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The Notebook with Caitlin Gill · The Bechdel Cast

• 0:00
  Speaker 1: On the bed cast, the questions asked if movies have
• 0:03
  Speaker 1: women in them, are all their discussions just boyfriends and husbands,
• 0:07
  Speaker 1: or do they have individualism? The patriarchy, Zef and Vast
• 0:12
  Speaker 1: start changing it with the beck Del cast. Welcome, thank
• 0:18
  Speaker 1: you for drumming. Hi Jamie, hiy. So let's start by
• 0:23
  Speaker 1: saying again, thank you for coming to the live show.
• 0:26
  Speaker 1: We're talking about the notebook. You have been given Bechtel
• 0:31
  Speaker 1: cast bingo board cards, but we can't say boards, bingo boards,
• 0:36
  Speaker 1: bingo boards. I keep bingo board. I had this whole
• 0:38
  Speaker 1: plan where I was gonna keep saying bingo board moment.
• 0:41
  Speaker 1: Oh just in now, but also in the future. I
• 0:45
  Speaker 1: was like, I think we're gonna have all these bingo
• 0:46
  Speaker 1: board moments when we're like together, we for sure will, right. Okay,
• 0:50
  Speaker 1: So you got bingo boards, so we're gonna be talking
• 0:54
  Speaker 1: for a while, and if we say anything, you've got
• 0:57
  Speaker 1: your boards, You've got your writing utensils. The first person too,
• 1:01
  Speaker 1: I guess the rules of Bengo is a diagonal, horizontal
• 1:05
  Speaker 1: or vertical five in a row yellow Bechtel. That was
• 1:11
  Speaker 1: Aristotle's idea, and now everyone can find it on your board.
• 1:18
  Speaker 1: So yeah, I mean get great. We between Kalen and I,
• 1:21
  Speaker 1: we have about twenty five thoughts that go on a
• 1:25
  Speaker 1: loop and they're all on that Bengo board. So so
• 1:28
  Speaker 1: the winner will get a prize. UM. Shout out to
• 1:31
  Speaker 1: our fan at Danny Cavalier, who created the Spectel Bingo board,
• 1:36
  Speaker 1: so thank you. It was utilizing it. Yeah, and then
• 1:39
  Speaker 1: he was like, to prove the concept. I've really listened
• 1:42
  Speaker 1: to twelve episodes and lost Bengo at all of them. So,
• 1:47
  Speaker 1: but you guys are gonna win. Someone's gonna win anyway.
• 1:51
  Speaker 1: But around up the plus, has everybody here seen you?
• 1:54
  Speaker 1: Give it up? If you've seen the notebook? All right,
• 1:57
  Speaker 1: we've got some horny people in the audience. I like it.
• 2:00
  Speaker 1: Clap it up. If you have not seen the notebook,
• 2:02
  Speaker 1: don't be ashamed. Okay, so we've got a few people. Okay, cool,
• 2:06
  Speaker 1: We've got a lot to talk about. If you haven't
• 2:09
  Speaker 1: seen the notebook, we will, I mean, Caitlin is extremely
• 2:13
  Speaker 1: good at recapping things, so we will. We will guide
• 2:17
  Speaker 1: you through it, and we're gonna have We're gonna have
• 2:19
  Speaker 1: a killer time. I'm so excited for our guest too. Yes,
• 2:22
  Speaker 1: let's figure out. Yeah, she's a comedian. You know her
• 2:24
  Speaker 1: from our Butch Cassidy and the Sundance Kid episode all right,
• 2:28
  Speaker 1: and she wrote for the upcoming Misfits and Monsters. It's
• 2:32
  Speaker 1: going to be coming out on True TV. Give it
• 2:34
  Speaker 1: up for Caitlin gil Okay again to Caitlin's in one stage.
• 2:42
  Speaker 1: I don't know how similar our voices are, but I
• 2:45
  Speaker 1: am Caitlin Gil yes, and I am Caitlin Drante. We
• 2:48
  Speaker 1: forgot to introduce ourselves. Oh I'm little Jamie. I just
• 2:53
  Speaker 1: show up to I'm Skatelin Guilt the roller skate and
• 2:56
  Speaker 1: Grandma you'd like to fuck right love it? Oh my gosh,
• 3:01
  Speaker 1: I okay. First of all, I'm looking over your shoulder,
• 3:04
  Speaker 1: Kitlin uh Durante, Oh god, okay, looking over your shoulder,
• 3:08
  Speaker 1: Caitlin Durante, as I always am. And you've got how
• 3:11
  Speaker 1: many pages of notes today? Seven? Seven? And I'm sorry
• 3:16
  Speaker 1: I say that's a full note book. Good night, everybody,
• 3:21
  Speaker 1: Thank you very much, thank you. And that was a
• 3:23
  Speaker 1: full discussion. Eleven point font what's you're saying at one
• 3:29
  Speaker 1: point five one? Baby margins are slim? Caitlin's got a
• 3:37
  Speaker 1: lot of thoughts on this. I have exactly I don't.
• 3:40
  Speaker 1: I don't want to give you a bingo board moment whatever.
• 3:45
  Speaker 1: First of all, a man just yelled do it to me.
• 3:47
  Speaker 1: I'll gonna come up. No, Okay, I did. For all
• 3:49
  Speaker 1: you bingo borders out there, I did watch this movie
• 3:53
  Speaker 1: this morning, and I have exactly eight bullet points. I
• 3:58
  Speaker 1: got out a bottle of water, but I peeled the
• 4:00
  Speaker 1: label off so I knew which one was mine. That's
• 4:02
  Speaker 1: how prepared I am. That's not true very much. Degrees
• 4:06
  Speaker 1: of prepared a fast spectrum of preparedness. I watched the
• 4:11
  Speaker 1: movie three times, so for the podcast, let's clarify you
• 4:16
  Speaker 1: have seen it many times independently, only a couple before this. Okay,
• 4:21
  Speaker 1: don't don't. That's freeing, that's feude, fude in fud. We're
• 4:31
  Speaker 1: just giving them away and borne al from Milena. Okay,
• 4:35
  Speaker 1: I will just get it out at the top. Alfam
• 4:37
  Speaker 1: Billina in this movie could have played Rachel mcadam's twirly
• 4:41
  Speaker 1: mustache Dad for sure. For sure, because the mother is
• 4:45
  Speaker 1: a big character and we'll talk about her a lot,
• 4:47
  Speaker 1: But twirly mustache Dad. Isn't it for like three seconds
• 4:50
  Speaker 1: that he's always just like doing a twirly he's like,
• 4:53
  Speaker 1: you know, talking to a pool boy. I see, that's
• 4:57
  Speaker 1: like all he does. Like there's one and where he
• 5:00
  Speaker 1: talks to a poor man in another scene where he
• 5:02
  Speaker 1: talks to the sandwich with like crayfish on, it doesn't
• 5:06
  Speaker 1: pass the Backtel tests. If a guy with a twirly
• 5:08
  Speaker 1: mustache talks to a sandwich. I suggest we revised the rules.
• 5:13
  Speaker 1: What does that mustache smell like? I'm speaking of the
• 5:15
  Speaker 1: Bechtel test. I wonder, just out of curiosity, is there
• 5:18
  Speaker 1: anyone who has never listened to an episode of the
• 5:21
  Speaker 1: Bechtel Cast and are therefore very confused by everything that's
• 5:24
  Speaker 1: happened so far. Don't be afraid. They're nice. Oh we've
• 5:26
  Speaker 1: got a little hand. Okay, what if you really had
• 5:30
  Speaker 1: a little party. He's got a regular size hand? Thank you? Did?
• 5:35
  Speaker 1: Did someone bring you hi? Okay? Well, welcome, welcome. So
• 5:41
  Speaker 1: we will define the Bechtel Cast for you and you alone.
• 5:46
  Speaker 1: The best is fluid, beautiful, gorgeous. And the test does
• 5:55
  Speaker 1: have several interpretations. We use a very specific one. Yes,
• 5:58
  Speaker 1: the Bechtel test applied to for our sake movies. It
• 6:02
  Speaker 1: requires that there are two women who have names. Their
• 6:06
  Speaker 1: characters have names. They speak to each other, and their
• 6:08
  Speaker 1: conversation cannot be about a man. That is the test.
• 6:12
  Speaker 1: The Bechtel cast, we that's are sort of jumping off point.
• 6:15
  Speaker 1: We talk about the portrayal of women in movies, one
• 6:19
  Speaker 1: movie at a time. I do think it's funny that
• 6:21
  Speaker 1: sometimes people are like, oh, yeah, that's just the podcast
• 6:23
  Speaker 1: where you decide, Like, do you think we take an
• 6:25
  Speaker 1: hour deciding if one conversation takes tonight? I feel like
• 6:31
  Speaker 1: we could though. We Yeah, because we started a pre debate.
• 6:34
  Speaker 1: We did. We warmed up. Yeah. I asked whether or
• 6:37
  Speaker 1: not you guys think the notebook passes the test, and
• 6:41
  Speaker 1: we will, Well, well let's save it. Save it talking
• 6:44
  Speaker 1: away a twist, I do. As soon as I started
• 6:47
  Speaker 1: this segue, I was like, these two have a plan,
• 6:50
  Speaker 1: and I am like trying to be at the hot
• 6:52
  Speaker 1: shot guest all like, hey, guys, how about a guide
• 6:54
  Speaker 1: our conversation a little bit. You have seven pages of
• 6:57
  Speaker 1: eleven font note with slim. Margree basically brought a manifesto,
• 7:02
  Speaker 1: and I'm here like, why don't I throw out a
• 7:04
  Speaker 1: pitch for a topic. You've got this covered, We'll get there.
• 7:07
  Speaker 1: I think that, Yeah, you're the UNI Bomber. I'm the
• 7:09
  Speaker 1: UNI Bomber's friend. He didn't have any UNA. I know
• 7:15
  Speaker 1: that doesn't mean one. I just wanted it to mean one.
• 7:17
  Speaker 1: It means university Bomber because that's where he started. He
• 7:19
  Speaker 1: was ruined in a university. Anyway, don't I get a
• 7:22
  Speaker 1: university shout out to Kazynski. I have a Kazynski sweatshirt.
• 7:27
  Speaker 1: I was robbed of a Bechtel Bingo board moment when
• 7:31
  Speaker 1: I said speaking universities, take it home. To have a
• 7:38
  Speaker 1: master's degree from Boston University? What in screenwriting? Where from
• 7:43
  Speaker 1: Boston University? UNI bomber adjacent a master's degree? Indeed? Okay,
• 7:50
  Speaker 1: let's talk about the notebook? Shall we the notebook? Yes, Caitlyn,
• 7:53
  Speaker 1: you saw it recently. I had not seen the notebook,
• 7:56
  Speaker 1: and I did for this podcast. So that tells you
• 7:58
  Speaker 1: how deeply am willing sacrifice for the two of you.
• 8:00
  Speaker 1: Thank you so much, right, Jamie, when did you see it?
• 8:05
  Speaker 1: I saw this. I watched this movie with my grandma
• 8:09
  Speaker 1: on T N T. Let's say in two thousand and seven.
• 8:14
  Speaker 1: I think we watched it with commercials in Massachusetts and
• 8:18
  Speaker 1: two thousand. I remember at that time, I was like,
• 8:21
  Speaker 1: this is dumb. I don't love is. I was like
• 8:24
  Speaker 1: a big hot topic shopper, and I didn't really believe
• 8:28
  Speaker 1: in love if it wasn't directly related to Jack and Sally.
• 8:32
  Speaker 1: So so I did see that it, didn't care for it,
• 8:37
  Speaker 1: and didn't see it again until this morning, and I
• 8:40
  Speaker 1: watched it twice and I cried so much. Did you watch?
• 8:45
  Speaker 1: I got very I mean, and I've become a very
• 8:49
  Speaker 1: emotional adult. No, but I did, and I saw it,
• 8:53
  Speaker 1: and I was, I was. This was one of those
• 8:55
  Speaker 1: episodes where I was fully going and expecting to unequivvocally hate.
• 8:59
  Speaker 1: Have a problem with every element of this movie, and
• 9:02
  Speaker 1: there's mistakes were certainly made. We will discuss them. But
• 9:06
  Speaker 1: it did far better than I expect it because I
• 9:08
  Speaker 1: forgot forgot almost everything. Yes, so I think that takes
• 9:13
  Speaker 1: us to the recap and then we'll get into the discussion.
