what about
• 41:14
  Speaker 1: what's charming and funny? And she doesn't get that. Yeah,
• 41:18
  Speaker 1: and she's also so mean that no one wants to
• 41:21
  Speaker 1: interact with her except for David D. Kofney, which is
• 41:24
  Speaker 1: not the worst problem in the world to be fair
• 41:28
  Speaker 1: that I would I would accept that problem. Oh no,
• 41:30
  Speaker 1: I have to go home and have sex with David
• 41:33
  Speaker 1: dicofany damn my life job so hard. Uh yeah. The
• 41:39
  Speaker 1: Caroline character, I mean, and I like that, Like you
• 41:41
  Speaker 1: get certain humanizing aspects of her where it's like she
• 41:45
  Speaker 1: has a good relationship with her brother and like you
• 41:48
  Speaker 1: see her give him again, like maybe if you're this
• 41:52
  Speaker 1: deep in the movie, you're like, no, I want to
• 41:54
  Speaker 1: Swell and Brian to end up together, which's like I
• 41:56
  Speaker 1: don't really care, but like Caroline gives him good advice.
• 42:00
  Speaker 1: She's like, yeah, it seems like something's off with this girl.
• 42:03
  Speaker 1: You should like just move on with your life. And
• 42:05
  Speaker 1: I was like, you know what, Caroline, pretty good advice.
• 42:07
  Speaker 1: That's why I have more information than you, and you're
• 42:10
  Speaker 1: right about that. And of course he's a teenager so
• 42:13
  Speaker 1: he doesn't listen. But I was like, you know, Caroline,
• 42:15
  Speaker 1: you're you're right. I mean, she's she's pretty on point
• 42:17
  Speaker 1: about everything. I think it's just the the delivery of
• 42:20
  Speaker 1: the information. Um yeah, just she's still at the phase
• 42:25
  Speaker 1: of life where she thinks that she lives in a meritocracy.
• 42:29
  Speaker 1: I get that very much. I remember the first time
• 42:31
  Speaker 1: I got like I got pulled over a ticket when
• 42:34
  Speaker 1: I was in college, and like a cop said that
• 42:36
  Speaker 1: a train crossing signal was crossing and it wasn't, but
• 42:40
  Speaker 1: they said of like ran across signal that was like flashing.
• 42:43
  Speaker 1: Absolutely wasn't like a bar would have gone down. I
• 42:45
  Speaker 1: couldn't have even done it, but they pulled me over
• 42:47
  Speaker 1: for it anyway. And I remember like going to the
• 42:49
  Speaker 1: courtroom and being like, you know, eighteen to like tell
• 42:53
  Speaker 1: them what the truth was and realizing nobody care and
• 42:56
  Speaker 1: I had to pay the ticket anyway, and being like
• 42:59
  Speaker 1: so upset going to this like Oklahoma court house and
• 43:01
  Speaker 1: crying to my dad on the phone, like what do
• 43:03
  Speaker 1: you mean you can't just tell the truth as an
• 43:05
  Speaker 1: adult and people listen. It's so I feel you, Caroline,
• 43:09
  Speaker 1: like I get that moment, right, But also to kind
• 43:12
  Speaker 1: of like what you're saying about the Brian relationship. I
• 43:15
  Speaker 1: like that this movie doesn't make us have to believe
• 43:18
  Speaker 1: that this is like their love of a lifetime. It's
• 43:21
  Speaker 1: like summer Romance gives a ship, you know what I mean,
• 43:25
  Speaker 1: not like it's not They're not pulling some sort of
• 43:28
  Speaker 1: John Hughes punch. We're supposed to believe that this is
• 43:30
  Speaker 1: like yeah, yeah, yeah, And I do like, I I
• 43:36
  Speaker 1: don't mind that relationship. For like most of the movie,
• 43:39
  Speaker 1: there's a few moments where you're like, what it seems
• 43:42
  Speaker 1: like a bit much, But I like that, Um, it
• 43:46
  Speaker 1: doesn't feel shoehorned in for me, like a lot of
• 43:48
  Speaker 1: like romance subplots can, because it's like Brian sort of
• 43:53
  Speaker 1: is like this plot stand in for like Sue Ellen
• 43:57
  Speaker 1: being able to still be a kid and like be
• 43:59
  Speaker 1: able to be goofy and have fun and like almost
• 44:03
  Speaker 1: sort of be herself, which we don't which she doesn't
• 44:06
  Speaker 1: have anywhere else because her friends are gone and heard
• 44:09
  Speaker 1: and she's in gridlocked traffic for six hours a day.
• 44:13
  Speaker 1: So I I like that they found, you know, like
• 44:17
  Speaker 1: a way to show like but she's still a kid
• 44:19
  Speaker 1: and like should be allowed to be a kid, like
• 44:22
  Speaker 1: when they literally go to a toy store so they
• 44:24
  Speaker 1: can play on the kid toys. It's directing wise, what
• 44:28
  Speaker 1: I appreciate that. And this film is directed by dude,
• 44:30
  Speaker 1: you know, it's directed by um Steven Herrick, who actually
• 44:34
  Speaker 1: did a lot of he had Like he's one of
• 44:35
  Speaker 1: those people I think of as like the eighties a
• 44:38
  Speaker 1: tour that you didn't pay any attention to, Like he
• 44:40
  Speaker 1: interroded like you know, Critters and Bill and Taed and
• 44:42
  Speaker 1: Mighty Ducks, but you're like you're never like, oh yeah,
• 44:44
  Speaker 1: Steven Herrick, you don't really think about it. But like
• 44:47
  Speaker 1: I respect that he's a guy shooting this scene where
• 44:50
  Speaker 1: Christina Applegate, like the hot chick from Married with Children,
• 44:54
  Speaker 1: is bouncing on a bouncy ball in a low cut
• 44:57
  Speaker 1: short with spikes all over it, and there's not one
• 44:59
  Speaker 1: shot of her boobs. Do you know there's not the
• 45:02
  Speaker 1: littlest bit of like, let's watch her bounce, Let's really
• 45:06
  Speaker 1: watch her bounce. Yeah, men doing the bare minimum. I
• 45:12
  Speaker 1: respect that bare minimum at least when it's there. Thank you,
• 45:15
  Speaker 1: you know, I hear you. I'm also seeing Stephen Harrick
• 45:18
  Speaker 1: directed the Glenn Close live action A hundred one Dalmatians.
• 45:24
  Speaker 1: That alone, that's very spot good for him. Okay, yeah, no,
• 45:29
  Speaker 1: I agree. I like that. I don't know like Swell
• 45:33
  Speaker 1: is I think a really well realized character where like
• 45:38
  Speaker 1: she's definitely not perfect, she funks up all the time,
• 45:43
  Speaker 1: she isn't buzzling, and she's be buzzling she's taking credit
• 45:47
  Speaker 1: for work she didn't do. She's not good at ur
• 45:50
  Speaker 1: her job, but there's but I don't know. She's also
• 45:54
  Speaker 1: a teenager, Like teenagers like, yeah, kids mature decisions often times,
• 46:00
  Speaker 1: and I like that the movie like gives her space
• 46:03
  Speaker 1: to kind of like be a funk up and like
• 46:05
  Speaker 1: not know what she's doing because there I'm trying to.
• 46:09
  Speaker 1: I mean, I feel like there's a lot of especially
• 46:11
  Speaker 1: when they're as like conventionally beautiful as Christina Applegate, Like
• 46:16
  Speaker 1: you often get these characters who are young women that
• 46:19
  Speaker 1: they're like, well, why bother writing this character? Like we
• 46:22
  Speaker 1: have a hot actress doing it? So who cares? But
• 46:25
  Speaker 1: like there's a ton of lawyers to who Swell is.
• 46:28
  Speaker 1: And she does like grow a lot, but not like
• 46:31
  Speaker 1: so much that it's unrealistic. I feel like the only
• 46:33
  Speaker 1: man realistic thing. She like completely gets the way with
• 46:36
  Speaker 1: it to the point where she gets to like say
• 46:38
  Speaker 1: that as like one of the last lines in the
• 46:40
  Speaker 1: movie where he's like, how do you think you're going
• 46:43
  Speaker 1: to get away with it? And she's like, well, I
• 46:44
  Speaker 1: basically did. When I told my boyfriend we are going
• 46:51
  Speaker 1: to come on and talk about this movie which I
• 46:52
  Speaker 1: made him much during Pandemic. He'd never seen it. He
• 46:55
  Speaker 1: brought up this weekend, this interview he saw with Christina Applegate.
• 46:59
  Speaker 1: I don't know if it was like recent when she's
• 47:00
  Speaker 1: talking about being and her actress or like at the time,
• 47:03
  Speaker 1: but they're asking her how she played Kelly Bundy and
• 47:05
  Speaker 1: married to children at the same time, Like how how
• 47:07
  Speaker 1: she played an idiot bimbo, And she said, I don't
• 47:10
  Speaker 1: think of her as stupid. I think of her as
• 47:12
  Speaker 1: a person with a short attention span and that she
• 47:15
  Speaker 1: found a way into that character that wasn't I'm going
• 47:17
  Speaker 1: to mock this character. I'm gonna let you laugh at
• 47:20
  Speaker 1: this character. This character is your like typical blonde bimbo.
• 47:23
  Speaker 1: She is just a person who it's easily distracted, and
• 47:26
  Speaker 1: like found this way around it that allowed her to
• 47:29
  Speaker 1: love and respect the person she's being. And I think
• 47:31
  Speaker 1: that that's I mean, she's like fourteen fifteen, I think
• 47:34
  Speaker 1: when she started that show, so that I think that's
• 47:37
  Speaker 1: a glimpse into her as an actress, even as a
• 47:39
  Speaker 1: teenage actress. She's like a legit teenager when she makes
• 47:42
  Speaker 1: this movie. Yeah, she's cool. I really like her me too.
• 47:46
  Speaker 1: The one thing though, I'm at at. I don't blame
• 47:48
  Speaker 1: her for this. I blame like maybe her agent, maybe
• 47:51
  Speaker 1: the production designer, maybe the director. I have this real
• 47:54
  Speaker 1: pet peeve about this kind of thing happening. Where do
• 47:56
  Speaker 1: you know, Like we see her driver's license at one point,
• 48:00
  Speaker 1: and if you pause her driver's license, it gives a
• 48:02
  Speaker 1: height and a weight that is definitely not true. Do
• 48:07
  Speaker 1: you know what I mean? No, I didn't look at
• 48:10
  Speaker 1: that a lower weight than she Yeah, would probably be
• 48:13
  Speaker 1: an absolutely lower weight than a person alive could be,
• 48:17
  Speaker 1: right at that, like at her height end weight. You're like, no,
• 48:21
  Speaker 1: I just remember that thing being like rampant when I
• 48:23
  Speaker 1: was a little kid, like male characters giving girls weights
• 48:26
  Speaker 1: because they don't understand how much girls really wait and
• 48:29
  Speaker 1: you're like, no, that's not it. Like there's a Christopher
• 48:31
  Speaker 1: Pike book that I read around the same time where
• 48:33
  Speaker 1: they're there's like the hot girl and like her chubby
• 48:36
  Speaker 1: friend who's like called chubby the whole way through the
• 48:38
  Speaker 1: movie or all the way through the book, and then
• 48:41
  Speaker 1: like halfway through the book they reveal her weight and
• 48:42
  Speaker 1: it's like a hundred and thirty pounds, and you're like, what,
• 48:46
  Speaker 1: it's a stuff like that is always stuck with me,
• 48:48
  Speaker 1: but that that happens on her license and I want
• 48:51
  Speaker 1: to say, it's probably like the agent being like, let's
• 48:53
  Speaker 1: make I don't nobody knows what weights are. Let's just
• 48:55
  Speaker 1: make it tidy. She's one hundred pounds, right, Okay, I'll
• 48:59
  Speaker 1: say they say she's five six, and I'm like, what,
• 49:02
  Speaker 1: um that probably not she would be dead. Yeah. I
• 49:07
  Speaker 1: think we last talked about that where because I have
• 49:09
  Speaker 1: a similar thing where like so many like little things
• 49:14
  Speaker 1: like that when I was a kid, stuck with me
• 49:16
  Speaker 1: truly forever. It sounds like a joke, but it's real,
• 49:19
  Speaker 1: but a lot of my teenage eating disorder struggles could
• 49:23
  Speaker 1: be traced to, like, amongst other things, but a very
• 49:26
  Speaker 1: specific line of dialogue in an episode of Family Guy.
• 49:29
  Speaker 1: It's not great, But I think the last time we
• 49:32
  Speaker 1: discussed this was in Bridget Jones because the weights they
• 49:36
  Speaker 1: give in Bridget Jones as attributing to like this is
• 49:39
  Speaker 1: a deviant weight is just so absurd. It's a perfectly
• 49:44
  Speaker 1: healthy weight that she is, but they presented like it's inexcusable,
• 49:49
  Speaker 1: like an unhealthy and unattractive and just like all this
• 49:52
  Speaker 1: you know, normative bullshit that that did a number on
• 49:57
  Speaker 1: a lot of people. I didn't notice the Yeah, god,
• 50:00
  Speaker 1: damn it, I know, but that stuff does get stuck in.