• 9:16
  Speaker 1: So the notebook, if you have not seen it, um
• 9:19
  Speaker 1: we open on two old people, Duke and unnamed old
• 9:25
  Speaker 1: woman who lives in a nursing home. They call him
• 9:28
  Speaker 1: Duke because they they're just like, what if it's not
• 9:32
  Speaker 1: Ryan Gosling parentheses old? Yeah, it's confusing. I guess that's
• 9:36
  Speaker 1: his nickname. They really could have. We could have used
• 9:39
  Speaker 1: a nickname reveal toward the end of the movie. They
• 9:43
  Speaker 1: they didn't do that. It would have been handy after
• 9:47
  Speaker 1: you know, you get you'll get there in the recap,
• 9:49
  Speaker 1: but there would have been a time to give him
• 9:51
  Speaker 1: a nickname. And frankly, I want to know why they
• 9:53
  Speaker 1: call him Duke. There's a story that doesn't come out
• 9:56
  Speaker 1: of nowhere. You don't just reading the paper one day,
• 9:58
  Speaker 1: you're Duke. Now He's never He's never referred to as
• 10:02
  Speaker 1: Duke in the earlier events of the movie. So something
• 10:05
  Speaker 1: happens between ages like and seventy. He becomes Duke. Good
• 10:10
  Speaker 1: life crisis, buys a boat, Call me Duke. Yeah exactly.
• 10:18
  Speaker 1: So our friend Duke visits this old woman and he
• 10:22
  Speaker 1: reads her a story from the notebook a notebook. Oh
• 10:27
  Speaker 1: I just I write, Yeah? Did you just want to
• 10:34
  Speaker 1: hear out why the movie is called the Notebook? I wouldn't.
• 10:39
  Speaker 1: It was a notebook as much as it was aleatherbound journal.
• 10:42
  Speaker 1: But that's not a leatherbound journal in theater's Mealentine's Day.
• 10:48
  Speaker 1: They just figured that out. Yea, yeah, happy. So, so
• 10:58
  Speaker 1: Duke reads this man a story from the book, and
• 11:04
  Speaker 1: the leather bounds up. The story is about Noah and Ali.
• 11:10
  Speaker 1: They are a couple of young people who meet for
• 11:12
  Speaker 1: the first time in ninety Noah is poor, he's a
• 11:16
  Speaker 1: poor boy, and he works at the lumber yard. When
• 11:18
  Speaker 1: do we want to introduce the fact that this is
• 11:20
  Speaker 1: like Titanic? Basically, there's a lot of As you go
• 11:23
  Speaker 1: through the recap, Oh god, these fucking bingo borders. I
• 11:27
  Speaker 1: don't know why were we gave it to you? Sorry,
• 11:30
  Speaker 1: like so gross of you to participate like we asked.
• 11:34
  Speaker 1: But do as you listen through the recap, there's so
• 11:37
  Speaker 1: many parallels that we will break down in detail. We
• 11:40
  Speaker 1: sure will so. Ali in the meantime is a rich
• 11:43
  Speaker 1: girl and her family is in town for the summer.
• 11:47
  Speaker 1: Noah pursues Ali, and she is resistant at first, and
• 11:51
  Speaker 1: we will don't forget to percent talk about it. He's
• 11:54
  Speaker 1: got a little news. He's hat. He's wearing a hat.
• 11:57
  Speaker 1: I love how I love like the interesting little choices
• 11:59
  Speaker 1: that people will make to make an actor who's clearly
• 12:03
  Speaker 1: like in his late twenties seem like a teenagers like
• 12:05
  Speaker 1: I just put a little newsy tat on him, just
• 12:08
  Speaker 1: like young make those pants bag year. That'll cut off
• 12:10
  Speaker 1: about five years, slouch a little bit and go oh man.
• 12:16
  Speaker 1: So he's pursuing her. She is not into it at first,
• 12:19
  Speaker 1: but eventually he wins her over and then they start dating.
• 12:22
  Speaker 1: But it's the summer before she's going to leave for college,
• 12:25
  Speaker 1: so she's about to leave for college, and they break
• 12:28
  Speaker 1: up because he's like, I don't see how we're gonna
• 12:30
  Speaker 1: make it work. I'm too poor. And then a few
• 12:33
  Speaker 1: years pass, Noah bidses like old plantation house and meanwhile
• 12:38
  Speaker 1: also goes to World War two? Ever heard of it?
• 12:42
  Speaker 1: Everyone's on their bingo boards. I guess world War two?
• 12:44
  Speaker 1: One World War two references on the bingo board. He
• 12:49
  Speaker 1: goes to war, his friend dies, he comes back, He
• 12:54
  Speaker 1: goes back, and he fits. He buys this old plantation
• 12:57
  Speaker 1: home that he was like, Ali and I are going
• 12:58
  Speaker 1: to live here because we're gonna be together forever. Psych
• 13:01
  Speaker 1: but that is what happens. Uh sorry, I just to
• 13:05
  Speaker 1: all everything. So he he makes this house all nice,
• 13:10
  Speaker 1: and then someone takes a picture of it in the
• 13:11
  Speaker 1: paper and then Ali sees it, except that meanwhile she's
• 13:15
  Speaker 1: found another man, James Marson. Yes, okay, the people some
• 13:19
  Speaker 1: people would disagree. I think Gosling to Marsden upgrade, That's
• 13:23
  Speaker 1: what I think. Yes, Yeah, James Marson is like cartoonishly handsome,
• 13:26
  Speaker 1: which is why he plays a cartoon What an upgrade.
• 13:29
  Speaker 1: Not only that actor is, but that character. Yeah, the characters,
• 13:34
  Speaker 1: majorly James Marson. God, it's like, like, what does he
• 13:38
  Speaker 1: do to his eyebrows or are they just like that?
• 13:40
  Speaker 1: It's just crazy, It's amazing. One of the parallels to
• 13:44
  Speaker 1: Titanic is that he has great eyebrows. Cal Hockley great eyelashes.
• 13:48
  Speaker 1: All right, what if Billy Zane was in both of
• 13:52
  Speaker 1: these movies? What if he was the connecting thread The
• 13:56
  Speaker 1: Notebook a movie about a notebook. So she's used his
• 14:00
  Speaker 1: picture in the paper, she faints because women be fainting,
• 14:04
  Speaker 1: and then in her wedding dress, and she decides to
• 14:09
  Speaker 1: go and see him, to pay him a visit because
• 14:11
  Speaker 1: it's been seven years and their relationship broke off kind
• 14:15
  Speaker 1: of abruptly. Oh and there's a whole thing where he
• 14:17
  Speaker 1: wrote her a letter every single day for a year
• 14:19
  Speaker 1: and her mom intercepted all those letters, so she never
• 14:22
  Speaker 1: got them and she didn't know that he was writing
• 14:23
  Speaker 1: to her, which honestly you lazy checked the mail once
• 14:27
  Speaker 1: a year. Yeah, get here, get up earlier and yeah
• 14:32
  Speaker 1: you see the mom getting the mail and it's like, yeah,
• 14:34
  Speaker 1: it's about two. She's fully dressed the same early. It's
• 14:38
  Speaker 1: not like she has the mail guy delivering stuff on
• 14:41
  Speaker 1: the low. He's delivering it regularly, right. So she approaches
• 14:48
  Speaker 1: him and she's like, hey, how how are you? And
• 14:51
  Speaker 1: he was like, I've been drunk for a long time.
• 14:56
  Speaker 1: To be fair, he's lost everyone, his dad and for Brith. Basically,
• 15:03
  Speaker 1: we'll get there. His name is Finn, but it's like
• 15:05
  Speaker 1: his name's and he died in nineteen twelve. Why is
• 15:08
  Speaker 1: he in this movie? So Ali and Noah reconnect, but
• 15:16
  Speaker 1: she's like, oh do I stay with my James Marsin Like,
• 15:20
  Speaker 1: just just so you know, Kitlen gill is fully I
• 15:23
  Speaker 1: was making the finger inserted into the fist sex implication
• 15:27
  Speaker 1: motion because they do it. That's when they do it.
• 15:29
  Speaker 1: That's the part of the movie where they do it.
• 15:31
  Speaker 1: It's true. If you're looking at the fast forward to
• 15:33
  Speaker 1: a really boring milk toast love scene, that's you gotta
• 15:37
  Speaker 1: go to about two thirds not even a nippy, not
• 15:40
  Speaker 1: even a nippy. There was gonna be a nippy. Yes,
• 15:44
  Speaker 1: they have sex, and she's like, wait a minute, Do
• 15:46
  Speaker 1: I stay with Lawn my James marsden fiance or Lawn
• 15:52
  Speaker 1: is James Marsin For the purpose of this podcast, we'll
• 15:55
  Speaker 1: be calling him James Marsden obviously, or do I go
• 15:58
  Speaker 1: back with Noah Ryan Gosling and honestly, because he makes
• 16:03
  Speaker 1: her come and and James Marsden doesn't, well, I don't
• 16:10
  Speaker 1: see it. Well, after they have sex, she's like, so
• 16:13
  Speaker 1: that's what I've been missing. I think there's because she
• 16:18
  Speaker 1: like how she is like losing her purity. I definitely
• 16:22
  Speaker 1: thought she had an between her knees until she went
• 16:25
  Speaker 1: back to see Noah. But that that's a very different interpretation.
• 16:28
  Speaker 1: That does have different The last spring, I think that
• 16:31
  Speaker 1: was her. I think she was having really boring sex. Okay,
• 16:36
  Speaker 1: so that so and that I would buy that that
• 16:38
  Speaker 1: she was basically telling James Marsden that she was a
• 16:41
  Speaker 1: virgin and wanted to wait for a marriage. I don't
• 16:44
  Speaker 1: even know even if that was like a little proper ship,
• 16:47
  Speaker 1: like this is a dude who asked her parents first
• 16:49
  Speaker 1: and all that, Like, I can't say for sure. It's
• 16:54
  Speaker 1: just that was my interpretation, because there was there was
• 16:56
  Speaker 1: nothing about that sex scene that implied in any way
• 16:59
  Speaker 1: that she would come from what he was doing. I
• 17:02
  Speaker 1: do not believe she was like that he had the
• 17:04
  Speaker 1: focus or dexterity to accomplish. No, it's stunted, a little joking,
• 17:08
  Speaker 1: and she's like, so that's what I've been missing out
• 17:11
  Speaker 1: on on this whole time. And then he turns to
• 17:12
  Speaker 1: her and I was like, yeah, it's all kind of
• 17:18
  Speaker 1: love scene where someone strong is carrying someone tiny, which
• 17:21
  Speaker 1: inevitably ends in the tiny person being pressed up against
• 17:23
  Speaker 1: the wall, and in this case it was like a cabinet.
• 17:26
  Speaker 1: There's nothing she's you cannot come with a handle sticking
• 17:29
  Speaker 1: in your back and like, yeah, okay, cool, you dragged me,
• 17:33
  Speaker 1: Like we're off the wall now and now we're just
• 17:35
  Speaker 1: in your ghostly ass plantation trying to fuck in the
• 17:39
  Speaker 1: same room we couldn't fucking when we were seventeen. What
• 17:41
  Speaker 1: do you remember how romantic it was to go back
• 17:44
  Speaker 1: to where you first tried to funk when you were seventeen.
• 17:47
  Speaker 1: Drive your car to your parents driveway and just sitting
• 17:50
  Speaker 1: it fumbling. Yeah, hard pass, hard pass. Yeah. I guess
• 17:54
  Speaker 1: we should all go back to that oh one Ford
• 17:56
  Speaker 1: focus that we were all in at one time. Okay,
• 18:00
  Speaker 1: so I kind of misinterpreted what happened. Now I think
• 18:03
  Speaker 1: that's open either way. We're still at the recap. So
• 18:08
  Speaker 1: she is like, yeah, I'm gonna pick Noah because he's
• 18:11
  Speaker 1: my first love. And she does confront her mom about
• 18:14
  Speaker 1: the whole letter thing and her mom was like shrug
• 18:17
  Speaker 1: and her mom. Her mom reveals that not only did
• 18:21
  Speaker 1: she hide the letters, but she did it in spite
• 18:23
  Speaker 1: of the fact that she herself harbored a young summer love.