• 50:03
  Speaker 1: You remember reading a book once that described a character
• 50:06
  Speaker 1: it was like the dude and the girly had a
• 50:08
  Speaker 1: crush and described her stomach as being quote not just
• 50:11
  Speaker 1: flat but concave it like being eleven and reading that
• 50:15
  Speaker 1: being like, Oh, that's a beauty idea. What Oh, that's
• 50:17
  Speaker 1: what I have to strive to achieve. Yeah, so movies,
• 50:23
  Speaker 1: you did it in a movie that I think subverts
• 50:25
  Speaker 1: a lot of hyperfeminine stereotypes. They still got that in America,
• 50:31
  Speaker 1: to damn it. I guess the worst things in this
• 50:33
  Speaker 1: movie are just in like the tiny visual things, Like
• 50:35
  Speaker 1: I think it's almost at the very end of the
• 50:36
  Speaker 1: movie where you go back to Kenny's bedroom, which has
• 50:39
  Speaker 1: been like the site of horror, Like I feel like
• 50:41
  Speaker 1: the movie implies that Kenny's bedroom killed the babysitter. The
• 50:45
  Speaker 1: babysitter because he's got like it's so terrific it boobies
• 50:49
  Speaker 1: and skulls and weed and pizza crust on the record
• 50:52
  Speaker 1: player kills the babysitter shouldn't even met Kenny. She never
• 50:55
  Speaker 1: met Kenny, but his like room was so crazy. But
• 50:59
  Speaker 1: you go back to a room later and like, I
• 51:01
  Speaker 1: don't know why, it's like an angle. I think you
• 51:03
  Speaker 1: don't see the rest of the movie, but you're like, oh, man,
• 51:05
  Speaker 1: Kenny has a Confederate flag on his wall. I noticed
• 51:08
  Speaker 1: that too, and I was like, what, I didn't notice that.
• 51:12
  Speaker 1: It's right at the end. I'm like, oh man, it's
• 51:14
  Speaker 1: already becoming a better dude. And you're like, what, why
• 51:17
  Speaker 1: was that there in the first place. They live into
• 51:19
  Speaker 1: southern California, Like yeah, I mean fucking racist pieces of
• 51:24
  Speaker 1: shit are everywhere. Yeah, I mean, look at the news
• 51:29
  Speaker 1: in Los Angeles this morning. Um, this will make no
• 51:33
  Speaker 1: sense to people listening to the episode. Uh, we'll figure
• 51:36
  Speaker 1: it out. Let's take a quick break and come back
• 51:41
  Speaker 1: for more discussion, and we're back. Uh, can we? I
• 51:52
  Speaker 1: want to get into Rose lindsay world, but before we
• 51:56
  Speaker 1: do so, I just wanted to touch on the babysitter. Yes,
• 52:00
  Speaker 1: really quick. Now, she's not long for this world. Uh,
• 52:06
  Speaker 1: and she is absolutely evil, Like for the for the
• 52:11
  Speaker 1: one minute we get to know her, I feel like
• 52:14
  Speaker 1: I feel like the most memorable thing that she does
• 52:16
  Speaker 1: outside of just like who what is the name of
• 52:20
  Speaker 1: the I want to shout out the actor who played
• 52:22
  Speaker 1: her because it was a great switch. I love that
• 52:25
  Speaker 1: to use the Twilight Zone music cue that was to
• 52:27
  Speaker 1: indicate that she was about to become a cartoon villain
• 52:30
  Speaker 1: eat a Rice Marin Like she was great as Mr
• 52:33
  Speaker 1: rac Um. I feel like the most memorable thing she
• 52:36
  Speaker 1: does for our purposes is makes Melissa wear a little
• 52:41
  Speaker 1: pink dress and wants her to be so rigidly feminine
• 52:47
  Speaker 1: and finds it disgusting that Melissa plays baseball, which no
• 52:52
  Speaker 1: one else in the family does. Everyone else in the
• 52:53
  Speaker 1: family is at least even though they like they're like
• 52:57
  Speaker 1: siblings and they can't stand each other, they at least
• 52:59
  Speaker 1: see like fundamentally respectful of who everyone is. Like they're
• 53:04
  Speaker 1: not making fun of each other. But anyways, as far
• 53:07
  Speaker 1: as Mr Rock goes like, there are I'm trying to
• 53:10
  Speaker 1: like the evil old lady thing is uh, it's a trip. Yeah,
• 53:16
  Speaker 1: they shoot her in this way. There are a couple
• 53:19
  Speaker 1: of points in this movie where I was like, did
• 53:21
  Speaker 1: this director make pizza commercials? Due to be like can
• 53:24
  Speaker 1: they shoot her in that kind of like monstrous fish
• 53:27
  Speaker 1: eye lens that I always associate with like eighties and
• 53:31
  Speaker 1: nineties pizza commercials. So it's like whoa in your face.
• 53:34
  Speaker 1: I mean the intro to like those kind of looney
• 53:36
  Speaker 1: tune grandma thing that you see going on. She's like
• 53:39
  Speaker 1: the annoid, Like she's basically like the commercial pizza nooid,
• 53:42
  Speaker 1: but a grandma. It is like just making her hideous,
• 53:46
  Speaker 1: the baggy stockings like intro baggy stocking. First, they really
• 53:51
  Speaker 1: do not present her favorably, and the fact that she
• 53:55
  Speaker 1: is the oldest character and you know that she's and
• 54:00
  Speaker 1: an old woman, and that they call her an old
• 54:02
  Speaker 1: hag several times, and they really, you know, just some
• 54:07
  Speaker 1: ages choices were mad. Yeah, I don't know, we've we've
• 54:11
  Speaker 1: talked about it, and they show plenty of times of
• 54:13
  Speaker 1: just how older women are more often made a joke
• 54:18
  Speaker 1: of versus given any sort of characterization. And I mean
• 54:23
  Speaker 1: that's like a lot of women characters across the board
• 54:27
  Speaker 1: of all ages, but I feel like older women specifically,
• 54:29
  Speaker 1: it's it's more common to either like turn it into
• 54:33
  Speaker 1: body horror or just a very simplistic judgment value, and
• 54:37
  Speaker 1: in Msteric's case, it's both. So I'm trying to think
• 54:42
  Speaker 1: of the last time, the last movie we I don't know. Anyways,
• 54:46
  Speaker 1: she's not long for the movie, and the movie doesn't
• 54:49
  Speaker 1: dwell on it really. Once she's gone, she's really and
• 54:53
  Speaker 1: truly gone, and then all of a sudden, it's like
• 54:55
  Speaker 1: teenage working girl, right. But I just want to mention that, Yeah, yeah,
• 55:00
  Speaker 1: there wasn't. Earlier draft two of the script, I think
• 55:03
  Speaker 1: she was nicer. I think that was one of the
• 55:04
  Speaker 1: notes when it was starting to get put into actual production,
• 55:08
  Speaker 1: was like, I think the original scripts well and only
• 55:10
  Speaker 1: had two siblings, and the babysitter wasn't that terrible? And
• 55:15
  Speaker 1: I think when they finally made it, they're like, she
• 55:17
  Speaker 1: needs more siblings, and we have to make this babysitter
• 55:20
  Speaker 1: meaner because otherwise it's almost too sad. It's cruel, way
• 55:25
  Speaker 1: too cruel of the They probably have to justify them,
• 55:27
  Speaker 1: like dumping her at the mortuary, so they're like, oh, well,
• 55:30
  Speaker 1: if the babysitters really mean that kind of quote unquote
• 55:34
  Speaker 1: justifies these kids, you know, just dumping her body at
• 55:39
  Speaker 1: least they live in saying she's a nice old lady,
• 55:41
  Speaker 1: which is a lie, but that is a very funny,
• 55:45
  Speaker 1: like last joke that her tombstone says nice old lady.
• 55:51
  Speaker 1: And it's funny because like one of the things that
• 55:53
  Speaker 1: she does it so awful is she comes up with
• 55:55
  Speaker 1: like the chore chart, you know, and actually, like Sue
• 55:58
  Speaker 1: Ellen just winds up having it come up with the
• 56:00
  Speaker 1: short chart. Right. So not that I think this movie
• 56:02
  Speaker 1: is like apologizing for the way it treats Msteric, but
• 56:05
  Speaker 1: I think it is like, you know, honestly, these kids
• 56:07
  Speaker 1: are horrible and they do need short charts, and she
• 56:10
  Speaker 1: wasn't wrong. Yeah, she made some points in her brief tenure,
• 56:14
  Speaker 1: though I do appreciate. So we see something that she
• 56:17
  Speaker 1: does to each of the kids to demonstrate just how
• 56:21
  Speaker 1: evil she is. She's like, Walter, read an entire cyclopedia
• 56:25
  Speaker 1: and give me a report tomorrow morning. My aunt used
• 56:29
  Speaker 1: to do that. She interrupts a little date between Zach
• 56:34
  Speaker 1: and his girlfriend, who he will later buy a diamond four.
• 56:38
  Speaker 1: She calls his girlfriend to trollop yes pretty hard, and
• 56:41
  Speaker 1: then like physically abuses Zack by kind of like yanking
• 56:45
  Speaker 1: him by the ear. Again. She looks at Kenny's room
• 56:49
  Speaker 1: and then dies because of it. But to be fair,
• 56:51
  Speaker 1: if I walked into someone's room and I saw a
• 56:53
  Speaker 1: Confederate flag, I would maybe at least pass out. I know,
• 56:57
  Speaker 1: but you know that wasn't what she thought it was
• 57:00
  Speaker 1: booby because we don't we don't see that in that scene.
• 57:03
  Speaker 1: She right, she was like, oh my god, boobs drop
• 57:05
  Speaker 1: over dead. Kenny was so horny that she died. But
• 57:09
  Speaker 1: a lot of these things are framed as like, oh
• 57:11
  Speaker 1: my god, look she used like enforcing ridiculous things on
• 57:14
  Speaker 1: these kids. And one of those is she tries to
• 57:17
  Speaker 1: enforce this this idea of like femininity onto Melissa, because
• 57:22
  Speaker 1: Melissa had been established as again like a quote unquote
• 57:25
  Speaker 1: tomboy who likes to, you know, play sports and dresses
• 57:29
  Speaker 1: and kind of you know, a gender neutral or masculine way.
• 57:33
  Speaker 1: And she's like, no, no, no, little girls should dress
• 57:36
  Speaker 1: and act like little girls. And so she puts around
• 57:38
  Speaker 1: this pink frilly dressed, this big bow in her hair,
• 57:41
  Speaker 1: and it's almost exactly like the Mary Poppins outfit. I
• 57:44
  Speaker 1: think they like the girl friend Mary POPPINSS. I think
• 57:46
  Speaker 1: it's like that, but pink even worse. I think at
• 57:48
  Speaker 1: least Mary Poppins girls were like blue. But I think
• 57:51
  Speaker 1: it's like, I'm I'm your old school nanny and this
• 57:54
  Speaker 1: is what's appropriate in the year of our Lord Ninete. Right,
• 57:59
  Speaker 1: So Mrs Deck flicting these rigid gender norms on a
• 58:02
  Speaker 1: character who doesn't conform to prescribed norms of gender presentation,
• 58:07
  Speaker 1: at least in terms of clothing, and the movie framing
• 58:10
  Speaker 1: the babysitter's behavior and rigid thinking as a bad thing
• 58:14
  Speaker 1: for her to have done. I was like, Oh, another
• 58:18
  Speaker 1: progressive thing I wasn't expecting from this movie. And honestly,
• 58:22
  Speaker 1: like you know, we were talking about the gender in
• 58:24
  Speaker 1: version between like Kenny and Sue Ellen, I think there's
• 58:26
  Speaker 1: one with the siblings too, because of the three younger siblings.
• 58:31
  Speaker 1: You know, Walter is just the TV kid, but you
• 58:33
  Speaker 1: have like the girl who's obsessed with sports and the
• 58:35
  Speaker 1: boy who's obsessed with romance. And I think that's a
• 58:38
  Speaker 1: flip flop too. Would be so much easier for it
• 58:40
  Speaker 1: to be like the boys the jock and she's the
• 58:42
  Speaker 1: mooney one, but they flipped that. Yeah, And he's like Cynthia,
• 58:46
  Speaker 1: you're my moon goddess, and he's sweet about it. He's
• 58:49
  Speaker 1: a big romantic true right. Like you pointed out the
• 58:52
  Speaker 1: twilights of music, he get that kind of back to
• 58:54
  Speaker 1: back in a row of like twilights on music. Then
• 58:56
  Speaker 1: he's with his girlfriend and they're playing Casa Blanca music
• 58:59
  Speaker 1: and then they like she goes into the room and
• 59:01
  Speaker 1: suddenly it's like psycho music. These are probably my first
• 59:05
  Speaker 1: exposures to all of these songs when I was a kid,
• 59:08
  Speaker 1: and so um so props to that too, preparing me
• 59:11
  Speaker 1: for Casa Blanca. That's the sound of romance because that's
• 59:14
  Speaker 1: when Cynthia was his moon goddess. Right, I didn't even
• 59:17
  Speaker 1: put that together. That like Zach's obsession with with romance,
• 59:22
  Speaker 1: and that's I like. And then as for Walter's obsession
• 59:25
  Speaker 1: with vintage game shows, can't really account for it, but
• 59:29
  Speaker 1: happy for him anyways, Yeah, good for him, and I
• 59:32
  Speaker 1: like that this is like a little little thing. But
• 59:35
  Speaker 1: with Melissa's character who apparently that actress is a known
• 59:41
  Speaker 1: kind of iconic modern scream queen Danielle Harris. She had
• 59:45
  Speaker 1: been in oh yeah, as young as she looks here.
• 59:49
  Speaker 1: She had already done two really gnarly Halloween movies before
• 59:52
  Speaker 1: this came out, nary one where she's like, I believe
• 59:55
  Speaker 1: the lords that she's Jamie Lee Curtis is like orphaned daughter,
• 59:58
  Speaker 1: and so Michael Myers is going after her I've seen them.
• 1:00:01
  Speaker 1: They're very humudinous and they're terrible. I can't tell the
• 1:00:04
  Speaker 1: four from five at all. Wait no four, actually wait
• 1:00:08
  Speaker 1: there to forest credit. Four has a lot of like
• 1:00:09
  Speaker 1: girls dressed like Kelly Bundy, and it's kind of fun.
• 1:00:11
  Speaker 1: Five is just awful. But but yeah, she is a
• 1:00:14
  Speaker 1: total scream queen. She's so cute in this movie. But
• 1:00:19
  Speaker 1: what I like about Melissa's character, it's just like it's
• 1:00:22
  Speaker 1: such a simple thing, but like whatever, she she's like
• 1:00:26
  Speaker 1: gender neutral or sort of masculine style, and but she's
• 1:00:30
  Speaker 1: still like a little asshole. She's a little stinker. And uh,
• 1:00:34
  Speaker 1: it's not because she defies gender norms. She's just whatever
• 1:00:39
  Speaker 1: eleven or something. And I like that her her mini
• 1:00:44
  Speaker 1: arc in this because the younger kids don't have as
• 1:00:47
  Speaker 1: much of an arc, which is fine, but her mini
• 1:00:49
  Speaker 1: arc is that she just really wants someone to come
• 1:00:51
  Speaker 1: to one of her baseball games. And it's such like
• 1:00:55
  Speaker 1: a sweet, like latic key kid problem of like your
• 1:00:58
  Speaker 1: parents are just like her mom is too busy to go.
• 1:01:02
  Speaker 1: Is she a little harsh at the beginning of the
• 1:01:04
  Speaker 1: movie where she's like, little legal be there next summer.
• 1:01:07
  Speaker 1: I'm fucking off to Australia, you know whatever. But um,
• 1:01:12
  Speaker 1: I like that her little mini arc is complete because
• 1:01:14
  Speaker 1: Kenny goes to her game, he cheers her on and
• 1:01:17
  Speaker 1: he's proud of her. It's nice, it's cute. I was
• 1:01:20
  Speaker 1: reading an article actually with her with with Daniel Harris
• 1:01:24
  Speaker 1: when she where She was saying, as they were filming
• 1:01:26
  Speaker 1: this movie, she had the biggest crush on you know,
• 1:01:30
  Speaker 1: her brother, Christopher Petit, who plays like Zach the heartthrob guy,
• 1:01:33
  Speaker 1: but he had the biggest crush on Christina Applegate. It's
• 1:01:36
  Speaker 1: so like it never came to fruition, but that when
• 1:01:39
  Speaker 1: they were a little older, they actually did get to
• 1:01:42
  Speaker 1: go on a couple of dates right before he did
• 1:01:46
  Speaker 1: die very young of a drug overdose, which is said
• 1:01:49
  Speaker 1: he's one of the kind of generation of nineties boy
• 1:01:52
  Speaker 1: kids who really got run ragged and didn't make it
• 1:01:56
  Speaker 1: through the decade. Like, um, the one that always sticks
• 1:01:58
  Speaker 1: out to me is Jonathan Brandis. It's like this this
• 1:02:02
  Speaker 1: was my generation of sexual awakening. So like Jonathan Brandis
• 1:02:05
  Speaker 1: and this kid were like my heart and Leo they're
• 1:02:08
  Speaker 1: like my heart throbs, but most of them didn't make it.
• 1:02:12
  Speaker 1: And like it's I find it really interesting because we
• 1:02:14
  Speaker 1: talked so much about like what happens to young actresses
• 1:02:17
  Speaker 1: and how much they really really do get put through
• 1:02:19
  Speaker 1: the ringer. But the young nineties boys all got really
• 1:02:24
  Speaker 1: left and all wound up with like you know, addiction
• 1:02:27
  Speaker 1: problems or most of them, and it's like really rough
• 1:02:29
  Speaker 1: and they all kind of vanished from the cultural memory. Which, yeah,
• 1:02:34
  Speaker 1: I always think about River Phoenix. He was a little
• 1:02:37
  Speaker 1: before that, but the same same they're probably going out
• 1:02:42
  Speaker 1: for a lot of the same roles. Like I think
• 1:02:45
  Speaker 1: they've heard Leo I think refer to it once that
• 1:02:47
  Speaker 1: like the kids he always saw in his auditions, a
• 1:02:51
  Speaker 1: lot of them died because they were all competing with
• 1:02:54
  Speaker 1: Leo for most of their parts and stuff. That's so yeah,
• 1:02:59
  Speaker 1: I I don't know. As the more time that goes on,
• 1:03:02
  Speaker 1: I'm just like, child stardom should be illegal. I just
• 1:03:07
  Speaker 1: don't believe that there's an ethical version of it. But
• 1:03:11
  Speaker 1: but we would be remiss not to say a shout
• 1:03:14
  Speaker 1: out to Titanic. We're going to bring up Leo anyway,
• 1:03:18
  Speaker 1: that's my favorite movie. We need to wedge in a
• 1:03:21
  Speaker 1: Titanic reference at least once an episode. I made sure
• 1:03:24
  Speaker 1: that Titanic stayed on our list, by the way, for Unspoiled.
• 1:03:27
  Speaker 1: I think that movie is amazing and I will not
• 1:03:30
  Speaker 1: broke anybody who tries to say that that movie is
• 1:03:33
  Speaker 1: badly written, Like are you kidding me? Every single time
• 1:03:35
  Speaker 1: I watched that movie, What a perfect movie. There, I
• 1:03:39
  Speaker 1: was realizing, okay, last Common and then I promise we'll
• 1:03:42
  Speaker 1: get to Rose Lindsay, Um, I realized Rose Rose. I
• 1:03:49
  Speaker 1: was thinking the other day about how I always have
• 1:03:52
  Speaker 1: wanted a nickname to stick for me. It has not happened,
• 1:03:56
  Speaker 1: but when it has happened, it's been Jim or Jim
• 1:04:00
  Speaker 1: and I love that. And I realized that I feel
• 1:04:03
  Speaker 1: like people take me more seriously when they're calling me Jim,
• 1:04:07
  Speaker 1: And I was like, why do I feel that way?
• 1:04:08
  Speaker 1: Outside of like people just tend to take masculine people
• 1:04:11
  Speaker 1: more seriously. And I think it's because of all the
• 1:04:14
  Speaker 1: Titanic Behind the Scenes FEATURETTS I watched when I was
• 1:04:17
  Speaker 1: a kid, where everyone's talking about Jim Cameron so reverently,
• 1:04:22
  Speaker 1: and they're like, well, what Jim says, girls, And I was,
• 1:04:24
  Speaker 1: I think it's just stuck with me, And so when
• 1:04:27
  Speaker 1: I'm in Jim mode, people listen to me. I always
• 1:04:30
  Speaker 1: find that so fascinating when there's a director that you
• 1:04:32
  Speaker 1: know by one name, but everybody who knows him in
• 1:04:34
  Speaker 1: person calls him something else. It feels like a power
• 1:04:37
  Speaker 1: like James Cameron Jim Jim, like well to to the
• 1:04:41
  Speaker 1: people he was screaming at twenty six hours a day,
• 1:04:44
  Speaker 1: he was just Jim. Okay, Rose lindsay, yes, we gotta
• 1:04:50
  Speaker 1: get to the gal herself. Now. I know I've thrown
• 1:04:54
  Speaker 1: around the word girl boss um quite a bit early
• 1:04:57
  Speaker 1: the episode. I do feel like that term is um
• 1:05:01
  Speaker 1: arriving at its um. I don't know, I'm I'm becoming
• 1:05:05
  Speaker 1: the term. Well, I do think that there is still,
• 1:05:08
  Speaker 1: uh the sexism that is implied within that term has
• 1:05:12
  Speaker 1: sort of gotten muddled over the last couple of years.
• 1:05:14
  Speaker 1: Where when I first started using that term, it was
• 1:05:17
  Speaker 1: like supposed to be a shorthand for like woman who
• 1:05:20
  Speaker 1: is complicit in the crimes of capitalism in order to
• 1:05:25
  Speaker 1: like survive at a higher level. But I feel like
• 1:05:28
  Speaker 1: it has since kind of just like turned into a
• 1:05:31
  Speaker 1: castaway phrase that is just used to describe like a
• 1:05:35
  Speaker 1: woman in a position of authority who I personally don't like,
• 1:05:39
  Speaker 1: which I think is something that happens now it's been Karen,
• 1:05:43
  Speaker 1: I think a little bit yeah, where it's like, you know,
• 1:05:47
  Speaker 1: I'm I'm not going to write an essay about it,
• 1:05:50
  Speaker 1: but I feel like the way that it was when
• 1:05:52
  Speaker 1: we started using it firstus how people kind of weaponize
• 1:05:55
  Speaker 1: it now is not great. However, I do think that
• 1:05:59
  Speaker 1: to some ex sent Rose Lindsay fits the original intention
• 1:06:03
  Speaker 1: of the term. But I also like her, so it's hard.
• 1:06:09
  Speaker 1: She's working in the fashion industry, so like, you know,
• 1:06:15
  Speaker 1: like you're like, okay, inherently exploitative. Um, she's making uniform
• 1:06:20
  Speaker 1: you know, it's her job to make sure that they're
• 1:06:23
  Speaker 1: selling uniforms to a chemical company, although apparently they also
• 1:06:26
  Speaker 1: need to sell stuff to a school, which didn't make
• 1:06:30
  Speaker 1: sense to me if they are chemical company subsidiary. But
• 1:06:33
  Speaker 1: I don't know the company. The manufacturing company was a
• 1:06:36
  Speaker 1: subsidiary of the chemical company, and so and then they
• 1:06:41
  Speaker 1: the manufacturers just sell uniforms to anything that needs a uniform,
• 1:06:45
  Speaker 1: like a school or workplace. Right, like a Cisco I get,
• 1:06:51
  Speaker 1: I don't even know what Cisco does. I just feel
• 1:06:53
  Speaker 1: like Cisco does every right, it's very I was like,
• 1:06:56
  Speaker 1: it's a very business e business, and that I don't
• 1:06:58
  Speaker 1: understand what is going on or what everyone's job is.
• 1:07:02
  Speaker 1: But Rose as a person, I think it is like
• 1:07:05
  Speaker 1: a really cool character that like satirizes a lot of
• 1:07:10
  Speaker 1: like nineties corporate culture. And then also like I was
• 1:07:13
  Speaker 1: surprised at how empathetic and gentle the writers are with her,
• 1:07:19
  Speaker 1: Like I feel like a lesser movie she would have
• 1:07:21
  Speaker 1: like gone with Gus's word above above Swells. I feel
• 1:07:26
  Speaker 1: like a lesser movie would have like formed this weird
• 1:07:29
  Speaker 1: rivalry between them, whether Swell liked it or not. But
• 1:07:32
  Speaker 1: Roses like very cool about the whole thing, which kind
• 1:07:36
  Speaker 1: of makes sense for like, she's you know, I guess
• 1:07:40
  Speaker 1: she can't tell when someone's a child versus they're not,
• 1:07:42
  Speaker 1: but apparently neither can we and U and I like that.