• 18:26
  Speaker 1: That she still occasionally goes back to watch work in
• 18:29
  Speaker 1: his rock quarry from her fucking convertible Plymouth with her
• 18:34
  Speaker 1: like Gucci's on or whatever if that was a thing
• 18:36
  Speaker 1: in seven just watching this dude like shovel Rocks, it
• 18:42
  Speaker 1: looks at your daughter like I love her father, but
• 18:45
  Speaker 1: I'd still that graveled guy. That was the question, because
• 18:50
  Speaker 1: at the end of that scene he looks over, I'm like,
• 18:53
  Speaker 1: does he recognize her? And it's like, oh, yeah, we
• 18:56
  Speaker 1: used to hook up. And now forty years later, she
• 19:00
  Speaker 1: still comes and stares at me shovel Rocks. Sometime, in
• 19:04
  Speaker 1: case you're wondering if I've got that good dick or not.
• 19:10
  Speaker 1: Women be staring at me shoveling rocks four decades on.
• 19:21
  Speaker 1: Wax mustache guy outside like shoveling the driveway, like, I
• 19:24
  Speaker 1: don't know why she asked me to do this. She's
• 19:28
  Speaker 1: so aroused. When I come back in, wax mustache guy
• 19:35
  Speaker 1: comes like coins or like because he looks like an
• 19:39
  Speaker 1: extra from the Greatest Showman, Like he fully looks like
• 19:44
  Speaker 1: a magician who's gotten lost. It's just but she's she
• 19:48
  Speaker 1: loves him. Yeah. So the mom takes Ali to the
• 19:53
  Speaker 1: quarry or whatever, and it's like, I do once love
• 19:56
  Speaker 1: to pour and it's basically the end of the year.
• 20:01
  Speaker 1: And then she's like, make the right choice and then
• 20:03
  Speaker 1: drops her daughter off at the fully restored plantation mansion
• 20:07
  Speaker 1: the poor lives in so hard air quotes around poor
• 20:11
  Speaker 1: at home listeners. Right, so, and then at some point
• 20:15
  Speaker 1: in the story, it's revealed remember Duke and the old
• 20:18
  Speaker 1: woman who is hearing the story. Turns out Duke is
• 20:23
  Speaker 1: Noah and the old lady is Alip gasping. But the
• 20:33
  Speaker 1: reason that he is recounting this story to her is
• 20:36
  Speaker 1: that she has dementia and she's lost her memory. So
• 20:40
  Speaker 1: he reads the story to her to help her remember
• 20:43
  Speaker 1: their love for each other from the note book, it
• 20:46
  Speaker 1: turns out from the leatherbound journal, and then sometimes it
• 20:50
  Speaker 1: works and she remembers, and then they die together. I
• 20:56
  Speaker 1: totally forgot that there's this like rapid fire fifteen minute
• 20:59
  Speaker 1: ending where like she remembers, she sundowns, he has a
• 21:02
  Speaker 1: heart attack. He goes to see her in the ward
• 21:05
  Speaker 1: that she's now trapped in because he's not there to
• 21:07
  Speaker 1: read to her. I guess he like shovels out and
• 21:10
  Speaker 1: a nurse is like, sir, you're not allowed to walk around,
• 21:12
  Speaker 1: and I'm definitely gonna leave to get coffee and let
• 21:15
  Speaker 1: you wink winks. He goes in to see his ailing wife,
• 21:18
  Speaker 1: who wakes up in full cognizance. Hi, honey, good to
• 21:21
  Speaker 1: see you know. Uh, do you think our love could
• 21:24
  Speaker 1: kill us together? He crawls into bed, and that poor
• 21:28
  Speaker 1: nurse comes back to work in the morning, like I
• 21:32
  Speaker 1: can't whistle into the microphone, but she is a whistling
• 21:35
  Speaker 1: carrying a cup of coffee, Like I wonder where those
• 21:37
  Speaker 1: old people who are in love are. Pushes open the door, corpses, blackout,
• 21:42
  Speaker 1: credits roll. Sorry there are birds first, and then credits
• 21:46
  Speaker 1: roll a lot of swans, a lot of bird for
• 21:50
  Speaker 1: I thought they were geese, and I was like, are
• 21:52
  Speaker 1: we to believe that writing consoling has been a goose
• 21:56
  Speaker 1: that apparently we are. We missed it, we didn't. You
• 21:59
  Speaker 1: can't cap the birds. But the movie opens on this lay.
• 22:02
  Speaker 1: I love to notice in a movie, like when the
• 22:04
  Speaker 1: editor's name pops up in the opening credits, like what
• 22:07
  Speaker 1: scene was there? Because that's obviously a choice. The editor
• 22:09
  Speaker 1: chooses that, or like director of photography, and all of
• 22:12
  Speaker 1: them are just like glorious birds, like everyone who edited
• 22:16
  Speaker 1: or had a like a saying how the picture looks?
• 22:18
  Speaker 1: Opens to swan soaring. The movie goes through and they're
• 22:21
  Speaker 1: at the beach and Ali's like, what has be incarnated
• 22:24
  Speaker 1: as a bird? No, it's like that's weird, except fine,
• 22:27
  Speaker 1: you're a bird. I'm a bird. And then when Ali
• 22:29
  Speaker 1: comes back to see you now after after he's rebuilt
• 22:31
  Speaker 1: the house, he's like, come with me. I'm not gonna
• 22:33
  Speaker 1: tell you where, but it's probably dangerous. I consistently endanger you.
• 22:36
  Speaker 1: And then took her on a boat to see ducks.
• 22:39
  Speaker 1: They look at ducks, at rains, then their land. It's like,
• 22:42
  Speaker 1: let's die together. They die together. Camera pulls out of
• 22:45
  Speaker 1: the nursing home, fucking birds, like, did we need this
• 22:47
  Speaker 1: book end? I hope somebody. I hope a camera, like
• 22:49
  Speaker 1: a b unit camera guy got shot on so hard.
• 22:51
  Speaker 1: I hope that there is someone in the theater in
• 22:55
  Speaker 1: two thousand four who just like wailed like and there's
• 22:58
  Speaker 1: bird like that really made that tied the movie together
• 23:03
  Speaker 1: for them. I will say I decided to view that
• 23:07
  Speaker 1: from like a bitter on relence. There's no reason to
• 23:09
  Speaker 1: It is beautifully shot. It's some gorgeous immagery way to go, like, yeah,
• 23:13
  Speaker 1: be a bird. I guess that's a very free way
• 23:15
  Speaker 1: you imagine your dead parents, which is what that movie
• 23:17
  Speaker 1: makes you do at the end. So cool. Yeah great.
• 23:21
  Speaker 1: Here's another question I had because there is a moment
• 23:23
  Speaker 1: in the Old People's Story where all of their kids
• 23:26
  Speaker 1: and grandkids show up, but Ali doesn't realize that because
• 23:29
  Speaker 1: she has dementia, and so Duke it's just like dude,
• 23:34
  Speaker 1: I like to think he joined a middle aged man's
• 23:36
  Speaker 1: basketball week and he's like, I'm Duke. He got Duke's
• 23:40
  Speaker 1: jersey from last year and he's Duke now. Yeah, But
• 23:45
  Speaker 1: there's like a brief conversation after Ali takes her nap
• 23:48
  Speaker 1: or she like she leaves the scene and all the
• 23:50
  Speaker 1: kids are talking to to Noah and they're like, oh,
• 23:53
  Speaker 1: Mom doesn't remember us of that. I'm like, have you
• 23:55
  Speaker 1: read this weird, long handwritten story about your parents? Fucking Like,
• 24:00
  Speaker 1: do they know the notebook story? I feel like they
• 24:02
  Speaker 1: all do. I feel like they all know. Like, hey,
• 24:05
  Speaker 1: when we first tried to lose our virginity, it was confusing,
• 24:09
  Speaker 1: but Tanya, years later, we raw dogg hard. I hope
• 24:15
  Speaker 1: there's some explanation for why those kids were so fucked
• 24:17
  Speaker 1: up and cold. They're seriously only in the movie to
• 24:20
  Speaker 1: be like mom doesn't recognize me, and then immediately be
• 24:24
  Speaker 1: like dead leave mom, she's boring. Will help like they don't,
• 24:30
  Speaker 1: and then they just take off, never to be seen again.
• 24:32
  Speaker 1: That was the part in the movie where I genuinely
• 24:36
  Speaker 1: because it is for some reason intentionally ambiguous for a while,
• 24:39
  Speaker 1: who the identity of the old man is. Once the
• 24:42
  Speaker 1: kids were so like fuck her, leave her, I was like,
• 24:46
  Speaker 1: maybe he's actually James Marston. And the kids know that
• 24:54
  Speaker 1: their dad has no self respect and that she's been
• 24:57
  Speaker 1: in love with Ryan Gosling the whole time, and they're like,
• 25:00
  Speaker 1: you've blown your life on this lady. James Marsden has
• 25:04
  Speaker 1: to go read the book about how she fell in
• 25:06
  Speaker 1: love with Ryan Gosling to get her to remember it
• 25:09
  Speaker 1: every single day. He has to be like, so you
• 25:14
  Speaker 1: want to hear this story about how you don't love
• 25:16
  Speaker 1: me again? Although you know I wouldn't put it past Marsden.
• 25:20
  Speaker 1: He's a class act, alright, So onto. So in this
• 25:25
  Speaker 1: page of Caitlin's notes, there's some highlighting, and there's different shades.
• 25:29
  Speaker 1: There's a what would you call this a table? It's
• 25:33
  Speaker 1: a bit of a lavender shaded box. The box. It's
• 25:37
  Speaker 1: very so what I've done here. So the first thing
• 25:38
  Speaker 1: I wanted to talk about is the first fifteen minutes
• 25:42
  Speaker 1: of the movie and how problematic they are. I will
• 25:47
  Speaker 1: quote my girlfriend here who watched this with me. I
• 25:50
  Speaker 1: love her so much. Thank you. That was very kind
• 25:52
  Speaker 1: of you. Get it up for a love, Kelly. Let's
• 25:56
  Speaker 1: die in the same senior home. Gurnee someday hands told
• 26:02
  Speaker 1: I get writing that notebook, girl. Uh, but she looked
• 26:06
  Speaker 1: over and she was like, so get ready, because I'm
• 26:08
  Speaker 1: pretty sure this movie is responsible for all the problems
• 26:11
  Speaker 1: that women have had with men for the past fourteen years,
• 26:13
  Speaker 1: like this problematic setup. This fifteen minutes is why men
• 26:17
  Speaker 1: are so confused about what we actually want and why
• 26:20
  Speaker 1: women are letting dudes crawl onto their carnival rides. I
• 26:23
  Speaker 1: guess right, yeah, walk us through it because it The
• 26:26
  Speaker 1: first fifteen minutes is like, so we open in ninety
• 26:33
  Speaker 1: there at a carnival. Noah sees Ali from a distance,
• 26:37
  Speaker 1: she's riding bumper cars. He I'm pretty sure we witnessed
• 26:41
  Speaker 1: her getting the CT that cost her later brain traumpa.
• 26:45
  Speaker 1: This is that's foreshadowing as hard as those birds. Amazing.
• 26:49
  Speaker 1: You can map this scene directly on Titanic as well,
• 26:52
  Speaker 1: for when Jackson's rose for the first time on the
• 26:55
  Speaker 1: Titanic deck at a distance and it's like, who is
• 26:57
  Speaker 1: rich girl? And then then his friend is like, that
• 27:01
  Speaker 1: is rich girl. She is rich and then he says me,
• 27:04
  Speaker 1: must have her. That basically happens in this scene as West. Indeed,
• 27:10
  Speaker 1: so he's leering at her. She gets out of her
• 27:13
  Speaker 1: bumper car. He like runs up to her and says,
• 27:16
  Speaker 1: do you want to dance? She responds no, why not
• 27:20
  Speaker 1: because I don't want to? And then they go off. Jeez,
• 27:26
  Speaker 1: so fucking ambiguous. I don't want to look could that
• 27:29
  Speaker 1: possibly mean? So then they get on a ferris wheel,
• 27:33
  Speaker 1: Ali and this other guy and no it jumps onto
• 27:37
  Speaker 1: the seat that they are in and she screams, get
• 27:41
  Speaker 1: off me, don't touch me, and then he himself. They're like,
• 27:46
  Speaker 1: go away, and the ferris wheel operators like you can't
• 27:50
  Speaker 1: sit there, and he stops the ferris wheel. So in
• 27:53
  Speaker 1: order to resolve that situation, he instead he climbs out
• 27:56
  Speaker 1: of the seat and hangs from the fort swheel guy
• 28:01
  Speaker 1: Noah hangs from probably thirty to forty ft in the air.
• 28:05
  Speaker 1: His news, he's caap, totally intact. The ferris wheel operator
• 28:10
  Speaker 1: is just like, yes, fine, this is not a liability.
• 28:12
  Speaker 1: I will let this happen. I definitely shouldn't have just
• 28:15
  Speaker 1: waited for their car to come to the ground before
• 28:17
  Speaker 1: I stopped the ride. I made a good plan by
• 28:20
  Speaker 1: stopping it while he was suspended in mid air. Also,
• 28:23
  Speaker 1: there's this other guy in the scene with Ali the
• 28:25
  Speaker 1: whole time, who we understand to be like her friend,
• 28:29
  Speaker 1: who is demonized by the movie hard as like when
• 28:32
  Speaker 1: Noah first is like, dance with me and she's like no,
• 28:35
  Speaker 1: and then the guy's like, hey, leave her alone, like
• 28:38
  Speaker 1: the movie would have you believe, what an asshole. I'm like, no,
• 28:42
  Speaker 1: that's hurt, that's someone she knows. Yeah. So he's now
• 28:49
  Speaker 1: hanging from a ferris wheel forty ft in the air,
• 28:52
  Speaker 1: and he says, now, will you go out with me?
• 28:56
  Speaker 1: She says what? No? No, no, no, and then his
• 29:02
  Speaker 1: friends like, we're just you play all parts the friend
• 29:06
  Speaker 1: who the movie thinks as an asshole. It's like, apel,
• 29:09
  Speaker 1: she just told you. Noah says why not? Ali says
• 29:17
  Speaker 1: I don't know because I don't want to, and then
• 29:21
  Speaker 1: he lets go of one hand and now he's dank
• 29:25
  Speaker 1: myself super stable, no red flex here, and then e
• 29:33
  Speaker 1: from Entourage is like, just go out with him. That's Fabrizio, right, Finn. She,
• 29:46
  Speaker 1: because he's threatening to kill himself, play kates him by
• 29:49
  Speaker 1: being like, okay, fine, I'll go out with you and
• 29:52
  Speaker 1: we can end the movie right here. So weird. This
• 29:56
  Speaker 1: poor guy approached me and like and then it's like
• 30:02
  Speaker 1: just fell from a ferres feel to his death. Anyways,
• 30:07
  Speaker 1: I'm going to Sarah Lawrence next year. And then he
• 30:11
  Speaker 1: was all smug about it, and he was just like, oh,
• 30:13
  Speaker 1: don't do me. Any favors, like, fine, I'll go out
• 30:15
  Speaker 1: with you. And then she takes his pants off, which
• 30:19
  Speaker 1: I don't know what to make of that. We can
• 30:20
  Speaker 1: get into it later. He's trying to get some sorty
• 30:22
  Speaker 1: I mean that. I was like, at least she did
• 30:24
  Speaker 1: something to give herself the upper hand. I don't understand.
• 30:28
  Speaker 1: I was like, did she take his dick out? In?
• 30:30
  Speaker 1: Like she didn't? She didn't. Yeah, that whole scene is
• 30:34
  Speaker 1: is a nightmare and is like totally textbook giving young
• 30:38
  Speaker 1: men the wrong idea and giving young women the wrong
• 30:42
  Speaker 1: idea of like, here's the beginning to a beautiful love story.
• 30:47
  Speaker 1: A man would be the rest of your life. You're
• 30:48
  Speaker 1: going to become a swan with this man, for sure, right,
• 30:52
  Speaker 1: Like if a guy harasses you having never met you
• 30:55
  Speaker 1: and he's wearing a horrendous hat, this is the man
• 30:59
  Speaker 1: who will hold your hands as you die, Like, it's
• 31:02
  Speaker 1: not good, right, Because then in the next scene he
• 31:05
  Speaker 1: sees her walking down the street. He sprints up to
• 31:09
  Speaker 1: her and he's like, Oh, I'm really sorry. That was
• 31:11
  Speaker 1: stupid for me to crawl on a ferris wheel, but
• 31:14
  Speaker 1: I had to do it. I was drawn to you.
• 31:16
  Speaker 1: I thought he was about to say, like I was
• 31:18
  Speaker 1: very drunk or high. He was like, I was drawn
• 31:23
  Speaker 1: to I was like, so that's not an excuse at all. Yeah,
• 31:27
  Speaker 1: I was drunk, perfectly reasonable. I was drawn. Do you
• 31:31
  Speaker 1: running running in the other direction? Leaving, fleeing? And then
• 31:36
  Speaker 1: he goes, hey, how about that date? And she's like
• 31:38
  Speaker 1: what date? And he's like the date you agree to
• 31:41
  Speaker 1: and she says no, and he's like you did. You
• 31:45
  Speaker 1: promised you swore it, and then she's like, I changed
• 31:47
  Speaker 1: my mind. But she's like flirting with him now, and
• 31:51
  Speaker 1: they're always flirting. Well, that's the thing is like, even
• 31:54
  Speaker 1: in the middle of these super weird, stocky scenes, she starts,
• 31:59
  Speaker 1: like her character starts to engage it just a little
• 32:01
  Speaker 1: bit and just a little bit, until you, as a
• 32:04
  Speaker 1: like thirteen year old watching this with your grandma, let's
• 32:08
  Speaker 1: just say, are fully gaslighted and being like, oh yeah
• 32:13
  Speaker 1: this if someone is horrible to you, that's a freaking yes.
• 32:18
  Speaker 1: That's just because then the scene ends with he's like,
• 32:20
  Speaker 1: what's it going to take to change your mind? And
• 32:21
  Speaker 1: she's like, love that he'll figure something out. I guess,
• 32:25
  Speaker 1: he splits he didn't. He. I actually thought they might
• 32:27
  Speaker 1: have written these lines for her, and they switched sides
• 32:30
  Speaker 1: that day because he winds up saying like, I'll be
• 32:32
  Speaker 1: anything you want me to be. You want me to
• 32:34
  Speaker 1: be smart, you want me to be strong, you want
• 32:36
  Speaker 1: me what do you want? You want me to be
• 32:37
  Speaker 1: a big guy. I'll be a big guy. And then
• 32:38
  Speaker 1: she's like, you're dumb. I can be that like instantly,
• 32:42
  Speaker 1: just like I will make myself literally anything you tell
• 32:45
  Speaker 1: me to be. I am a slate for you to
• 32:48
  Speaker 1: draw upon. I am but a canvas. You are the
• 32:51
  Speaker 1: brush you like painting. Right Wait, I don't find that
• 32:54
  Speaker 1: out until I take you to the middle of the
• 32:55
  Speaker 1: street and make you lay down, And she does. Right,
• 33:05
  Speaker 1: can I break down this date? Because they go on
• 33:08
  Speaker 1: a date, they go to a movie with friends. They
• 33:10
  Speaker 1: sit apart from each other. He leaps across seats to
• 33:12
  Speaker 1: be next to her. Apparently she's fine with that. He
• 33:14
  Speaker 1: stares at her, not the movie and just watches her
• 33:16
  Speaker 1: eat popcorn. Again, totally fine. Who isn't comfortable with a
• 33:20
  Speaker 1: man lustily staring at you as you like move buttered
• 33:22
  Speaker 1: greasy fingers to your mouth. They leave the movie. They
• 33:25
  Speaker 1: decided to walk together. Finn is like you and love
• 33:27
  Speaker 1: now and they're like, oh maybe, and they walk into
• 33:29
  Speaker 1: the street. He uh tells her, you don't know what
• 33:32
  Speaker 1: you like, you don't know what you're doing. I'm condensing
• 33:35
  Speaker 1: this conversation, but that is the thesis, like, what do
• 33:37
  Speaker 1: you like to do for fun? Oh? What your parents
• 33:38
  Speaker 1: tell you? That's stupid, You're stupid. And then it's like,
• 33:41
  Speaker 1: you don't take any risks. Come here and take the
• 33:43
  Speaker 1: risk I tell you to take, whether it's what you
• 33:45
  Speaker 1: want to do or not. I'm gonna show you how
• 33:47
  Speaker 1: to be free. And it's by stepping into this cage
• 33:50
  Speaker 1: that I'm building for you us. One of the most
• 33:54
  Speaker 1: romantic scenes in the movie, Oh yeah, precious, he lays
• 33:58
  Speaker 1: down in the middle of the street to watch the
• 33:59
  Speaker 1: lights change, like he used to do with his dad.
• 34:01
  Speaker 1: I don't know, get a nickel, go to the goddamn movies.
• 34:04
  Speaker 1: He gets her to lay down, and she thought. She
• 34:06
  Speaker 1: loses herself in the moment. You know what I do
• 34:08
  Speaker 1: for fun? You know what ive? I love painting? Hong
• 34:10
  Speaker 1: Kong beep car coming doesn't slow down even a little
• 34:13
  Speaker 1: bit as they laip out of the road. Oh so
• 34:15
  Speaker 1: what it takes for you to realize that you like painting?
• 34:17
  Speaker 1: Is to be seconds from death. Honey, loosen up. You're
• 34:20
  Speaker 1: not doing good. But that whole first date is like,
• 34:23
  Speaker 1: your ambitions are wrong. Do what I tell you to do.
• 34:26
  Speaker 1: You don't know how to think for yourself, but I'll
• 34:28
  Speaker 1: tell you some options. Choose between the one I tell
• 34:30
  Speaker 1: you was right. Also laid down in traffic. That's the day.
• 34:33
  Speaker 1: Well in the movie, in the notebook, the next page
• 34:36
  Speaker 1: it cuts back to the old people and it's like,
• 34:38
  Speaker 1: and they were inseparable after that, Like that's what it
• 34:40
  Speaker 1: took Jesus Christ. Well, let's backtrack a minute, because while
• 34:45
  Speaker 1: this movie does not have a surprise kiss, I don't
• 34:48
  Speaker 1: know if that's one of the Bengo things. It does
• 34:50
  Speaker 1: not have a surprise kiss. This movie, I would argue,
• 34:53
  Speaker 1: has a surprise date because Noah's like, hey, Finn, arrange
• 34:58
  Speaker 1: this thing so that I can hang out with Ali,
• 35:01
  Speaker 1: and then they all go to the movies. It's like
• 35:03
  Speaker 1: Finn and her friend Sarah and then Noah and Ali
• 35:06
  Speaker 1: and he shows up and she's visibly uncomfortable. She's like,
• 35:10
  Speaker 1: what's he doing here? She's not happy that he's there.
• 35:13
  Speaker 1: But some point in the movie something switches. We do
• 35:17
  Speaker 1: not understand why this happens, but suddenly she's okay with him,
• 35:21
  Speaker 1: and then there's the traffic scene. Though I think that
• 35:23
  Speaker 1: that's where we're supposed to be, Like Bond is like
• 35:26
  Speaker 1: when they when this horrible thing happened, like yeah, but
• 35:28
  Speaker 1: the fact that she agrees to go to that point
• 35:31
  Speaker 1: with him because he's like, you want to go for
• 35:32
  Speaker 1: a walk and she's like okay, sure, and it's like how,
• 35:36
  Speaker 1: like what what? Unclear? Like their Nicholas Sparks is clearly
• 35:41
  Speaker 1: a very stable man who is definitely kissed a girl before,
• 35:49
  Speaker 1: and every wait a story he tells has an uncanny
• 35:55
  Speaker 1: vale quality of like and the girl just comes around.
• 36:00
  Speaker 1: He's he's wearing a hat. Wait, I know what it is.
• 36:03
  Speaker 1: I know what it is. So she enters the movie
• 36:05
  Speaker 1: being like, oh, I don't want to hang out with
• 36:07
  Speaker 1: this guy. I'm sitting several people away from him. She
• 36:11
  Speaker 1: watches that movie. The movie tricks her and it's like, Oh,
• 36:15
  Speaker 1: this is how romance is supposed to be. It's supposed
• 36:18
  Speaker 1: to be a man praying on you and not ever.