• 1:07:47
  Speaker 1: I don't know, I like. I like that she is
• 1:07:50
  Speaker 1: very in Swell's corner and like is you know, tells
• 1:07:54
  Speaker 1: Gus to fuck off and advocates for Swell over her
• 1:07:58
  Speaker 1: relationship with Gus. I think it's nice. Yeah, she is
• 1:08:01
  Speaker 1: sweet and supportive of her employee and believes her when
• 1:08:05
  Speaker 1: she says like, yeah, your boyfriend is hitting on me
• 1:08:08
  Speaker 1: and being a creep and then he's like, who are
• 1:08:10
  Speaker 1: you going to believe me or a kid, and she's like,
• 1:08:12
  Speaker 1: I'm going to believe the kid. And then she forgives
• 1:08:16
  Speaker 1: swell Like I love that she forgives s weall. She
• 1:08:19
  Speaker 1: was like, yeah, you'll grow out of it, like it's
• 1:08:21
  Speaker 1: just so cute. I don't know. Yeah, and she's still
• 1:08:23
  Speaker 1: giving a mentor her feel like we can get dinner
• 1:08:25
  Speaker 1: even if you're not going to work for me, like
• 1:08:27
  Speaker 1: I see you, I'll write you a college recommendation letter.
• 1:08:30
  Speaker 1: And I think they do film her in ways where
• 1:08:32
  Speaker 1: you can see that she is actually respected at her job.
• 1:08:35
  Speaker 1: One of the one of the first real shots we
• 1:08:37
  Speaker 1: get of her at work is like she's seated at
• 1:08:39
  Speaker 1: her desk in a red outfit I think red or
• 1:08:41
  Speaker 1: or and she's always like matching her hair to her clothes,
• 1:08:43
  Speaker 1: which I think is so fun. But she's seated and
• 1:08:46
  Speaker 1: at her desk is surrounded by people trying to get
• 1:08:49
  Speaker 1: her attention, trying to be like we need you, we
• 1:08:51
  Speaker 1: need you, we need you. Like they film her in
• 1:08:53
  Speaker 1: power positions there, which I respect, And actually I kind
• 1:08:57
  Speaker 1: of like that they work for like a giant subsidy,
• 1:08:58
  Speaker 1: because I don't think Rose is like a fool that
• 1:09:00
  Speaker 1: they're working in high fashion, Like this isn't Devil Wears
• 1:09:02
  Speaker 1: product where there's glamor here like Roses sort of like
• 1:09:05
  Speaker 1: there's not glamour. What are you talking about? Like the
• 1:09:07
  Speaker 1: idea that fashion isn't all glamour. I think it keeps
• 1:09:10
  Speaker 1: this film to me from being like Roger Ebert said
• 1:09:13
  Speaker 1: this was like fantasy wish fulfillment, and I'm like, what
• 1:09:15
  Speaker 1: are you talking about. She gets a job it's actually
• 1:09:16
  Speaker 1: not that glamorous, and she finds out about taxes. I
• 1:09:20
  Speaker 1: was like, does he think that? Like what does Roger
• 1:09:23
  Speaker 1: Ebert young women want? Yeah? But also I think there's
• 1:09:29
  Speaker 1: like you get these glimpses of Rose as a person
• 1:09:33
  Speaker 1: who you know has had to make some compromises in
• 1:09:36
  Speaker 1: her life. Like one are the ones I find really
• 1:09:38
  Speaker 1: sad is when gust the sleeves bag who's always hitting
• 1:09:41
  Speaker 1: on you know so well and then being like just kidding,
• 1:09:45
  Speaker 1: fuck me, just kidding. But when he invites her way
• 1:09:48
  Speaker 1: for the weekend, She's like Rose's real statement of it
• 1:09:51
  Speaker 1: is she says, like shades of real intimacy, like she's
• 1:09:54
  Speaker 1: been I think a little starred for what actual grown
• 1:09:57
  Speaker 1: up connection is because she's just in this working thing,
• 1:10:00
  Speaker 1: and I don't know if it's coming on, Like working
• 1:10:02
  Speaker 1: women can't find love, but like she's settling for little things,
• 1:10:05
  Speaker 1: you know, but she's excited about it at the same
• 1:10:07
  Speaker 1: time she's happy about shades of real intimacy. It's such
• 1:10:13
  Speaker 1: a complicated because it's like I can't like get myself
• 1:10:16
  Speaker 1: in to be like I don't really like I feel
• 1:10:19
  Speaker 1: like it's so open to interpretation how to take because
• 1:10:24
  Speaker 1: it's definitely a real thing that like women in straight
• 1:10:27
  Speaker 1: relationships are constantly asked to kind of settle for crumbs
• 1:10:31
  Speaker 1: in situations like that, and I like that, Like yeah,
• 1:10:35
  Speaker 1: like like you're saying, I mean she you get like
• 1:10:37
  Speaker 1: a lot of different like a lot of like what's
• 1:10:40
  Speaker 1: frustrating about the relationship and what's unfair to her, And
• 1:10:42
  Speaker 1: also like they don't shy away from the fact that
• 1:10:45
  Speaker 1: like she wants to fuck, and like there's she wants
• 1:10:49
  Speaker 1: a relationship with Gus. Yes, but she's also extremely horny.
• 1:10:53
  Speaker 1: She has not like the Grunians. No, but yeah, he
• 1:10:56
  Speaker 1: gave her a forty eight hour orgasm, which I find
• 1:10:59
  Speaker 1: very hard to believe meeting Gusts and seeing how clueless
• 1:11:01
  Speaker 1: he is to what women actually think. I don't know
• 1:11:03
  Speaker 1: how a guy can be that out of reading body
• 1:11:05
  Speaker 1: language and give Rose at orgasm unclear, but she seems
• 1:11:09
  Speaker 1: that happy. Also, I'm clear that line where she says,
• 1:11:14
  Speaker 1: every girl over have a cucumber in the house. Is
• 1:11:16
  Speaker 1: that about I bags or is that about sex? I
• 1:11:19
  Speaker 1: think she's saying, you're gonna want to suck that cucumber.
• 1:11:22
  Speaker 1: Um Rose does say some like some very inappropriate things
• 1:11:27
  Speaker 1: to her employee. I was thinking that, But then also,
• 1:11:32
  Speaker 1: I mean, and this all whatever. Rose does not know
• 1:11:36
  Speaker 1: that Swell as a kid, and Swell does initiate those
• 1:11:39
  Speaker 1: conversations in most cases, should Rose reply by being like
• 1:11:43
  Speaker 1: I just came for an entire weekend. Definitely not. But
• 1:11:46
  Speaker 1: Swell Swell is like repeatedly and if we know why,
• 1:11:50
  Speaker 1: because she's trying to gauge like what Rose and Guss
• 1:11:53
  Speaker 1: relationship is. But Swell is bringing that up and like
• 1:11:57
  Speaker 1: kind of pushing the conversation along. So it is inappropriate,
• 1:12:01
  Speaker 1: But I don't think it was like inappropriate in a
• 1:12:03
  Speaker 1: in a void like it seems like Swell was open
• 1:12:07
  Speaker 1: to having the conversation. And it's also daffy. Have you
• 1:12:10
  Speaker 1: ever had a free our orgasm? No, I've never been
• 1:12:13
  Speaker 1: to Santa Barbara, Right, there's a few the few, like
• 1:12:19
  Speaker 1: there's a few like great lines in this or the same,
• 1:12:21
  Speaker 1: Like it's in the middle of a disgusting scene, but
• 1:12:23
  Speaker 1: when when the waiter asks Swell what she wants to
• 1:12:27
  Speaker 1: drink and he's like sweet or dry and she goes
• 1:12:29
  Speaker 1: a little little bit of both. Yeah, because I love
• 1:12:33
  Speaker 1: that she's like studying Vogue magazine in order to figure
• 1:12:35
  Speaker 1: out what an adult woman is, because there's like a
• 1:12:38
  Speaker 1: dress up element to what she thinks adulthood. Is that
• 1:12:41
  Speaker 1: montage where she's trying to get dressed for the first
• 1:12:42
  Speaker 1: time for work and all the bows are too big
• 1:12:45
  Speaker 1: and the lady buns and this power suit montage of
• 1:12:48
  Speaker 1: like what women were supposed to wear the office looks
• 1:12:50
  Speaker 1: so goofy on her and she's trying to figure her look.
• 1:12:52
  Speaker 1: And then yeah, like reading I mean I did that
• 1:12:55
  Speaker 1: was like a suburban kid in Texas reading Vogue magazine
• 1:12:57
  Speaker 1: to figure out like what adults did you know? And
• 1:13:00
  Speaker 1: I'm like, also, have you guys ever had vermouth as
• 1:13:03
  Speaker 1: a grown up? I only started drinking it recently, and
• 1:13:05
  Speaker 1: it's really nice. I feel like we got rainwashed by
• 1:13:09
  Speaker 1: like James Bond movies that you're not supposed to get
• 1:13:11
  Speaker 1: near Vermouth? Vermouth is wonderful. What does it taste like?
• 1:13:15
  Speaker 1: Because I I just think of it as like in
• 1:13:17
  Speaker 1: the same way I put it in a category of
• 1:13:19
  Speaker 1: like that's not for me, mouth, brandy, et cetera, I
• 1:13:24
  Speaker 1: would call it complicated wine. Like I don't I don't
• 1:13:28
  Speaker 1: know if I don't know if you live near Los
• 1:13:29
  Speaker 1: VELAs or like No Figure a bistro by likes three.
• 1:13:33
  Speaker 1: They have vermouth on their happy ar menu white black
• 1:13:36
  Speaker 1: and red or white white black, I mean right, pink white,
• 1:13:39
  Speaker 1: pink and red. And it's just if you want to
• 1:13:40
  Speaker 1: try it out in a happy other price you feel
• 1:13:43
  Speaker 1: really sophisticated drinking vermouth on the rocks. Jamie, let's go
• 1:13:46
  Speaker 1: vermouth on the rocks. I wouldn't say that out loud.
• 1:13:49
  Speaker 1: There's that sounds so nice. There's some orders that I
• 1:13:53
  Speaker 1: just that you're just like the first time I said
• 1:13:56
  Speaker 1: I'll have the salmon. I'll never forget it was that
• 1:14:00
  Speaker 1: the American Girl Doll Cafe. But they had salmon, and
• 1:14:04
  Speaker 1: I ordered it, all right. I forgot that that was
• 1:14:06
  Speaker 1: one of your other food groups. They do hot dogs,
• 1:14:10
  Speaker 1: chucky cheese, and girl Doll Cafe at the Grove unfortunately,
• 1:14:16
  Speaker 1: but you know that just gave me a sentiment. I
• 1:14:18
  Speaker 1: think when I became an adult and start living on
• 1:14:20
  Speaker 1: my own, I was ordering salmon and feeling so impossibly
• 1:14:23
  Speaker 1: sophisticated because we had fish sticks when I was a kid.
• 1:14:26
  Speaker 1: I didn't eat salmon, right, and I thought salmon was
• 1:14:29
  Speaker 1: so glamorous, and then I was embarrassed. I thought it
• 1:14:31
  Speaker 1: was glamorous, and I didn't eat it for a long time.
• 1:14:33
  Speaker 1: And now I'm back full salmon returned to the fall.
• 1:14:36
  Speaker 1: I love salmon. It's one return to the fault. It rocks.
• 1:14:39
  Speaker 1: And uh, you know, if you can get a reservation
• 1:14:42
  Speaker 1: an American girl Doll cafe, which is genuinely challenging, um,
• 1:14:46
  Speaker 1: it's pretty good there. Hell yeah, okay, I wanted to
• 1:14:52
  Speaker 1: We've touched on this already. But as far as the
• 1:14:55
  Speaker 1: Gusts character, let's talk about I think it bears mentioning
• 1:15:00
  Speaker 1: that if that sentence made sense, my brain is not
• 1:15:03
  Speaker 1: fully cooperating with me today. But I appreciate because I
• 1:15:08
  Speaker 1: feel like this is the rare movie of this era
• 1:15:11
  Speaker 1: that presents a character who is a predator and engaging
• 1:15:15
  Speaker 1: in very predatory behavior that The movie also recognizes as
• 1:15:19
  Speaker 1: predatory behavior because so many movies from this era show
• 1:15:24
  Speaker 1: a character, usually a man, being very creepy and predatory.
• 1:15:28
  Speaker 1: But the movie is like, he just likes her, He
• 1:15:30
  Speaker 1: just likes her. It's great, this is romantic, right, but
• 1:15:34
  Speaker 1: this guy is being extremely predatory. And you know, it
• 1:15:38
  Speaker 1: shows Swell constantly being like you have the wrong idea.
• 1:15:42
  Speaker 1: I am not interested in you, like, stay away from me.
• 1:15:45
  Speaker 1: You're making me uncomfortable, and then every time she says
• 1:15:48
  Speaker 1: something like that, he'll be like, oh, you got the
• 1:15:51
  Speaker 1: wrong idea. I was just kidding, you know, like lighten up.
• 1:15:53
  Speaker 1: It was just a joke, which is such a like
• 1:15:56
  Speaker 1: I was like, oh, I don't know if I've ever
• 1:15:58
  Speaker 1: seen it like laid out that clear really in a
• 1:16:00
  Speaker 1: movie before, because that's such a thing, especially when it's
• 1:16:02
  Speaker 1: like his interest there is like he wants to hit
• 1:16:06
  Speaker 1: on someone who works for him, he wants to cheat
• 1:16:09
  Speaker 1: and his girlfriend, but he also wants to protect himself
• 1:16:12
  Speaker 1: above all else and have grounds to like accuse her
• 1:16:15
  Speaker 1: of lying like down the line, and so it's just
• 1:16:19
  Speaker 1: like that like knee jerk of like I'm just joking,
• 1:16:21
  Speaker 1: I'm just joking. I'm just joking and it becomes like
• 1:16:23
  Speaker 1: his catchphrase. And I love it because it's the PG
• 1:16:27
  Speaker 1: thirteen movie. She can't shoot his dick off, but she can.
• 1:16:31
  Speaker 1: She can water gun. She make him look like he
• 1:16:34
  Speaker 1: pissed himself with a water gun. Yeah, he says the
• 1:16:37
  Speaker 1: grossest line of dialogue I've ever heard in a movie,
• 1:16:42
  Speaker 1: and I don't even want to repeat it. Here is
• 1:16:45
  Speaker 1: it about? Okay? He says, a woman gets older, she matures,
• 1:16:52
  Speaker 1: she ripens, juices start flowing. I'm flowing up. It's just gusting.
• 1:17:00
  Speaker 1: I do want to shout out that actor John gets
• 1:17:03
  Speaker 1: for Um being so like almost alarmingly good at like
• 1:17:09
  Speaker 1: just like the face he's made, because it is like
• 1:17:13
  Speaker 1: whatever like we've it doesn't bother me in this case,
• 1:17:15
  Speaker 1: but the sort of like sexual harassment the guy um,
• 1:17:19
  Speaker 1: and that's his whole character and it's like every shitty
• 1:17:23
  Speaker 1: thing that you could do he does. And he even
• 1:17:26
  Speaker 1: makes that like what is that like comedy movie sexual
• 1:17:30
  Speaker 1: harassment face where like there's an eyebrow thing happening and
• 1:17:33
  Speaker 1: there's like a teeth thing happening, and he's like like
• 1:17:36
  Speaker 1: and just being and their lips look wet, like even
• 1:17:39
  Speaker 1: if they're not licking their lips. You can imagine that
• 1:17:41
  Speaker 1: they're licking their lips. Yeah, yeah, you're just like, Sobo
• 1:17:44
  Speaker 1: needs to towel this man off, Like what is going on?
• 1:17:47
  Speaker 1: He's like breathing heavily, so disgusting. And so the actor
• 1:17:52
  Speaker 1: nailed it hopefully not method uh but yeah that was
• 1:17:58
  Speaker 1: and and and I like that. It's like we're clear
• 1:18:00
  Speaker 1: that like Swell is being extremely direct and not that
• 1:18:05
  Speaker 1: she has to be in this situation, but she's also
• 1:18:07
  Speaker 1: concerned about Rose getting fucked over because she cares about Rose,
• 1:18:12
  Speaker 1: and so not only is she trying to you know,
• 1:18:15
  Speaker 1: protect herself from this guy, she also wants to do
• 1:18:18
  Speaker 1: what she can to like inform and protect her friend,
• 1:18:21
  Speaker 1: which is, um, I think, a cool thing to do.
• 1:18:24
  Speaker 1: I like her relationship with Rose so much, and I
• 1:18:26
  Speaker 1: also like so I think the last thing I have
• 1:18:29
  Speaker 1: to say about Rose is just again with the scene
• 1:18:31
  Speaker 1: where she eats the eminem's off the floor and they
• 1:18:34
  Speaker 1: think that the company is going to go under. This
• 1:18:37
  Speaker 1: is like I don't even think this is like a
• 1:18:38
  Speaker 1: gender thing. But like in movies with like high power
• 1:18:42
  Speaker 1: or like with high pressure workplaces, I feel like very
• 1:18:45
  Speaker 1: often everyone who works there thinks that this is the
• 1:18:48
  Speaker 1: most important thing in the world, and like my life
• 1:18:50
  Speaker 1: will collapse if I don't work at this company. But
• 1:18:53
  Speaker 1: Rose is sort of like this fucking sucks, Like I
• 1:18:57
  Speaker 1: need the money, I need the consistent paycheck, but it's
• 1:19:00
  Speaker 1: just a job. I'll get another job. And I was like, yeah,
• 1:19:04
  Speaker 1: like I've felt whatever, Like there is like a certain
• 1:19:07
  Speaker 1: amount of privilege to that, but that that is a
• 1:19:10
  Speaker 1: very privileged white person thing to say. But also I
• 1:19:14
  Speaker 1: do like that. I don't know, like, but I think
• 1:19:17
  Speaker 1: that my counterpoint to that is like a career woman
• 1:19:21
  Speaker 1: stock character, Like it seems like Roses at the beginning,
• 1:19:24
  Speaker 1: who actually is just like I just want to make
• 1:19:26
  Speaker 1: enough money to live, Like I don't give a shit
• 1:19:28
  Speaker 1: about this company specifically. I don't mind that, no, And
• 1:19:32
  Speaker 1: I think I think the movie makes a point of
• 1:19:34
  Speaker 1: actually expanding it a little bit, where like in that
• 1:19:36
  Speaker 1: whole stretch it is the company going over. It's not
• 1:19:39
  Speaker 1: just like Rose being like, oh fine whatever, blah blah
• 1:19:41
  Speaker 1: blah blah blah. One of the things Rose has to
• 1:19:43
  Speaker 1: do is she has to go down to like the
• 1:19:44
  Speaker 1: garment area and fire Franklin, the guy from one flew
• 1:19:48
  Speaker 1: over the Cuckoo's nest who is an older man, and like,
• 1:19:51
  Speaker 1: who knows if Franklin is going to land on his feet,
• 1:19:54
  Speaker 1: but like I think you know to go to like
• 1:19:56
  Speaker 1: this actually is affecting people, and poor Franklin he only
• 1:19:59
  Speaker 1: gets like two scenes, but like it's sad if they
• 1:20:03
  Speaker 1: take it there at least yeah, and they're like, I mean,
• 1:20:08
  Speaker 1: this movie has like a very clear class that it
• 1:20:12
  Speaker 1: wants to criticize and take a look at, which is
• 1:20:15
  Speaker 1: like by and large, the like I guess middle to
• 1:20:20
  Speaker 1: upper middle white collar class, which is mostly in this
• 1:20:24
  Speaker 1: movie in particular a lot of white people, which is
• 1:20:27
  Speaker 1: like it takes place in the l A area. There's
• 1:20:29
  Speaker 1: like never any reason for that to be the case,
• 1:20:32
  Speaker 1: but yeah, I mean it's it's I think one of
• 1:20:34
  Speaker 1: the only like less elegant transitions out of not that
• 1:20:38
  Speaker 1: this is like a movie I would describe as very elegant,
• 1:20:42
  Speaker 1: but um how when Swell like I feel like there's
• 1:20:47
  Speaker 1: a level of at least naivete maybe like some class
• 1:20:50
  Speaker 1: privilege as well when Swell quits clown dogs so abruptly,
• 1:20:54
  Speaker 1: where that is more like wish fulfillment than anything else
• 1:21:00
  Speaker 1: in in this movie for for me, as like, oh yeah,
• 1:21:03
  Speaker 1: like I had a million jobs like that when I
• 1:21:05
  Speaker 1: was like in my teens into my like early to
• 1:21:08
  Speaker 1: mid twenties, and to just be able to be like, wait,
• 1:21:11
  Speaker 1: this is fucking gross. I hate this. I'm leaving. Like
• 1:21:15
  Speaker 1: there's a definitely an amount of privilege to her doing
• 1:21:18
  Speaker 1: that that the movie doesn't seem interested in really analyzing.
• 1:21:21
  Speaker 1: And because she is like an attractive young white woman,
• 1:21:25
  Speaker 1: she's able to, you know, execute the con in the
• 1:21:29
  Speaker 1: way that the con needs to be executed for the
• 1:21:31
  Speaker 1: movie to work. It's true. But also when she quits
• 1:21:34
  Speaker 1: like that, like it's in a way I think they
• 1:21:37
  Speaker 1: give you one beat where it's not like totally a
• 1:21:39
  Speaker 1: victimless quitting, because then when she hangs out with Brian later,
• 1:21:43
  Speaker 1: it's like, oh, you had to clean up all the
• 1:21:45
  Speaker 1: mess that I walked out on. They at least don't
• 1:21:48
  Speaker 1: let it end on the like Tida no consequences. It's like, Oh,
• 1:21:51
  Speaker 1: this kind of nice guy who I feel like at
• 1:21:52
  Speaker 1: the beginning's almost coded as beneath what she would think
• 1:21:55
  Speaker 1: she should be dating. Maybe you know, like a guy
• 1:21:58
  Speaker 1: who's like working for living. He had to clean up
• 1:22:00
  Speaker 1: after her. Yeah, it's not like it's not like the
• 1:22:04
  Speaker 1: deepest thing in the world. But it's like I find
• 1:22:05
  Speaker 1: it interesting when they take those moments to shoehorn that
• 1:22:07
  Speaker 1: little thing, and that makes it a little more realistic.
• 1:22:10
  Speaker 1: And like Brian still works there at the end of
• 1:22:12
  Speaker 1: the movie, like it seems like he and Caroline's family
• 1:22:16
  Speaker 1: are from a lower class than swell And and her family,
• 1:22:22
  Speaker 1: which if we're going back to like Caroline, that you know,
• 1:22:26
  Speaker 1: makes her even more righteously outraged as like this, you know,
• 1:22:29
  Speaker 1: this faker teenager from like an upper middle class family
• 1:22:34
  Speaker 1: is like taking a job that Caroline is better qualified for.
• 1:22:37
  Speaker 1: You know, That's that kind of class outrage is very
• 1:22:40
  Speaker 1: relatable in an environment where Rose is, you know, literally
• 1:22:45
  Speaker 1: just picking someone who seems nice and kind of reminds
• 1:22:49
  Speaker 1: her of herself, and because Caroline does not remind her
• 1:22:52
  Speaker 1: of herself, she does not qualify for the job. Probably
• 1:22:54
  Speaker 1: same for Cathy. Also, Rose is just kind of being
• 1:22:56
  Speaker 1: lazy in that situation, which also happens in corporate environment
• 1:23:00
  Speaker 1: all the time. Yeah, she's like Vasser come to Gassan
• 1:23:03
  Speaker 1: and Calvin Klein, He's like she's very label conscious, like
• 1:23:06
  Speaker 1: you went to Yeah, And I will say one thing
• 1:23:11
  Speaker 1: about the happy ending that I think is really funny though,
• 1:23:14
  Speaker 1: is like those outfits that save the whole company. Though,
• 1:23:19
  Speaker 1: like basically Harley Quinn goes to high school, outfits are
• 1:23:25
  Speaker 1: absolutely going to take the company because this movie is
• 1:23:27
  Speaker 1: coming out in like Nirvana never Mind is about to
• 1:23:31
  Speaker 1: hit stores, and as soon as that hit stores, nobody
• 1:23:34
  Speaker 1: is going to be wearing these pink nurses outfits and
• 1:23:37
  Speaker 1: Roger Rabbit ing like that moment is over, like they're
• 1:23:40
  Speaker 1: gonna put all their money in these costumes and then
• 1:23:42
  Speaker 1: no kid is going to wear them because they're gonna
• 1:23:43
  Speaker 1: want to wear flannel. But I apprecially that her friends
• 1:23:45
  Speaker 1: all rally behind her, including the only black character in
• 1:23:49
  Speaker 1: the film, her one her one friend Katrina is it Katrina?
• 1:23:53
  Speaker 1: I can't remember which which friend it is. The movie
• 1:23:55
  Speaker 1: doesn't care enough to let the audience know what her
• 1:23:59
  Speaker 1: name is, because I did. If they did give us
• 1:24:01
  Speaker 1: her name, I didn't catch it. They do, but it's
• 1:24:04
  Speaker 1: just like in a rush. She like introduces them one
• 1:24:06
  Speaker 1: by one and it's like Nicole Katrina. But then she's
• 1:24:09
  Speaker 1: like panicking because Brian is running by, and it's like
• 1:24:11
  Speaker 1: I think her friend just walks out. She's like, thank you, Katrina.
• 1:24:14
  Speaker 1: All right, we're good bye bye, Becky, We're done here.
• 1:24:16
  Speaker 1: Yeah yeah, yeah, yeah, yes, this is a very white movie. Yeah,
• 1:24:21
  Speaker 1: which there's like no reason for that to be true.