• 36:23
  Speaker 1: But I'm tended now because that's what they were watching.
• 36:25
  Speaker 1: I don't know right which I mean, it's sad to
• 36:27
  Speaker 1: say any movie that came out ever, is pro predatory
• 36:34
  Speaker 1: stalking if it was in theaters in I'm not sure
• 36:38
  Speaker 1: it had a progressive discourse on intersectional feminism. And then
• 36:42
  Speaker 1: I just laid out in traffic and wait, I prince
• 36:45
  Speaker 1: to come. Yeah, so that's why I think up. But
• 36:47
  Speaker 1: she saw the movie and then she got because movies
• 36:49
  Speaker 1: are very influential, she was like, oh, I guess this
• 36:53
  Speaker 1: is how romance is supposed to be. So it is.
• 36:55
  Speaker 1: I mean, it's very like predatory stalking start to this
• 37:00
  Speaker 1: relationship in this movie. And that is so common in
• 37:03
  Speaker 1: all romance movies and all rom coms specifically. And I
• 37:07
  Speaker 1: want to make a point to not like, I think
• 37:09
  Speaker 1: that people are so often shamed for enjoying rom comms
• 37:13
  Speaker 1: and romantic movies in a way that like dudes are
• 37:15
  Speaker 1: not shamed for enjoying like transformer style movies. And so
• 37:20
  Speaker 1: it's like, if you love romantic movies, awesome. There's a
• 37:22
  Speaker 1: lot of parts of these movies that I like choked
• 37:25
  Speaker 1: up at and thought was like extremely beautiful, But I
• 37:28
  Speaker 1: didn't because I have no emotions. You're welcome, Okay, she's
• 37:33
  Speaker 1: pandering to the bingo boards. But but but like the
• 37:39
  Speaker 1: predatory stocking narrative is so prevalent in both of these
• 37:42
  Speaker 1: genres to the point where it's like, I mean, I
• 37:45
  Speaker 1: can draw in an example in my own life of
• 37:47
  Speaker 1: like a dude pursuing me pretty reluctantly when it's clear
• 37:51
  Speaker 1: it's like, oh, you've just seen this movie, Like that's
• 37:55
  Speaker 1: weird when you spot quotes like in somebody's terms like
• 37:58
  Speaker 1: terrifying pursuit of you were recognized, like are you getting
• 38:01
  Speaker 1: a boom box right now and coming to my house right?
• 38:03
  Speaker 1: I feel like that's where you got it. And the
• 38:05
  Speaker 1: thing that bumps me out about it is that I
• 38:07
  Speaker 1: do love romance. I love infatuation, and I totally by
• 38:11
  Speaker 1: seeing someone being so taken they just have to talk
• 38:14
  Speaker 1: to him, and like finding a love that you're so
• 38:17
  Speaker 1: passionate about even those circumstances in your life are unsure,
• 38:20
  Speaker 1: Like that's such a real and beautiful situation, Like falling
• 38:25
  Speaker 1: in love young and figuring out a way to see
• 38:27
  Speaker 1: it through your adulthood and your seniorhood. That's such a
• 38:30
  Speaker 1: beautiful story. And it is terrible that these are the
• 38:34
  Speaker 1: dominant narratives in them, Like there are absolutely ways to
• 38:37
  Speaker 1: meet the love of your life at a carnival that
• 38:39
  Speaker 1: aren't endangering a woman and then manipulating her in the
• 38:43
  Speaker 1: dating you it could start with a candy apple, Like,
• 38:45
  Speaker 1: let's just resource like, you've got a lot of excellent
• 38:49
  Speaker 1: things available to shortage of setups, no shortage of props.
• 38:52
  Speaker 1: You've got a lot of stuff. Like the first thing
• 38:54
  Speaker 1: is you can do with the carnival. His friend Finn
• 38:56
  Speaker 1: wins a twiny toy at like one of those like
• 38:58
  Speaker 1: hammer hit a thing real hard, like we know that
• 39:01
  Speaker 1: strong boy. Yeah no, what goes on to build a fight,
• 39:03
  Speaker 1: a war and build a house with his fucking hands,
• 39:07
  Speaker 1: Like you had so many choices that weren't that. It's
• 39:11
  Speaker 1: a bummer that more of these movies because I love
• 39:13
  Speaker 1: that heart. I do like this movie. It's a good
• 39:15
  Speaker 1: movie with great performances. I wish that's what they weren't perform, Like,
• 39:18
  Speaker 1: I wish there was something better that they could have
• 39:20
  Speaker 1: been doing. Right. A few chunks of this movie that
• 39:23
  Speaker 1: play into those tropes in such a direct way, and
• 39:26
  Speaker 1: then other chunks of this movie that are so beautiful
• 39:29
  Speaker 1: that it's just like I wish that, Yeah, if this
• 39:31
  Speaker 1: movie has started and been framed in a different way,
• 39:34
  Speaker 1: that would have been like more realistic than what we see.
• 39:38
  Speaker 1: It would have been like way easier to digest the
• 39:41
  Speaker 1: rest of the movie totally. But instead, Yeah, the movie
• 39:44
  Speaker 1: like frames is like very stocking. Predatory behavior is romantic.
• 39:49
  Speaker 1: I did want to say we were talking about this
• 39:51
  Speaker 1: in the car over, not to justify this setup at all,
• 39:54
  Speaker 1: because it is bad and this movie came out in
• 39:55
  Speaker 1: two thousand four and it feels right. But I have
• 40:03
  Speaker 1: been thinking about this a lot every time I see
• 40:05
  Speaker 1: like a periods that movie of like, how so many
• 40:08
  Speaker 1: couples in this period of time their beginning of their
• 40:11
  Speaker 1: love story is very predatory and creepy. I think that
• 40:15
  Speaker 1: if a lot of like if anyone knows of like
• 40:17
  Speaker 1: how their grandparents met, guaranteed terrifying. My grandparents, my paternal grandparents,
• 40:24
  Speaker 1: and my dad told me this after both of them
• 40:26
  Speaker 1: had died, and in the middle of telling me the
• 40:28
  Speaker 1: story was like, oh, this is how my grandparents met.
• 40:32
  Speaker 1: My grandmother fifteen years old walking her infant sister around
• 40:37
  Speaker 1: in a carriage outside, brought to Massachusetts nineties beautiful. A
• 40:42
  Speaker 1: man eight to ten years her senior, my future grandfather,
• 40:46
  Speaker 1: spotsor from behind, cat calls her, says hey, that your baby.
• 40:51
  Speaker 1: She turns to him says no. He says, cool, want
• 40:55
  Speaker 1: to go on a date this weekend. They're married for
• 40:58
  Speaker 1: five million years, just like imagine marrying the first man
• 41:02
  Speaker 1: who cat called you, like I just I expected better off.
• 41:07
  Speaker 1: Well in the notebook, we see like all the times
• 41:10
  Speaker 1: that she either says a flat out no or I
• 41:15
  Speaker 1: don't want to or don't touch me. She says it
• 41:18
  Speaker 1: like eight times. And why Like movie basically like teaches
• 41:23
  Speaker 1: men like, oh, just push past the no like emotional yeah,
• 41:29
  Speaker 1: to like ignore the no because eventually she'll give in.
• 41:32
  Speaker 1: Just wear her down and it's going to be romantic.
• 41:35
  Speaker 1: Like that's the horrible, irresponsible message that so many fucking
• 41:39
  Speaker 1: movies send. I never find the movie to Brownie points
• 41:42
  Speaker 1: that I didn't expect one the scene where they try
• 41:44
  Speaker 1: to do it and can't. I think they did that
• 41:46
  Speaker 1: pretty well with them stripping in front of each other.
• 41:48
  Speaker 1: But I'm old and apparently very frigid. Uh. But they
• 41:53
  Speaker 1: so they try to get it down like in their
• 41:55
  Speaker 1: Summer of Love when they're young. They try to boe
• 41:57
  Speaker 1: and she gets nervous and very chat in the middle,
• 42:00
  Speaker 1: and he I think there's like a physical expression of
• 42:03
  Speaker 1: frustration of like, oh like, which is understandable. Uh, but
• 42:07
  Speaker 1: he like rolls over and they just talk for a minute.
• 42:10
  Speaker 1: He's not mad, he's not pouty. He doesn't ask her
• 42:12
  Speaker 1: a bunch of shitty. He says, we don't have to
• 42:14
  Speaker 1: do this if you don't want to. Yep. I think
• 42:17
  Speaker 1: that's bonus points. They're a teenagers who have been rubbing
• 42:19
  Speaker 1: on each other all summer. Like, this is a tough moment,
• 42:21
  Speaker 1: heart conversation. I thought that that was well handled. Also,
• 42:25
  Speaker 1: when you're in the movie Lawn, what a gentleman like
• 42:31
  Speaker 1: la that she winds up ditching and in the scene
• 42:35
  Speaker 1: in which she ditches him, she is expressing her emotions,
• 42:39
  Speaker 1: perhaps clearly for almost the first time in the film. Uh,
• 42:44
  Speaker 1: when she was saying no to Rye and don't touch me.
• 42:50
  Speaker 1: But she's honest. She tells him that she's like, hey, Lan,
• 42:53
  Speaker 1: I'm gonna go on a trip. I have to figure
• 42:54
  Speaker 1: some sh it out before we get married. That's pretty honest.
• 42:57
  Speaker 1: Don't have to be specific yet you're not. You don't
• 42:59
  Speaker 1: know what you're doing yet. Once Lon is like figuring
• 43:01
  Speaker 1: it out, she comes to him and talks to him,
• 43:03
  Speaker 1: is honest. Bonus point and his reaction is pretty tempered.
• 43:07
  Speaker 1: I could kill him, like a punch him in the
• 43:08
  Speaker 1: nose where I could leave you. But none of those
• 43:10
  Speaker 1: are really good because they don't give me you like,
• 43:12
  Speaker 1: oh you're like good job. Even before that, whenever she's saying, hey,
• 43:15
  Speaker 1: I have I have to go take care of some things.
• 43:17
  Speaker 1: I'm going to go to seawood or whatever, then it's
• 43:20
  Speaker 1: called world the tank. In this world, Rachel make out
• 43:26
  Speaker 1: into love with a whale shape of water so fast
• 43:33
  Speaker 1: Jamie started sells open and fishman to activated. My legs
• 43:40
  Speaker 1: are double crossing a like wrapped around each other, trying
• 43:45
  Speaker 1: not to have to change my clothes. The fish is
• 43:49
  Speaker 1: so hot. Say please sit in a movie with a
• 43:55
  Speaker 1: lot of negative like narratives that there were at least
• 43:58
  Speaker 1: a couple of points where dudes and ladies can learned
• 44:00
  Speaker 1: some good ship. Well and yeah, like the scene whenever
• 44:02
  Speaker 1: she's just like I have to go take care of
• 44:04
  Speaker 1: some things and he's like, oh, you're getting cold feet
• 44:06
  Speaker 1: and she's like no, He's like, but that's totally normal,
• 44:08
  Speaker 1: Like take as much time as you need, do whatever
• 44:10
  Speaker 1: you have to do. Like he's very supportive. I feel
• 44:13
  Speaker 1: like it would have been very easy for this movie
• 44:15
  Speaker 1: to paint that character is like they're just lazy, easy whatever,
• 44:19
  Speaker 1: like he's abusive, or he's mean, or he's distant or
• 44:22
  Speaker 1: any number of things. And I think this is one
• 44:24
  Speaker 1: of the because by and large the Titanic parallels, which
• 44:27
  Speaker 1: we should break down, by and large, the ways that
• 44:30
  Speaker 1: it's the same are like in a way that is
• 44:32
  Speaker 1: Titanic gets the edge, but in this way, I think
• 44:35
  Speaker 1: it's really interesting to present the guy she's going to
• 44:38
  Speaker 1: marry as a good guy because it makes her choice
• 44:41
  Speaker 1: harder and it makes it more interesting to watch, where
• 44:44
  Speaker 1: like cal Billy Zane, no one's going to fall in
• 44:48
  Speaker 1: love with this guy there, he's a mess, and and
• 44:54
  Speaker 1: and so it makes it so clear, you know, it's like, oh,
• 44:57
  Speaker 1: well then these two characters should be together, no question.