• 1:24:24
  Speaker 1: And I think that the only like friend of Swells
• 1:24:27
  Speaker 1: that even has a role outside of just being like
• 1:24:31
  Speaker 1: hi is the one that ends up dating Kenny question Mark. Yeah,
• 1:24:36
  Speaker 1: oh wait, this is a question I had how old
• 1:24:39
  Speaker 1: is Brian? Because there's one point where he's like, oh,
• 1:24:43
  Speaker 1: let's go to this thing and then she's like, well,
• 1:24:45
  Speaker 1: I can't I'm not twenty one. And he's like, oh yeah, Bomber,
• 1:24:48
  Speaker 1: I'm like, wait, how old are you? I think I
• 1:24:51
  Speaker 1: understood that is he's like, oh shoot, yeah, I also
• 1:24:54
  Speaker 1: can't go because I'm also not twenty he's her aid,
• 1:24:57
  Speaker 1: because I mean, assuming if we're operating under the assumption
• 1:25:01
  Speaker 1: that like he just graduated from high school, he's about
• 1:25:04
  Speaker 1: to start college, because he talks about how he wants
• 1:25:07
  Speaker 1: to go for like marine biology or something, I understood
• 1:25:09
  Speaker 1: it as he also just graduated from high school, so
• 1:25:13
  Speaker 1: neither of them can go okay because that because I
• 1:25:15
  Speaker 1: also I was like, oh, they're around the same age,
• 1:25:17
  Speaker 1: and then he was like, oh that sucks you can't go.
• 1:25:20
  Speaker 1: I was like, are you like twenty seven? Like, what
• 1:25:23
  Speaker 1: what do you think about that line that they have
• 1:25:25
  Speaker 1: towards the end where they're like having their reconciliation talk
• 1:25:28
  Speaker 1: and I don't remember if he says that, if she
• 1:25:30
  Speaker 1: says it, but one of them says, we didn't break up.
• 1:25:32
  Speaker 1: We had a fight. Oh. She says that. She's like,
• 1:25:36
  Speaker 1: we didn't break up, we had a fight. And also
• 1:25:39
  Speaker 1: if you thought we broke up, you must have also
• 1:25:41
  Speaker 1: thought that we were together. And he's like yeah, and okay.
• 1:25:45
  Speaker 1: So his whole thing is that he's not very good
• 1:25:47
  Speaker 1: at open and clear communication, as demonstrated, but that swell
• 1:25:51
  Speaker 1: is either she's lying. Yes. A scene that kind of
• 1:25:56
  Speaker 1: stuck out to me, and this is a quick moment,
• 1:25:58
  Speaker 1: but they're kind of like gearing up to kiss and
• 1:26:01
  Speaker 1: he's like talking. He's like, oh, here comes the moment
• 1:26:06
  Speaker 1: where we might be romantic, and she's like, yeah, I
• 1:26:09
  Speaker 1: like that moment. And then he's like, all, but I
• 1:26:12
  Speaker 1: ruined it because we talked about it, and talking about
• 1:26:14
  Speaker 1: it always ruins the moment. And then there's a beat
• 1:26:17
  Speaker 1: and then she walks up to him and gives him
• 1:26:19
  Speaker 1: a kiss, and I basically him being like talking about
• 1:26:23
  Speaker 1: it ruins the moment. I think people should talk about
• 1:26:26
  Speaker 1: kissing before they kiss. I think people should be like, look,
• 1:26:29
  Speaker 1: can I kiss you? Do I have your consent? Maybe
• 1:26:31
  Speaker 1: it does ruin the moment for a lot of people,
• 1:26:33
  Speaker 1: but I think that we should all be talking about
• 1:26:37
  Speaker 1: kissing and then kiss. Yeah, always, every kiss, every single
• 1:26:43
  Speaker 1: kids you have with everybody, know, but like your home life. No,
• 1:26:49
  Speaker 1: but like in those moments where you're like, what's the vibe,
• 1:26:53
  Speaker 1: I'm not sure you know it's I think it's helpful
• 1:26:57
  Speaker 1: because there's so many moments where like we see us
• 1:26:59
  Speaker 1: a was kissing a movie because no one because people
• 1:27:02
  Speaker 1: are just like making assumptions, and I'm pro talking about it. Well,
• 1:27:06
  Speaker 1: like in the Graduate. What I hate about the kiss
• 1:27:08
  Speaker 1: and the graduate, To bring it back to the hatred
• 1:27:10
  Speaker 1: of the graduate for a second, is like Dustin Hoffman's
• 1:27:14
  Speaker 1: first kiss with Mrs Robinson in the Graduates, Like they're
• 1:27:16
  Speaker 1: up in the hotel room, right, and it's sort of
• 1:27:17
  Speaker 1: like awkward, and they've been like in the bar and
• 1:27:19
  Speaker 1: now they're up in the hotel room. She inhales a
• 1:27:21
  Speaker 1: cigarette and then he kisses her before she exhales, and
• 1:27:26
  Speaker 1: then and then she exhales, and it's played as kind
• 1:27:29
  Speaker 1: of like a joke, like ha ha, look how awkward
• 1:27:31
  Speaker 1: he is. But that's the moment where to me, I
• 1:27:33
  Speaker 1: turn on this on this movie because I'm like, Mrs
• 1:27:36
  Speaker 1: Robinson could date any of those hot guys downstairs who
• 1:27:39
  Speaker 1: were checking her out when she walked in. Why is
• 1:27:41
  Speaker 1: she going to have sex with this guy who can't
• 1:27:43
  Speaker 1: even kiss her? Right? Like, it's such a right, right,
• 1:27:46
  Speaker 1: It's like why that guy is such a klutz. It's
• 1:27:49
  Speaker 1: like a comedy moment that makes it just be like
• 1:27:51
  Speaker 1: she could do so much better. She should just leave.
• 1:27:54
  Speaker 1: The whole movie is just a fucking disaster. I can't
• 1:27:57
  Speaker 1: stand it. In the case of this Kissed though I
• 1:28:01
  Speaker 1: agree that you're saying Calin, I feel like there should
• 1:28:03
  Speaker 1: be better consent talks and movies. In this way, it
• 1:28:06
  Speaker 1: felt like a clumsy teenager thing where like I feel
• 1:28:09
  Speaker 1: like by him saying like, oh, the moment and then
• 1:28:12
  Speaker 1: she acknowledged the moment, I feel like that was a
• 1:28:14
  Speaker 1: discussion of it was an awkward teenage one and it
• 1:28:17
  Speaker 1: wasn't the explicit like can I kiss you, which you
• 1:28:21
  Speaker 1: know would be ideal, but I don't know it for
• 1:28:23
  Speaker 1: my it didn't make me feel like it was inappropriate
• 1:28:27
  Speaker 1: or uncomfortable because they were both like, oh, there was
• 1:28:29
  Speaker 1: the moment and we're like, seventeen, we suck. And I
• 1:28:32
  Speaker 1: was like, would I have been capable of better when
• 1:28:34
  Speaker 1: I was seventeen? Certainly not. Yeah. The first thing she
• 1:28:37
  Speaker 1: says is I hate this moment, and then she thinks
• 1:28:39
  Speaker 1: she hurt his feelings, and he's like, I don't mean
• 1:28:41
  Speaker 1: I hate this, you know, but she hates the self
• 1:28:43
  Speaker 1: consciousness of it. Yeah. I guess where I'm coming from
• 1:28:47
  Speaker 1: is think about who the intended audience was for this movie.
• 1:28:50
  Speaker 1: It's like young people. It's kids. It's like, you know,
• 1:28:52
  Speaker 1: teens and tweens, and if they see a movie where
• 1:28:55
  Speaker 1: someone's like talking about it ruins the moment. I don't know,
• 1:28:59
  Speaker 1: I mean, because that's not necessarily true. And again I
• 1:29:02
  Speaker 1: think we should normalize checking in with a person before,
• 1:29:06
  Speaker 1: you know, like a first kiss. But ultimately, the characters
• 1:29:10
  Speaker 1: do check in, they do talk to each other about it,
• 1:29:13
  Speaker 1: and the moment doesn't get ruined because they do kiss.
• 1:29:18
  Speaker 1: So and we should question how many Grunnion died for
• 1:29:21
  Speaker 1: this kiss because they do pan down and there's all
• 1:29:23
  Speaker 1: these Grunnians flopping around their feet, and I hope the
• 1:29:26
  Speaker 1: Grunnian population is doing well. And I will say I
• 1:29:28
  Speaker 1: took a second while we were doing this podcast to
• 1:29:31
  Speaker 1: google Grunnian Run and it actually happens about every other
• 1:29:34
  Speaker 1: weekend from March to July. So no kidding, I'm saying
• 1:29:38
  Speaker 1: next spring, next year, run run is all yeah. Um.
• 1:29:43
  Speaker 1: I was wanted to touch on a few behind the
• 1:29:45
  Speaker 1: scenes things for this movie very white. Behind the scenes,
• 1:29:53
  Speaker 1: there is a female co writer who was primarily a
• 1:29:57
  Speaker 1: novelist still is primarily novelist, teaches creative writing all over
• 1:30:02
  Speaker 1: the place. But Tara as on I hope I'm saying
• 1:30:05
  Speaker 1: that correctly, was also a writer on Doogie Houser, as
• 1:30:09
  Speaker 1: was Neil Landau, the other credited writer. So I think
• 1:30:12
  Speaker 1: that this that they just met on Dookie house Er
• 1:30:16
  Speaker 1: and then we're like, we gotta vega movie. Um. But
• 1:30:20
  Speaker 1: I do think that if this movie was written by
• 1:30:22
  Speaker 1: two dudes, that very likely would have been quite different.
• 1:30:24
  Speaker 1: And I liked I like this script by and large.
• 1:30:29
  Speaker 1: And then there's also an iconic woman producer on this
• 1:30:34
  Speaker 1: project as well, Julia phillips Um, who was the first
• 1:30:39
  Speaker 1: woman producer to win the Oscar for best picture back
• 1:30:44
  Speaker 1: in the Day for the Sting. This is like one
• 1:30:47
  Speaker 1: of her like less famous movies, but it's the last
• 1:30:51
  Speaker 1: one that she produced. But she also produced like Close
• 1:30:54
  Speaker 1: Encounters and Taxi Driver and all these famous movies. So
• 1:30:59
  Speaker 1: I wonder if there's any Julia Phillips and Rose right owned.
• 1:31:02
  Speaker 1: If Julia Phillips was, like I get being a working
• 1:31:05
  Speaker 1: woman in kind of like a weird corporate male environment
• 1:31:09
  Speaker 1: and how to be heard, I would like to think that, like, yeah,
• 1:31:12
  Speaker 1: I like that there's female producers. She would at least
• 1:31:14
  Speaker 1: given the script read and given her notes on Rose,
• 1:31:16
  Speaker 1: I'm certain of that, and I want to believe that
• 1:31:19
  Speaker 1: that's true. I hope so too. I also want to say,
• 1:31:22
  Speaker 1: like some of the reviews of this, like Jane Cisco
• 1:31:25
  Speaker 1: voted this movie one of the year's worst films, and
• 1:31:29
  Speaker 1: I just don't understand on what planet you would say
• 1:31:32
  Speaker 1: that this is one of the years worst films. It
• 1:31:35
  Speaker 1: is still heavily rotten on Rotten Tomatoes, which to me
• 1:31:37
  Speaker 1: is like I feel like I see this a lot
• 1:31:39
  Speaker 1: as a critic, where like movies about female friendship just
• 1:31:42
  Speaker 1: are not that's the whole subplot is not recognized at
• 1:31:45
  Speaker 1: all by critics, and there's like, it's girls wearing clothes
• 1:31:48
  Speaker 1: and putting buns in their hair. How lame? And they
• 1:31:51
  Speaker 1: miss all of the stuff that's interesting that happens time
• 1:31:54
  Speaker 1: and time again. I get met to even thinking about
• 1:31:55
  Speaker 1: like Vampire Academy, where all the reviews of that were
• 1:31:57
  Speaker 1: like why isn't there more vampire killing? And you're like,
• 1:32:00
  Speaker 1: it's a movie about teenage girls in their friendship. What
• 1:32:03
  Speaker 1: are you talking about? But that's boring to me, so
• 1:32:06
  Speaker 1: so I hate it. Yeah. And also another critic, Peter Trevor's,
• 1:32:10
  Speaker 1: he had this line in it he called Christina Applegate
• 1:32:13
  Speaker 1: the quote unflatteringly photographed Applegate another thing in which I'm like,
• 1:32:18
  Speaker 1: what the only thing I can think of is like
• 1:32:21
  Speaker 1: in the climactic scene where she's in that you know,
• 1:32:23
  Speaker 1: black dress and she has the cool little black ribbons
• 1:32:25
  Speaker 1: in her hair or black bows. I don't even know
• 1:32:27
  Speaker 1: what those are, they film her in a way where
• 1:32:30
  Speaker 1: you can see that, like Christina Applegate has arm hair,
• 1:32:33
  Speaker 1: and like maybe that's what annoyed annoyed the critic is like,
• 1:32:37
  Speaker 1: women aren't supposed to have arm hair. How dare they
• 1:32:39
  Speaker 1: film her in a way where you can see that
• 1:32:40
  Speaker 1: she's a mammalian creature, but like, that's the only thing
• 1:32:44
  Speaker 1: I think of where she's unflatteringly photographed because it's Christina Applegate.
• 1:32:47
  Speaker 1: What are you talking about that? Right? That's so that
• 1:32:50
  Speaker 1: reminds me. I mean, that's happens so often, and I
• 1:32:54
  Speaker 1: can't imagine how frustrating it is to be a critic
• 1:32:56
  Speaker 1: and have to like contest with that still just like
• 1:33:00
  Speaker 1: fucking wild um. But I always think about how like
• 1:33:04
  Speaker 1: male critics compulsion to only be able to see movies
• 1:33:07
  Speaker 1: about women in the framework of movies they've already seen
• 1:33:11
  Speaker 1: about men, Like Caitlin. We talked about this in the
• 1:33:13
  Speaker 1: Now and Then episode a couple of years ago. How
• 1:33:16
  Speaker 1: Now and Then was like panned because they're like, it's
• 1:33:18
  Speaker 1: just stand by Me for girls, and it's like, no,
• 1:33:21
  Speaker 1: it's just a movie about girls, like what what is
• 1:33:24
  Speaker 1: wrong with you? Or like when Book spart was, I mean,
• 1:33:27
  Speaker 1: that was well reviewed, but I think was like girls
• 1:33:30
  Speaker 1: super bad, and you're like, like, the only argument for
• 1:33:36
  Speaker 1: that is that there's two members of the same family.
• 1:33:40
  Speaker 1: But it's like it's just people just don't like when, um,
• 1:33:43
  Speaker 1: when women are friends, it makes them nervous because we're
• 1:33:47
  Speaker 1: we're telling, we're telling secrets, and the secrets will bring
• 1:33:51
  Speaker 1: down society as we're going. So it's uh. In this essay,
• 1:33:57
  Speaker 1: I will it's bestenating. This is only TANGI untily related.
• 1:34:00
  Speaker 1: But I was thinking about it a lot this weekend
• 1:34:02
  Speaker 1: because there's this film that just opened, The Luckiest Girl Alive.
• 1:34:06
  Speaker 1: But if y'all are aware, it's like a Mila Kunist
• 1:34:08
  Speaker 1: movie they just opened up on Netflix. It's based on
• 1:34:10
  Speaker 1: a book that came out in about it. This is
• 1:34:13
  Speaker 1: not a spoiler. A girl who like in high school,
• 1:34:15
  Speaker 1: was gang raped and then immediately after there was a
• 1:34:17
  Speaker 1: school shooting, and one of her rapists is like the
• 1:34:20
  Speaker 1: hero of the school shooting, and like, how does that
• 1:34:23
  Speaker 1: play out in her life after that? And the way
• 1:34:25
  Speaker 1: that this character plays it out is like being a
• 1:34:27
  Speaker 1: girl boss. It's like literally a girl boss movie about
• 1:34:30
  Speaker 1: somebody who that can't process her trauma. The key to
• 1:34:34
  Speaker 1: this movie, like is that it's like specifically set in
• 1:34:38
  Speaker 1: two thousand fifteen, and so it's about pre me Too
• 1:34:42
  Speaker 1: and what that world was like. But it got all
• 1:34:44
  Speaker 1: these negative reviews from people who weren't really conscious of
• 1:34:48
  Speaker 1: the fact that it was or why it was. Why
• 1:34:50
  Speaker 1: that was important, and everyone's like she's just being a
• 1:34:53
  Speaker 1: shallow girl boss, and I'm like, that's the point. It's
• 1:34:55
  Speaker 1: about how we were trained to process trauma before we
• 1:34:57
  Speaker 1: were allowed to talk about it more openly. And I
• 1:35:00
  Speaker 1: just always find that fascinating when like a film is
• 1:35:02
  Speaker 1: about something but people don't realize it's about that right
• 1:35:05
  Speaker 1: anyway on my mind right now, because it's like fascinating
• 1:35:08
  Speaker 1: to go back to like recent period piece history. I
• 1:35:11
  Speaker 1: didn't know that that movie had had come out or
• 1:35:14
  Speaker 1: what it was about. I only saw that people were
• 1:35:16
  Speaker 1: like feeling a kind of way about it, Yeah, which
• 1:35:19
  Speaker 1: I mean, I get if you're not watching it through
• 1:35:21
  Speaker 1: the lens of but it's like there's no other reason
• 1:35:24
  Speaker 1: for that movie to be said in except if they're
• 1:35:27
  Speaker 1: making a point about how to process stuff pre pre
• 1:35:32
  Speaker 1: being able to talk about it more openly. Yeah, right right,
• 1:35:35
  Speaker 1: Which is something that I think that like don't tell
• 1:35:38
  Speaker 1: like the Rose Lindsay character toes the line of somewhat
• 1:35:43
  Speaker 1: successfully because you know through certain exchanges that she certainly
• 1:35:48
  Speaker 1: benefits from class privilege, she certainly benefits from white privilege,
• 1:35:51
  Speaker 1: and also she is still contending with sexism and like
• 1:35:56
  Speaker 1: discrimination in her workplace and like ask to work harder,
• 1:36:00
  Speaker 1: diminishing returns, and like both of those things are true.
• 1:36:03
  Speaker 1: It doesn't make the you know, way she uses her
• 1:36:06
  Speaker 1: privilege any better, but it just contextualizes it. Although like
• 1:36:12
  Speaker 1: I don't know, I know other I feel like this
• 1:36:17
  Speaker 1: is to me emotionally, the last movie of the eighties,
• 1:36:20
  Speaker 1: and then we go into it feels very like remember
• 1:36:24
  Speaker 1: Ronald Reagan. But we are getting a remake at least,
• 1:36:29
  Speaker 1: and I haven't Yeah, they haven't announced that of the casting.
• 1:36:31
  Speaker 1: The only casting that I've seen so far is that
• 1:36:34
  Speaker 1: Rose is going to be played by Tyra Banks. Interesting.
• 1:36:37
  Speaker 1: Oh and that and that just reminds me that we
• 1:36:40
  Speaker 1: still haven't done our life size episode and that is
• 1:36:44
  Speaker 1: important to me. Um, I can, I mean Tyra Banks
• 1:36:48
  Speaker 1: can certainly girl boss it up all day. That's she's
• 1:36:51
  Speaker 1: been doing it for decades. That's yeah. Um. The lesson
• 1:36:55
  Speaker 1: I want to briefly mention is the scene in which
• 1:36:58
  Speaker 1: three drag queen steal their car, which they stole from.
• 1:37:02
  Speaker 1: This is strict, but like they come out of Chucky Cheese.
• 1:37:06
  Speaker 1: Three drag queens are stealing queens at Chucky Cheese, like
• 1:37:11
  Speaker 1: not sure in full drag for a moment I was like,
• 1:37:15
  Speaker 1: is this a really weird too long food reference? But
• 1:37:19
  Speaker 1: then I'm like, no, that movie came out several years
• 1:37:21
  Speaker 1: after the point is they're the only like queer characters
• 1:37:26
  Speaker 1: in the entire movie. And then you see them doing
• 1:37:29
  Speaker 1: something wrong, Um there thieves, and I was like, I
• 1:37:31
  Speaker 1: don't that's not even a stereotype, Like what is what
• 1:37:34
  Speaker 1: is happening? I just ended up thinking like that was
• 1:37:38
  Speaker 1: fucking weird, Like that was a weird decision to have made.
• 1:37:42
  Speaker 1: But like, and this is again like absolute crumbs, but
• 1:37:47
  Speaker 1: like the meanest thing that's said about them is like, hey,
• 1:37:50
  Speaker 1: those drag queens are stealing our car, which is technically true,
• 1:37:53
  Speaker 1: that is what happens. They're not saying the wrong thing, no,
• 1:37:57
  Speaker 1: they but like what Yeah, I didn't don't know what
• 1:38:00
  Speaker 1: to make of that. Who is the third one? Like
• 1:38:02
  Speaker 1: one of them is Maryland, one of them is lives,
• 1:38:04
  Speaker 1: But then there's one in polka dots with like curly hair,
• 1:38:07
  Speaker 1: and I was like, who's that one? Right? I also
• 1:38:09
  Speaker 1: couldn't place her. I wasn't sure. That wasn't like Dolly Parton, wasn't.
• 1:38:14
  Speaker 1: That's why I was wondering, But I didn't see comically
• 1:38:16
  Speaker 1: large boobs, but it does happen really fast. It was
• 1:38:19
  Speaker 1: a very big that was just not sure. Yeah, and
• 1:38:22
  Speaker 1: then I mean that would have been well, I mean,
• 1:38:25
  Speaker 1: who knows, but theoretically that could have been a fun
• 1:38:28
  Speaker 1: cut away for the end as well, like where did
• 1:38:30
  Speaker 1: they go in the damn buick? Right? I kind of
• 1:38:34
  Speaker 1: wish they had gotten the money instead of the random
• 1:38:37
  Speaker 1: mortuary employees, but you know that's true. That would have
• 1:38:41
  Speaker 1: been wonderful had been under the floorboards or something, right, like,
• 1:38:44
  Speaker 1: then we could cut to them and Mr Derek would
• 1:38:48
  Speaker 1: have hated that, and that's what we want, ye But yeah,
• 1:38:52
  Speaker 1: I I also I wrote, I just was like, well,
• 1:38:56
  Speaker 1: I guess that that's something that happened in the movie.
• 1:38:58
  Speaker 1: Like the only thing I had was like, there's no
• 1:39:01
  Speaker 1: other identifiably queer characters in the movie, not for I
• 1:39:08
  Speaker 1: don't know, but who knows? Okay, I think that that's why?
• 1:39:12
  Speaker 1: Is there anything else anyone wanted to touch on it?
• 1:39:16
  Speaker 1: For me? The only last thing I can think of
• 1:39:18
  Speaker 1: is that I appreciate this movie is making fun of
• 1:39:22
  Speaker 1: corporate speak of ninety one that is now dead, Like interfacing.
• 1:39:25
  Speaker 1: It makes such a big joke about the word interfacing.
• 1:39:29
  Speaker 1: It interfacing has now been retired, so it means that
• 1:39:32
  Speaker 1: you know, touch base read whatever whatever we say now zooming,
• 1:39:36
  Speaker 1: circle back, circle back. Yes, someday it will end, or
• 1:39:41
  Speaker 1: we could bring back interfacing, which is actually what we're
• 1:39:43
  Speaker 1: doing right now. I love to interface with my friends. Okay,
• 1:39:49
  Speaker 1: my last two little things. I liked the line did
• 1:39:52
  Speaker 1: he just read dianetics or something that was fun about
• 1:39:56
  Speaker 1: the hot talk And then they were like, no, he's
• 1:39:58
  Speaker 1: addicted to pills, and I was like, oh about maybe
• 1:40:00
  Speaker 1: Mr But Mr Egg also an amazing character name who's
• 1:40:05
  Speaker 1: yelling at to smile more like he's a villain. And
• 1:40:10
  Speaker 1: then there's also a moment at the very end because
• 1:40:12
  Speaker 1: the character's name is Caroline. Am I Caroline? Okay, there's
• 1:40:17
  Speaker 1: a moment in the last scene of the movie where
• 1:40:20
  Speaker 1: Josh Charles says Caroline. He just says Caroline. He says
• 1:40:24
  Speaker 1: the wrong character name in the last scene about the
• 1:40:27
  Speaker 1: character who's supposed to be a sister, and that that
• 1:40:31
  Speaker 1: just made me laugh that no one got a d
• 1:40:34
  Speaker 1: R for for that because he just says straight up
• 1:40:37
  Speaker 1: the wrong name and she's like, yep, uh huh um,
• 1:40:40
  Speaker 1: it's great. Well, speaking of female characters with names, and
• 1:40:47
  Speaker 1: sometimes maybe they talk to each other. What I'm saying is,
• 1:40:49
  Speaker 1: does this movie pass the Bechdel test? Yeah, instantly almost. Yeah.
• 1:40:55
  Speaker 1: Swallow talks to Rose obviously, a lot, talks to Caroline. Yeah.
• 1:41:00
  Speaker 1: Lots of conversations and combinations of characters that passed her Mom, Melissa,
• 1:41:08
  Speaker 1: her group of friends when they're shopping, and like you
• 1:41:10
  Speaker 1: can see that, like she's she can't buy all the
• 1:41:13
  Speaker 1: jewelry that her friends can buy, can buy, she's like
• 1:41:15
  Speaker 1: a little poorer than then. The first thing we see
• 1:41:18
  Speaker 1: her do is like pick up some gold beads and
• 1:41:19
  Speaker 1: she can't buy them. Are you kidding me? But they're
• 1:41:24
  Speaker 1: like I can do anything. I'm a free woman. And
• 1:41:26
  Speaker 1: they're not being like boys boys boys. They're talking about
• 1:41:28
  Speaker 1: like doing cool ship together. They're talking on going to Europe, Europe, Europe, Europe. Yeah,
• 1:41:36
  Speaker 1: it very much passes you go, you go movie. But
• 1:41:40
  Speaker 1: what about the only movie metric that's important flawless perfect
• 1:41:45
  Speaker 1: the nipple scale where we write movies on a scale
• 1:41:48
  Speaker 1: of zero to five nipples based on just looking at
• 1:41:52
  Speaker 1: it through an intersectional feminist lens. I would say, because
• 1:41:59
  Speaker 1: there are not that many movies and certainly not of
• 1:42:01
  Speaker 1: this era that are about what's effectively a single mom
• 1:42:08
  Speaker 1: trying to balance work, parenting, and a social life, and
• 1:42:13
  Speaker 1: like empathizing with her when she doesn't totally pull it off,
• 1:42:17
  Speaker 1: which is cool, and because you know, again like she's
• 1:42:20
  Speaker 1: not literally a single mom, but that's the role that
• 1:42:24
  Speaker 1: she ends up taking on through most of the movie.