• 45:00
  Speaker 1: But it is kind of like hard as an audience
• 45:02
  Speaker 1: member to be like, oh, she's she's caught between a
• 45:06
  Speaker 1: great guy and Ryan Goslin in a house, and and
• 45:12
  Speaker 1: so it is like kind of more interesting to watch.
• 45:14
  Speaker 1: I did want to get back to that virginity scene
• 45:16
  Speaker 1: because I thought it was so I was so pleasantly
• 45:18
  Speaker 1: surprised at how well done it was, where yeah, I mean,
• 45:22
  Speaker 1: you just see like positive communication between teenagers in a
• 45:26
  Speaker 1: sexual situation, which is like, um, what there, but it's good.
• 45:31
  Speaker 1: And then also another I didn't like climb on top
• 45:33
  Speaker 1: of her and then hang off of her and then
• 45:35
  Speaker 1: let go of one hand, like just do it? Come on, yeah,
• 45:39
  Speaker 1: call back to their meeting. But it was it was good.
• 45:43
  Speaker 1: I mean the fact that they're basically like, they're like,
• 45:46
  Speaker 1: let's lose our virginity in this haunted house. It's like
• 45:49
  Speaker 1: that I'm gonna buy and make pretty for you, right,
• 45:51
  Speaker 1: so we can sucking this less haunted house later hot place.
• 45:58
  Speaker 1: Ten years of four plays, I made out with an
• 46:00
  Speaker 1: abandoned farmhouse. Never promised me he'd painted white and put
• 46:03
  Speaker 1: shutters on it. I should have held out for something
• 46:05
  Speaker 1: better in middle school, you know, proms to making out
• 46:07
  Speaker 1: in a farmhouse, though it was crazy, drink a lot
• 46:09
  Speaker 1: of peach snaps in that weird building. Nine. Should we
• 46:13
  Speaker 1: take this time to discuss be parallels between I think
• 46:16
  Speaker 1: it would be a good time to point the fact
• 46:18
  Speaker 1: that you have a dark gray box with a white
• 46:21
  Speaker 1: font all bald some underlined. I don't know why you're
• 46:27
  Speaker 1: shaming me for my amazing organizational skills there's this okay,
• 46:31
  Speaker 1: so fan theory, and then we fact checked it right
• 46:34
  Speaker 1: before we we came on stage. My original theory was
• 46:37
  Speaker 1: that Nicholas Sparks wrote the book The Notebook right after
• 46:42
  Speaker 1: seeing Titanic, because so much of it is like seen
• 46:47
  Speaker 1: by scene, kind of the same thing in a lot
• 46:49
  Speaker 1: of places. But then we found out because as we
• 46:52
  Speaker 1: all know, Titanic came out in December, the Notebook the
• 46:57
  Speaker 1: Book came out in six So new fan theory by
• 47:02
  Speaker 1: Kaitlin Gill is that James Cameron stole the Notebook because
• 47:09
  Speaker 1: he had to shoehorn a love story into his weird
• 47:12
  Speaker 1: boat movie. And I I like that. I think I
• 47:16
  Speaker 1: think that could be very I know that that's true,
• 47:18
  Speaker 1: that they shoehned a love story. I mean, I think
• 47:20
  Speaker 1: that's kind of common knowledge about Titanic because you wind
• 47:22
  Speaker 1: in a movie with fancy boats and things that went underwater.
• 47:24
  Speaker 1: But they were like, no, that's not a movie, and
• 47:26
  Speaker 1: he was like, love story and they were like, forty
• 47:28
  Speaker 1: million dollars bring insane. That famous Hollywood line push a
• 47:33
  Speaker 1: button a carbonite block just comes at rome. So there
• 47:38
  Speaker 1: is so there is so much all right, starting with
• 47:41
  Speaker 1: the framing device of an old person telling a story
• 47:44
  Speaker 1: that takes place many decades earlier. Poor boy sees rich
• 47:49
  Speaker 1: girl with reddish hair, Instantly enamored with her, they meet
• 47:55
  Speaker 1: and vollmov very quickly. In Titanic it's a matter of
• 47:59
  Speaker 1: a day, poor boy teaches rich girl how to not
• 48:02
  Speaker 1: be such a stuffy rich girl. Poor boy like re
• 48:06
  Speaker 1: educates rich girl because in in both of these movies,
• 48:09
  Speaker 1: poor people are cute people. They play the spoons on
• 48:12
  Speaker 1: their porch or under the deck of a boat, the
• 48:16
  Speaker 1: Difficulties of the Port. I just want to give you
• 48:19
  Speaker 1: a soundtrack for the Port conn Well, not exact dancing
• 48:23
  Speaker 1: is in both movies. The news He's had dancing. It's like, oh,
• 48:28
  Speaker 1: poor people be dancing in newsies hats all the time,
• 48:31
  Speaker 1: never mind the fact that they're fucking dying like they're whatever.
• 48:37
  Speaker 1: Then we've got rich girl has fiancee who is a
• 48:41
  Speaker 1: rich boy. Rich girl's family disapproves of poor boy in
• 48:45
  Speaker 1: that exact same scene where they have a meal with
• 48:49
  Speaker 1: the poor boy and they're like for being poor. Yeah,
• 48:52
  Speaker 1: They're like, so you're poor, and he's like, yeah, being
• 48:55
  Speaker 1: poor is cute, and they're like, well, we don't think
• 48:59
  Speaker 1: it's cute, and then the rich girls like, oh my god,
• 49:03
  Speaker 1: I'm so sorry. Let's go dance in a Newsy's hat,
• 49:06
  Speaker 1: and that is how it. Both movies got a dinner
• 49:09
  Speaker 1: scene in The Notebook starts with waxy mustache Da telling
• 49:14
  Speaker 1: like a joke, being like, oh, we're all a bunch
• 49:18
  Speaker 1: of millionaires and yet we live with several whores. He's
• 49:23
  Speaker 1: a feminist icon. We can all create icon. James Marsden
• 49:29
  Speaker 1: in this movie is a feminist icon. But yeah, I
• 49:31
  Speaker 1: was um. He's a little creepy when he's all on
• 49:34
  Speaker 1: the cement plaster and it's like like he meets at
• 49:38
  Speaker 1: because she's a nurse in New York, and then he
• 49:41
  Speaker 1: comes back from the world busted up. He's got a
• 49:43
  Speaker 1: bruce face, so you don't always cute yet, and he's
• 49:45
  Speaker 1: in a big claster thing so you don't always fit yet,
• 49:47
  Speaker 1: and he just like she like half flifts him up
• 49:49
  Speaker 1: and he's like getting into his bed pan presumably he's
• 49:51
  Speaker 1: cut to blow his waist like, and she's like, you're
• 49:56
  Speaker 1: a zombie. No, He's like, someday I won't be. And
• 49:58
  Speaker 1: the next thing it's like comic fancy car, I'm better
• 50:01
  Speaker 1: come here, and the twist is I'm James Marson, and
• 50:06
  Speaker 1: she's like, Okay, sounds good. He's like, I'm James Marson. Okay,
• 50:09
  Speaker 1: James Morrison is we have to say the owner of
• 50:13
  Speaker 1: a cotton plantation in ninety so like there's other stuff
• 50:18
  Speaker 1: going on with his view. We haven't even talked about
• 50:20
  Speaker 1: the Bechdel test part, which also is problematic with the
• 50:23
  Speaker 1: time period in the South. But we'll get there, Truman
• 50:26
  Speaker 1: to get there, because I we do. Because this, yeah,
• 50:31
  Speaker 1: just a couple more Titanic parallels, but I want to
• 50:35
  Speaker 1: get through. Rich girl and poor boy drink beer together.
• 50:40
  Speaker 1: Poor boys friend whose name begins with f dies tragically.
• 50:45
  Speaker 1: This is my favorite, am This is my Finn dies
• 50:49
  Speaker 1: in World War Two. Fabrize Ceo dies via Titanic smokestack.
• 50:54
  Speaker 1: It's basically the same thing. But there's one key difference
• 50:58
  Speaker 1: between the two movies that in the Notebook the old
• 51:01
  Speaker 1: people die at the end, and in Titanic Rose simply
• 51:05
  Speaker 1: falls asleep and has a dream. She can we just
• 51:08
  Speaker 1: round of applause. Who thinks that she dies at the
• 51:11
  Speaker 1: end of Titanic agrees that she falls asleep and has
• 51:16
  Speaker 1: a dream. I'm actually I thought I was with you
• 51:18
  Speaker 1: there in one person clapping in the back dream. Yeah,
• 51:21
  Speaker 1: thank you everyone. Because the credits of Titanic, you just
• 51:27
  Speaker 1: see Bill Paxton like holding up an old banket just
• 51:31
  Speaker 1: off the top of the boat, sticks down with the jewel. Oh,
• 51:39
  Speaker 1: rest in Paradise. One of the things that I wanted
• 51:41
  Speaker 1: to bring up. And this isn't specifically about any female characters,
• 51:44
  Speaker 1: but it is about the portrayal of men and masculinity
• 51:49
  Speaker 1: because the relationship between Noah and his dad is actually
• 51:53
  Speaker 1: like very positive and healthy and like a very nice
• 51:56
  Speaker 1: portrayal of that father son relationship in him. It that
• 52:00
  Speaker 1: we almost never see in movies, especially of a movie
• 52:03
  Speaker 1: of this kind. It's a period piece, it takes place
• 52:06
  Speaker 1: in the South, they're poor. A lot of movies I
• 52:09
  Speaker 1: think would be like have an emotionally abusive or physically
• 52:12
  Speaker 1: abusive father or he And that's also just like crazy
• 52:16
  Speaker 1: writing that we see a lot is like the daddy
• 52:18
  Speaker 1: is bad, mustache dad is Also he's got that kind
• 52:23
  Speaker 1: of like charming evil of the South where like, you're
• 52:26
  Speaker 1: positive he's racist and he's definitely misogynist, but he's also
• 52:30
  Speaker 1: overtly sweet to everyone, and he's never like even unkind
• 52:34
  Speaker 1: to his daughter, and you don't see a lot of him,
• 52:36
  Speaker 1: but what that actor manages to portray as kind of
• 52:38
  Speaker 1: that dad's thing of like I know what you're doing
• 52:41
  Speaker 1: and I know you might get hurt, but like I
• 52:44
  Speaker 1: love you. There's I know it's very small, but I
• 52:46
  Speaker 1: kind of got like a little there's a little scene
• 52:47
  Speaker 1: where he's just on the porch where and she gets home.
• 52:49
  Speaker 1: My favorite take in the movie is Rachel McAdams being
• 52:51
  Speaker 1: scared of her father, like she jumps. He doesn't realize
• 52:54
  Speaker 1: he's there as she walks onto the porch and gives
• 52:56
  Speaker 1: a great jump take that I want to loop in
• 52:58
  Speaker 1: a gift that I would never stop watching. Um. But
• 53:01
  Speaker 1: he's just sort of he's paternal in a way that
• 53:03
  Speaker 1: isn't negative in a movie where it would have been
• 53:05
  Speaker 1: really easy, Joan Allen is the more complex parmental figure
• 53:08
  Speaker 1: for Allie. Her mom is definitely the one who is
• 53:10
  Speaker 1: more protective for complex reasons too. By the way, I'm
• 53:15
  Speaker 1: not the first to express this sentiment, but I will
• 53:17
  Speaker 1: give myself credit for novel phrasing. I'm convinced that there's
• 53:20
  Speaker 1: a phone in Joan Allen's house that just rings every
• 53:23
  Speaker 1: time Hollywood needs a distressed mother. It's just like a
• 53:25
  Speaker 1: hotline directly to only her. And if she's not already
• 53:29
  Speaker 1: on a set being a mom who's sad, she has
• 53:31
  Speaker 1: to go to another set immediately. They're like als and
• 53:34
  Speaker 1: Janny's busy. But that dad isn't so bad either, And
• 53:37
  Speaker 1: there's good male friendships except for like trying to you know,
• 53:40
  Speaker 1: set your dude up with a date with a girl
• 53:42
  Speaker 1: who doesn't want to go on that date. Aside from
• 53:44
  Speaker 1: that problematic, like, you know, it's not the worst toxic masculinity,
• 53:48
  Speaker 1: it's like romance toxicity. It's somehow different for both men
• 53:52
  Speaker 1: and women. Yeah, I mean aside for her because it's
• 53:55
  Speaker 1: like a guy with a great dad, a girl with
• 53:57
  Speaker 1: parents who don't and care about her, who seems to
• 53:59
  Speaker 1: have a level head right, Like they're onto something here.
• 54:02
  Speaker 1: Their kids would like there's no trauma in their background
• 54:05
  Speaker 1: that makes them irresponsible with romance. There's something like whatever,
• 54:08
  Speaker 1: I don't know if it's cultural. There's just something about
• 54:10
  Speaker 1: the circumstance of romance that makes them be totally evil
• 54:13
  Speaker 1: Turts like you know what with a great dad who
• 54:18
  Speaker 1: like reads some poetry, hanging from one arm on a
• 54:20
  Speaker 1: ferris wheel, like there's a disconnect, Like you've read poems,
• 54:24
  Speaker 1: you've read sonnets, you should have some idea of how
• 54:27
  Speaker 1: to treat a lady. Where's your bouquet of Posey's, dude?
• 54:30
  Speaker 1: Like how many of those? If you take a hike
• 54:33
  Speaker 1: famous Walt Whitman poem about hanging off of Carnival and
• 54:39
  Speaker 1: then she was mine. The romance is broken. Maybe not
• 54:44
  Speaker 1: not families, I guess. I don't know. I did really
• 54:47
  Speaker 1: like the father character and like actually was his father
• 54:50
  Speaker 1: because yeah, because I forgot that he died and I
• 54:53
  Speaker 1: was like, yeah, that was that was so quick that
• 54:57
  Speaker 1: seat of the funeral because they know his father passed
• 54:59
  Speaker 1: us after they were store the house together, and he
• 55:01
  Speaker 1: is uh. They expressed that by saying it out loud.
• 55:03
  Speaker 1: And then there's like a two second flash, almost like
• 55:05
  Speaker 1: a coke appearing in a movie theater trailer. To like
• 55:08
  Speaker 1: get you thirsty, they just throw up a flash card
• 55:10
  Speaker 1: of a funeral. It's like ten people in black suits
• 55:13
  Speaker 1: facing a hole in the ground, and then it's gone.
• 55:15
  Speaker 1: I just picture like the director being like, fun we
• 55:18
  Speaker 1: need a scene in the funeral. Everybody get your suits
• 55:20
  Speaker 1: and go outside. Staffers and suits. There's there is like,
• 55:25
  Speaker 1: and that's the only thing you see of the funeral.
• 55:27
  Speaker 1: It's like people leaving the funeral. It's not even them
• 55:31
  Speaker 1: at It's like they're like, well that was sad. The
• 55:34
  Speaker 1: way this movie YadA YadA, YadA, is everything that isn't
• 55:36
  Speaker 1: their relationship. It is totally focused on the two of
• 55:39
  Speaker 1: them and whether or not they're going to stay together
• 55:40
  Speaker 1: other the World War two is just like, I don't know,
• 55:43
  Speaker 1: it's like we're going to ore, We're back. That's the
• 55:46
  Speaker 1: whole thing. They're like, Fabrizio died. That's too bad. There
• 55:51
  Speaker 1: there there was I. They do fast forward a lot
• 55:54
  Speaker 1: of stuff, but I feel like they still care. They
• 55:56
  Speaker 1: the characters still developed as if all of those things
• 55:59
  Speaker 1: are happening. But because we're only talking about the relationship
• 56:02
  Speaker 1: beats sometimes when we cut foward, we're like, whoa, why
• 56:06
  Speaker 1: is Ryan gosl like an alcoholic? And then you're like, wait,
• 56:10
  Speaker 1: he loves everyone he loved died, that's why. And now
• 56:14
  Speaker 1: only has this this haunted plantation and a war widow
• 56:18
  Speaker 1: to thing. Oh what we got to talk about the
• 56:20
  Speaker 1: war widow? She was disservista. There's a pun there. Where
• 56:26
  Speaker 1: are we? How's everyone doing on their bingo boards we've
• 56:30
  Speaker 1: got Okay, okay, I feel like, um, there are no
• 56:33
  Speaker 1: cats in this movie. Cats have eight nipples. This has
• 56:37
  Speaker 1: been cat facts with Kaitlyn does that. I don't think
• 56:40
  Speaker 1: there are any cats. There's a noticeable there's just ducks.
• 56:46
  Speaker 1: I like the scene where um Martha shot who is
• 56:50
  Speaker 1: Noah's I guess buddy, Like he clearly does not take
• 56:55
  Speaker 1: her very seriously and it is not serious about her.
• 56:58
  Speaker 1: This is this is like in the future, well not
• 57:00
  Speaker 1: like well, like you know, it's after he's restored the house.
• 57:02
  Speaker 1: He's in a big old plantation mansion. All dead dad's
• 57:05
  Speaker 1: in the backyard. I guess wherever you put your old
• 57:07
  Speaker 1: people when you're poor but have a mansion. Uh, all
• 57:10
  Speaker 1: of Noah's hamsters and also his father. But yes, there's
• 57:16
  Speaker 1: a lady a couple towns over who swings by for
• 57:18
  Speaker 1: a little sad time boody call. It's just sad people boning.
• 57:21
  Speaker 1: Who hasn't been that's yeah, we've all been there. But
• 57:24
  Speaker 1: in the scene in which she and Ali meet, there's
• 57:28
  Speaker 1: just an understanding of like, oh, you're the person that
• 57:30
  Speaker 1: he used to love. Oh, you're the person that he
• 57:32
  Speaker 1: currently sucks. Nice to come on in. I feel like,
• 57:35
  Speaker 1: I mean, they're both very mature about another. Plandy point
• 57:37
  Speaker 1: I forgot for this movie where two women don't call
• 57:39
  Speaker 1: each other's side out like an episode of Cheaters. Says
• 57:41
  Speaker 1: comes by like, oh, I've heard a lot about You've
• 57:43
  Speaker 1: heard a lot about you too. Let's go in while
• 57:45
  Speaker 1: it's daylight and you're gonna leave when it's nighttime. YadA, YadA, YadA.
• 57:47
  Speaker 1: Conversations that happened inside. I guess, but I just think,
• 57:50
  Speaker 1: like I think again, like lazy writing would have had
• 57:54
  Speaker 1: them just like be very petty and jealous at each other.
• 57:56
  Speaker 1: But realistically, I don't want to meet my fun buddies,
• 58:00
  Speaker 1: love of their life. I will say if I'm sucking
• 58:02
  Speaker 1: him because my husband died in the same war, this
• 58:05
  Speaker 1: dude came back from there, that's a whole other movie.
• 58:08
  Speaker 1: It's like the war Vett fucking the War Widow is
• 58:11
  Speaker 1: a whole other kind of romance. Like she's not there
• 58:13
  Speaker 1: to stay. What are you going to do? Live in
• 58:15
  Speaker 1: the eyes of the memory that the war that your
• 58:17
  Speaker 1: husband didn't come back. Yeah, tell me again what the
• 58:19
  Speaker 1: war was, like, I don't think that's gonna ca The
• 58:22
  Speaker 1: notebook does not care about the war, all the winter whatever.
• 58:25
  Speaker 1: The opposite of a spring the summer romances. This is
• 58:27
  Speaker 1: the dark, cold season's romance. The notebook does not care
• 58:31
  Speaker 1: about World War two to the point where why did
• 58:33
  Speaker 1: it even take place? As World War two was happening,
• 58:37
  Speaker 1: because it comes in at almost no point. It's like
• 58:40
  Speaker 1: glazed over as like, oh, I guess we'd better addressed
• 58:43
  Speaker 1: the fact that World War two happens. Also, we got
• 58:45
  Speaker 1: to figure out how to kill Fabrizio. It was just
• 58:47
  Speaker 1: to kill Finn because she's gone by then. He just
• 58:50
  Speaker 1: makes that choice, like after at least this is part
• 58:52
  Speaker 1: of his mourning the loss of his love. After that
• 58:55
  Speaker 1: year of letter writing, I don't know, war broke out.
• 58:57
  Speaker 1: I guess I'll join the army, right, yeah, heaven Fabrizio
• 58:59
  Speaker 1: or like working at some rocky yard for pores and
• 59:04
  Speaker 1: and they're like everyone better join up, and they're like,
• 59:08
  Speaker 1: thats good. How do we feel about Ali as a
• 59:10
  Speaker 1: character herself? I generally I like how her character has
• 59:15
  Speaker 1: developed over time because she starts out on top because
• 59:18
  Speaker 1: she's repeatedly saying no, which is great. But then once
• 59:23
  Speaker 1: she is involved in this relationship when she's younger, especially,
• 59:27
  Speaker 1: she's very combative, but you see her kind of mellow
• 59:31
  Speaker 1: out as she gets to the point where she like
• 59:33
  Speaker 1: hits him. She looks physically abusive to Ryan Gosling to
• 59:38
  Speaker 1: the point where there's one scene where they're breaking up
• 59:40
  Speaker 1: when they're teenagers where she's hitting him over and over,
• 59:44
  Speaker 1: and then there was this I had to rewind it
• 59:46
  Speaker 1: because i was like, did he hit her back? But no,
• 59:48
  Speaker 1: he hits He also starts hitting himself, and I'm like,
• 59:50
  Speaker 1: why are we all hitting Ryan Gosling? This is very stressful,
• 59:55
  Speaker 1: but she hits him a bunch of time. I was like,
• 59:57
  Speaker 1: this is this is please stop hitting Ryan as he's
• 1:00:00
  Speaker 1: a national treasure, like he's Canadian, so he's a Canadian.
• 1:00:04
  Speaker 1: They're both from the same town. And Rachel McAdams is
• 1:00:07
  Speaker 1: two years older than mine Gossling. I'd like to point
• 1:00:09
  Speaker 1: that out because usually the Hollywood age gap has a
• 1:00:12
  Speaker 1: male man being too many man how I would full
• 1:00:19
  Speaker 1: of mail. Then the man being like years and years
• 1:00:23
  Speaker 1: sometimes decades older than especially romance with a seventeen year
• 1:00:27
  Speaker 1: old girl. Yeah, that guy could have been fifty and
• 1:00:30
  Speaker 1: it would have been like Rachel, I mean strengthly speaking
• 1:00:33
  Speaker 1: from a Rachel McAdams perspective the Rachel McAdams. She is
• 1:00:37
  Speaker 1: I think awesome in this movie. This is also the
• 1:00:39
  Speaker 1: same year that Mean Girls comes out, Like her two biggest,
• 1:00:42
  Speaker 1: most different roles came out the same year. She's awesome.
• 1:00:45
  Speaker 1: I love her. Okay, sorry, that's it, we can go home. No,
• 1:00:50
  Speaker 1: Ali is a character I don't know. I mean, there's
• 1:00:52
  Speaker 1: a part of her that is a little bit like
• 1:00:54
  Speaker 1: rich girl underwritten for me of just like she's never
• 1:00:57
  Speaker 1: really struggled, and then just sort of why does everyone
• 1:01:01
  Speaker 1: like her so much? Why are we all like dying
• 1:01:04
  Speaker 1: to I don't know. She paints another thing. It's like,
• 1:01:09
  Speaker 1: oh god, what a what a lazy like trope of
• 1:01:12
  Speaker 1: just like, but she wants to be an artist. I mean,
• 1:01:15
  Speaker 1: let's be She doesn't say I want to be an artist.
• 1:01:18
  Speaker 1: She says, I paint for fun, right, there's no ambition
• 1:01:23
  Speaker 1: beyond just like hanging out with a canvas. I guess,
• 1:01:25
  Speaker 1: like it's really and someday I'd like to be in
• 1:01:27
  Speaker 1: a gallery. I think. I don't know. I give him
• 1:01:31
  Speaker 1: out for Christmas, Like it just seems like and that's
• 1:01:34
  Speaker 1: like and that's used as sort of this weird leveraging
• 1:01:38
  Speaker 1: point of why we should favor Ryan Gossling over James
• 1:01:41
  Speaker 1: Marsden because Ryan Gosling leaves this series of literal arrows
• 1:01:45
  Speaker 1: leading to a canvas and then she paints in the nude.