• 1:42:26
  Speaker 1: I find that very cool that this is a movie
• 1:42:30
  Speaker 1: about that, even though she's a seventeen year old who
• 1:42:35
  Speaker 1: is faking a lot of this stuff. Um, but still
• 1:42:40
  Speaker 1: still an interesting topic to examine that, you know, we
• 1:42:43
  Speaker 1: should see more of. Yeah, and just other things that
• 1:42:46
  Speaker 1: we talked about, you know, the movie showing a sexual
• 1:42:50
  Speaker 1: predator character and actually framing him that way. But then
• 1:42:53
  Speaker 1: there's other things like, uh, you know, the way the
• 1:42:57
  Speaker 1: movie makes the only like old woman a horrible monster,
• 1:43:04
  Speaker 1: the extreme whiteness of the movie. Things like that, um,
• 1:43:07
  Speaker 1: that are very tropy. I don't know. Maybe I would
• 1:43:11
  Speaker 1: give this like a three three nipples. Let's go with that,
• 1:43:15
  Speaker 1: and I'll give one to Swell, I'll give one to
• 1:43:21
  Speaker 1: her mom. I'm I'm like team mom for being like,
• 1:43:26
  Speaker 1: you know what, you kids are unappreciative of all of
• 1:43:29
  Speaker 1: my labor and I need a break from you, So
• 1:43:34
  Speaker 1: here's the worst babysitter in the world to take care
• 1:43:37
  Speaker 1: of you instead. And then definitely my last nipple goes
• 1:43:39
  Speaker 1: to Kathy again. Justice for Cathy, who deserved so much
• 1:43:43
  Speaker 1: more gratitude and appreciation and credit for the work that
• 1:43:47
  Speaker 1: she did, which she never gets on screen. So big
• 1:43:53
  Speaker 1: fan of Kathy, Justice for her. I'm gonna go three
• 1:43:58
  Speaker 1: point five, maybe even three point seven five of them
• 1:44:00
  Speaker 1: feeling nuts, but also three yeah, very precise science. But
• 1:44:04
  Speaker 1: I think this movie is doing so much right, especially
• 1:44:08
  Speaker 1: for its time, and still manage it manages to be
• 1:44:11
  Speaker 1: like a really can't be fun movie to watch. I
• 1:44:14
  Speaker 1: feel like I'm going three point seven five. Maybe everyone's
• 1:44:16
  Speaker 1: going to be upset with me, but I but it's
• 1:44:19
  Speaker 1: my it's my life. That's what I learned from the mom.
• 1:44:22
  Speaker 1: Fuck you FU fuck you who I'm responsible to I'm
• 1:44:25
  Speaker 1: leaving um okay. No. I think that, like, yeah, a
• 1:44:29
  Speaker 1: movie whose premise is based in having empathy for a
• 1:44:34
  Speaker 1: single working mom who is not getting it completely right
• 1:44:39
  Speaker 1: but has her heart in the right place is a
• 1:44:42
  Speaker 1: cool thing. I think that it's you know, fixation on
• 1:44:45
  Speaker 1: the white upper middle class is very typical and unchallenging
• 1:44:49
  Speaker 1: of the time. You know, like there are movies that
• 1:44:53
  Speaker 1: do a far better job of you know, like there
• 1:44:55
  Speaker 1: should be more satires and comedic satires of the working
• 1:44:59
  Speaker 1: class and like of uh, the non white working class,
• 1:45:02
  Speaker 1: and this is just not one of those movies. Um.
• 1:45:06
  Speaker 1: And you know, I think that there was room in
• 1:45:08
  Speaker 1: in the movie to address that stuff a little more.
• 1:45:12
  Speaker 1: But you get so much. You get you get the
• 1:45:15
  Speaker 1: creep being called out as a creep, she gets to
• 1:45:17
  Speaker 1: shoot him in the dick, like, you know, we have
• 1:45:21
  Speaker 1: women believing each other about creeps, which you never see. Yeah,
• 1:45:26
  Speaker 1: I think this movie is just really fun. Maybe I'm
• 1:45:28
  Speaker 1: scaling it a little too high because I just really
• 1:45:30
  Speaker 1: enjoy it, But I'm gonna go three point seven five
• 1:45:33
  Speaker 1: and I'm gonna give one to Swell. I'm gonna give
• 1:45:36
  Speaker 1: one to r I'm gonna give one to Dolores and
• 1:45:39
  Speaker 1: who framed Roger Rabbit because that's Joanna Cassidy's best part ever.
• 1:45:44
  Speaker 1: And I give one to Tara Eisen and then I'll
• 1:45:49
  Speaker 1: give the last point seven five to Melissa. Oh yeah, Melissa,
• 1:45:54
  Speaker 1: love Melissa. I wish we got more from her. Amy,
• 1:45:57
  Speaker 1: what do you think I'll go higher than everybody. I'm
• 1:45:59
  Speaker 1: gonna go for point to five nipples because I think
• 1:46:03
  Speaker 1: this movie does so much right without drawing attention to
• 1:46:06
  Speaker 1: the fact that it's doing everything right. There's nothing in
• 1:46:09
  Speaker 1: this movie that, for a millisecond, feels like a vitamin
• 1:46:12
  Speaker 1: or a lecture about you know, gender roles in society.
• 1:46:17
  Speaker 1: Not a single bit of it is like, oh, here's
• 1:46:19
  Speaker 1: where we tell you guys how to really live your life.
• 1:46:21
  Speaker 1: There's nothing preachy in this moment. I think. I think
• 1:46:23
  Speaker 1: this movie speaks to kids, young adults, me at my
• 1:46:26
  Speaker 1: current age on just like a fun level, representing the
• 1:46:30
  Speaker 1: way that the world both is, you know, which is
• 1:46:32
  Speaker 1: a lot of labor, a lot of unfair stuff, a
• 1:46:34
  Speaker 1: lot of grunt work that you have to do, a
• 1:46:36
  Speaker 1: lot of people getting taken advantage of, a lot of
• 1:46:38
  Speaker 1: people getting rewarded for the wrong reasons. All those things
• 1:46:40
  Speaker 1: are true, and it doesn't hide any of that, and
• 1:46:43
  Speaker 1: it doesn't sugarcoat anything. It doesn't make working look like wonderful.
• 1:46:46
  Speaker 1: You know. It's not like a movie where a girl
• 1:46:48
  Speaker 1: gets a job and suddenly she has the high heels
• 1:46:50
  Speaker 1: and the wardrobe like this is. I think I've really
• 1:46:53
  Speaker 1: lived in movie about what it is like to get
• 1:46:55
  Speaker 1: your first job and how hard it is and how
• 1:46:58
  Speaker 1: like strange the working world is. And I think it
• 1:47:01
  Speaker 1: both calls the corporate world on its bullshit and shows
• 1:47:05
  Speaker 1: what it's really like. What I like about these kids
• 1:47:07
  Speaker 1: is I feel like the kids are all actual, authentic
• 1:47:09
  Speaker 1: kids and they're not like scrubby or shiny, and none
• 1:47:12
  Speaker 1: of them sound like fake kids to me, Like nobody
• 1:47:14
  Speaker 1: is too idealized, nobody is too shiny. Yeah, definitely, the
• 1:47:18
  Speaker 1: Mrster comes out of a pizza commercial. But other than that, like,
• 1:47:23
  Speaker 1: I don't think there are many kids movies like this
• 1:47:25
  Speaker 1: that gets so many things right. And I always want
• 1:47:28
  Speaker 1: to take a really strong stance in pointing out these
• 1:47:30
  Speaker 1: kids movies that do make the right choice every time
• 1:47:33
  Speaker 1: there's a lazier choice. There's so many lazy choices that
• 1:47:36
  Speaker 1: could have been made in this movie doesn't do any
• 1:47:38
  Speaker 1: of them, doesn't do any of them down, from like
• 1:47:40
  Speaker 1: the romance, crazy One, being the little kid, the Little Boy,
• 1:47:43
  Speaker 1: and so for that, you know, for being a movie
• 1:47:47
  Speaker 1: that to me felt like kind of an artext for
• 1:47:50
  Speaker 1: oh is this how the world works? Great? Okay, I
• 1:47:52
  Speaker 1: get it, you're warning me, And also you're not putting
• 1:47:54
  Speaker 1: me in a box. That's magical. And I feel like, yeah, kids, me,
• 1:48:00
  Speaker 1: they are so important because it's how we start to
• 1:48:01
  Speaker 1: see the world. And so yeah, there's nothing in this
• 1:48:04
  Speaker 1: that I think would turn a kid off, and I
• 1:48:06
  Speaker 1: think would like lay them out for what to expect
• 1:48:08
  Speaker 1: and show them what's unfair, and maybe people will go
• 1:48:11
  Speaker 1: to the workplace and be a little bit nicer to
• 1:48:13
  Speaker 1: the you know, to the poor, poor poor said um
• 1:48:17
  Speaker 1: Cathy's of the world, and maybe the Cathy's of the
• 1:48:20
  Speaker 1: world see this movie and they're like, wait, yeah, exactly.
• 1:48:26
  Speaker 1: I'm taking off my point seven five because I do
• 1:48:28
  Speaker 1: agree on like the bizarre whiteness of l A, which
• 1:48:31
  Speaker 1: was never true and wasn't true then, and l A
• 1:48:33
  Speaker 1: is about and you know, I didn't you want about
• 1:48:35
  Speaker 1: to enter a moment of really reckoning with the racial
• 1:48:37
  Speaker 1: things that have been whitewashed over in this in this
• 1:48:39
  Speaker 1: city for sure. Amy, thank you so much for for
• 1:48:43
  Speaker 1: coming on the show and for bringing us this movie.
• 1:48:45
  Speaker 1: This was so fun. Oh this is my pleasure, Caitlin, Jamie.
• 1:48:47
  Speaker 1: Has been so fun to be here, So thank you
• 1:48:49
  Speaker 1: for having me aboard. Come back anytime. I'd love to.
• 1:48:52
  Speaker 1: This is so fun where can people follow you online?
• 1:48:56
  Speaker 1: Check out your writing, check out anything that you would
• 1:48:59
  Speaker 1: like to plug. Oh yeah, my social media handles are
• 1:49:02
  Speaker 1: the Amy Nicholson. I'm right now, Really we're going. I
• 1:49:05
  Speaker 1: think I'm only on Twitter for twenty four hours a week,
• 1:49:07
  Speaker 1: which is highly recommend It's so nice. I log in
• 1:49:10
  Speaker 1: on Thursday and I log out Friday morning, and then
• 1:49:13
  Speaker 1: you get to be oblivious the rest of the week.
• 1:49:15
  Speaker 1: Whatever is important, people will eventually tell you over a
• 1:49:18
  Speaker 1: beer and yeah, yeah, I read for The New York
• 1:49:21
  Speaker 1: Times and my podcast is Unspoiled with Paul Sheer, where
• 1:49:23
  Speaker 1: we just did Jennifer's Body in Midsummer, which I love
• 1:49:28
  Speaker 1: talking about Midsummer in terms of like trauma, bad boyfriends,
• 1:49:31
  Speaker 1: or boyfriends who just cannot handle because they are immature. Yes,
• 1:49:37
  Speaker 1: we had a similar discussion on our main Treon, which,
• 1:49:41
  Speaker 1: speaking of you can follow us on social media at
• 1:49:45
  Speaker 1: spectel Cast on Instagram and Twitter. You can subscribe to
• 1:49:48
  Speaker 1: our Matreon at patreon dot com, slash specktel Cast, in
• 1:49:53
  Speaker 1: which we have covered both Midsummer and Jennifer's Body as
• 1:49:58
  Speaker 1: bonus episodes on the Matreon. All for five dollars a month,
• 1:50:02
  Speaker 1: you get access to the back catalog and two new
• 1:50:06
  Speaker 1: episodes every single month, and you can get merch at
• 1:50:10
  Speaker 1: t public dot com slash the Bechdel Cast. Holiday is
• 1:50:13
  Speaker 1: coming up, you know, so there's that link. Um okay
• 1:50:19
  Speaker 1: with that, Let's let's all head on down to the
• 1:50:22
  Speaker 1: graveyard and steal some corpses money. Yeah. Thanks, nice old lady,
• 1:50:28
  Speaker 1: Thanks for starak. Bye bye,