• 1:01:48
  Speaker 1: Because he tells her how to have fun. He instructs
• 1:01:52
  Speaker 1: her with physical arrows where to go to have a
• 1:01:55
  Speaker 1: good time. This is your recreation. But and also it's
• 1:01:59
  Speaker 1: like at that and it's like, imagine if someone was
• 1:02:01
  Speaker 1: telling you, hey, you liked doing this ten years ago,
• 1:02:04
  Speaker 1: you probably still love it. Somebody sets up a dance
• 1:02:07
  Speaker 1: dance Revolution pat in a PlayStation two for me. I
• 1:02:12
  Speaker 1: know you, but then but then we're we're supposed. Oh.
• 1:02:15
  Speaker 1: James Morrison doesn't get it because one day she shows
• 1:02:18
  Speaker 1: up at his office in the middle of the day
• 1:02:20
  Speaker 1: and she's just like I used to like painting, and
• 1:02:24
  Speaker 1: he does not tell her to get the funk out,
• 1:02:27
  Speaker 1: which is when I should. Oh. Man, he's James Morson
• 1:02:31
  Speaker 1: is a champ because she's so like and both of them,
• 1:02:34
  Speaker 1: to their other romantic partners, but especially Ali, are very
• 1:02:38
  Speaker 1: like emotionally careless towards them. James Marson has done nothing
• 1:02:41
  Speaker 1: to deserve, like her going off for a week and
• 1:02:44
  Speaker 1: cheating on him for a week and then coming back
• 1:02:46
  Speaker 1: and being like I don't know, and then I just
• 1:02:49
  Speaker 1: feel like someone different when I'm with him, right, and
• 1:02:52
  Speaker 1: I'm just like, oh, that's something that people who cheat
• 1:02:55
  Speaker 1: on you, who can't be trusted would say. But it
• 1:02:59
  Speaker 1: is a lifelong romance founded by teenagers on a summer
• 1:03:03
  Speaker 1: fling and then infidelity, Like those are the two bread
• 1:03:06
  Speaker 1: rock moments of their then lifelong relationship. So that's fight
• 1:03:10
  Speaker 1: where he like, Noah's like, there's gonna be a lot
• 1:03:12
  Speaker 1: of work where you gonna working at it every day, Like, yeah, dude,
• 1:03:15
  Speaker 1: you started this on some rocky ground, not at your job.
• 1:03:19
  Speaker 1: And also we got a lot of trust to build, buddy.
• 1:03:22
  Speaker 1: They have they have this exchange a couple different times
• 1:03:24
  Speaker 1: where they're like, we fight all the time, that's okay,
• 1:03:27
  Speaker 1: Like when their teenagers are like all like there was
• 1:03:30
  Speaker 1: like a voice over like all they do is fight,
• 1:03:33
  Speaker 1: cut to Rachel McAdams hitting Ryan gossling incessantly, but boy
• 1:03:38
  Speaker 1: did they kiss nice? No, that's not what a good
• 1:03:42
  Speaker 1: relationship is. And then they say it again ten years later,
• 1:03:45
  Speaker 1: all we do is fight, That's fine. I would have
• 1:03:47
  Speaker 1: loved to see her pop out of to menship at
• 1:03:49
  Speaker 1: the end and spend the three minutes she had cognizant,
• 1:03:51
  Speaker 1: Just like is the candles that you're putting out? These
• 1:03:54
  Speaker 1: are my scandle stits, you idiot, just parading him. Um.
• 1:03:59
  Speaker 1: I wanted to mentioned that, as with most mainstream Hollywood movies,
• 1:04:03
  Speaker 1: this is a very heatero movie. This is a very
• 1:04:06
  Speaker 1: white movie. All the character is fun. What are you
• 1:04:09
  Speaker 1: talking about? At Lee's dad is totally gay. Hello sou
• 1:04:13
  Speaker 1: southern dandy's married pretty ladies head to the South. Y'all
• 1:04:16
  Speaker 1: tapped it all the time. That mustache daddy, he gay
• 1:04:20
  Speaker 1: queer icon mustache daddy. For all you bingo borders out there,
• 1:04:25
  Speaker 1: I feel like that's from the text of Joan Allen
• 1:04:27
  Speaker 1: in the car, Like I could have married this poor
• 1:04:29
  Speaker 1: viral at like beautiful man, but because I was in
• 1:04:34
  Speaker 1: love with him, I married your gay father. We both
• 1:04:36
  Speaker 1: needed a beard. But honey, you get it right, Like
• 1:04:42
  Speaker 1: you saw the mustache. That's very implicit and not it
• 1:04:46
  Speaker 1: is not explicit. I'm definitely deciding that that's the case.
• 1:04:50
  Speaker 1: And and for a movie that takes place in the South,
• 1:04:53
  Speaker 1: in race is not touched at all. Oh yes, it
• 1:04:58
  Speaker 1: is a lot of strap. Actor of color got an
• 1:05:00
  Speaker 1: extra day. Right, that's super nice. Yeah, there's a whole
• 1:05:03
  Speaker 1: lot of background characters, and there are the only people
• 1:05:07
  Speaker 1: of color who have lines are the help. One of
• 1:05:09
  Speaker 1: the lines is I would be happy to pack your bags.
• 1:05:12
  Speaker 1: And that are the only person of color that I
• 1:05:14
  Speaker 1: know is who actually had a name. Was it was
• 1:05:17
  Speaker 1: the servant in the house in the forties. So that's
• 1:05:21
  Speaker 1: the only person of color with a name. Because there
• 1:05:23
  Speaker 1: are two nurses that we see in the forward scenes
• 1:05:26
  Speaker 1: with the old people over and over, there two women
• 1:05:29
  Speaker 1: of color who worked the nursing horme horm that sounds
• 1:05:34
  Speaker 1: like he would seem worse than using home. Oh boy,
• 1:05:38
  Speaker 1: it's infectious, table basset, the whole Todd Lake can's beach.
• 1:05:44
  Speaker 1: But there, uh, we see and we see these two
• 1:05:47
  Speaker 1: characters for a lot of the movie. We see them
• 1:05:50
  Speaker 1: in almost every scene that the old people are in.
• 1:05:52
  Speaker 1: Never find out their names, nothing, nothing, And it's just
• 1:05:54
  Speaker 1: it's that's just like careless, stupid, right, that's why it
• 1:05:59
  Speaker 1: doesn't us the Bechtel test. Let's get one last thing
• 1:06:02
  Speaker 1: I wanted to say is that, um, we've got some
• 1:06:04
  Speaker 1: other tests to address. I wanted to just say that, um,
• 1:06:08
  Speaker 1: as it relates to the character the people of color. Oh,
• 1:06:14
  Speaker 1: hand over, baby, someone's got Bacton. Give it up for
• 1:06:20
  Speaker 1: our first Bengo winner. Congratulations Betel Bengoway. What else do
• 1:06:26
  Speaker 1: we have to talk about? So I wanted to finish
• 1:06:28
  Speaker 1: my point about so the people of color in the movie.
• 1:06:31
  Speaker 1: We were talking about the Bechtel tests, also the DuVernay test,
• 1:06:34
  Speaker 1: which requires that people of color in the movie can't
• 1:06:38
  Speaker 1: just be supporting the white characters in the movie. They
• 1:06:40
  Speaker 1: have to have their own realized lives and stories and
• 1:06:43
  Speaker 1: back stories and everything like that. So this movie doesn't
• 1:06:46
  Speaker 1: every person of color is literally seen serving a white person.
• 1:06:50
  Speaker 1: There is not, although we do see apparently I uh,
• 1:06:54
  Speaker 1: Noah and his father have several black friends, because there's
• 1:06:57
  Speaker 1: that scene where they're all dancing together. I don't It's like,
• 1:07:00
  Speaker 1: I mean, we don't really don't know anything about them,
• 1:07:03
  Speaker 1: and they're they don't have any lines. That's also just
• 1:07:05
  Speaker 1: used to imply like those rich snobs, they they buy
• 1:07:08
  Speaker 1: the black people, we play spoons with them. There's like,
• 1:07:12
  Speaker 1: we would be remiss to not say that. Several times
• 1:07:15
  Speaker 1: in the movie, James Marsden owns a cotton plantation, and
• 1:07:21
  Speaker 1: you know, and everyone's like Oh cool, he's successful and
• 1:07:25
  Speaker 1: it's like he's racist. There's no way around it. Okay,
• 1:07:30
  Speaker 1: back to the Bechtel test. By the Bechtel cast version,
• 1:07:33
  Speaker 1: it technically does, but you had a compelling argent. So
• 1:07:37
  Speaker 1: I think that because we were talking about this before,
• 1:07:39
  Speaker 1: and I think it. I think you had a really
• 1:07:41
  Speaker 1: good point that it does come to a matter of
• 1:07:43
  Speaker 1: subtext where our version of the Bechtel test requires two
• 1:07:48
  Speaker 1: female identifying characters with names talking about something other than
• 1:07:52
  Speaker 1: a man for two lines of dialect. But that gets
• 1:07:57
  Speaker 1: and so so basically it's safe to say get tricky
• 1:08:00
  Speaker 1: if you're at the point where it's that bar, if
• 1:08:02
  Speaker 1: you're squeezing something under it, it doesn't fit. Okay, I
• 1:08:07
  Speaker 1: because of the scene we were talking about. The subtext
• 1:08:10
  Speaker 1: is so this scene that you could even use to
• 1:08:12
  Speaker 1: suggest between Ali and her mom right after Ali and
• 1:08:17
  Speaker 1: no Uh are out late, trying to fuck doesn't work out.
• 1:08:22
  Speaker 1: So then her parents freak out because she's out late,
• 1:08:25
  Speaker 1: and then they say we're leaving tomorrow and you're going
• 1:08:28
  Speaker 1: to college. Great normal reaction. We're vacating the mansion because
• 1:08:34
  Speaker 1: you got fingered one time. Very chill. So we see
• 1:08:40
  Speaker 1: the scene with her and her mom the next day,
• 1:08:42
  Speaker 1: and they do have several lines. I do have the
• 1:08:45
  Speaker 1: actual lines dies it's in your novella. It's basically something
• 1:08:49
  Speaker 1: to the effective. She's seen like cars getting packed up
• 1:08:52
  Speaker 1: and she was like, what's going on? And her mom's like,
• 1:08:55
  Speaker 1: we're leaving, and she's like, we're leaving now. She's like, yes,
• 1:08:58
  Speaker 1: sit down and have some breakfast. Then Willow, I think
• 1:09:01
  Speaker 1: it is we'll pack up your things. So that's where
• 1:09:03
  Speaker 1: the argument comes in, is like they are not explicitly
• 1:09:06
  Speaker 1: saying we're leaving now because you got fingered in a
• 1:09:10
  Speaker 1: haunted house last night by a guy. But I do
• 1:09:15
  Speaker 1: I do agree that that is the subtext of like,
• 1:09:17
  Speaker 1: that's what's driving this whole scene, is the you know,
• 1:09:20
  Speaker 1: I would even like, I don't know if it's subtext
• 1:09:23
  Speaker 1: because to me, Alie's response it's like of like I'm
• 1:09:25
  Speaker 1: not going anywhere, is like not because I like the
• 1:09:28
  Speaker 1: seaside like I'm not leaving, like have you smelled this
• 1:09:32
  Speaker 1: coastal air? It's because she wants she didn't get the
• 1:09:35
  Speaker 1: sled down the pole. She wants to get another shot.
• 1:09:38
  Speaker 1: But it The only other scenes with women who talk
• 1:09:40
  Speaker 1: to each other are in the retirement home and it
• 1:09:42
  Speaker 1: is uh, none of those nurses have names. None of
• 1:09:45
  Speaker 1: those scenes are more than two lines anyway, with Joan Allen,
• 1:09:50
  Speaker 1: Rachel the Cabs and Gina rollings in it. And you
• 1:09:53
  Speaker 1: can't find a conversation for any of those actors that
• 1:09:57
  Speaker 1: those actors could read the back of a Cheerios box,
• 1:09:59
  Speaker 1: and I would right, well, okay, so I have a
• 1:10:02
  Speaker 1: few more scenes that could pass, or they have women characters.
• 1:10:05
  Speaker 1: And Ali talks to her friend Sarah a couple of
• 1:10:09
  Speaker 1: different times, and one of the scenes, Sarah is telling
• 1:10:12
  Speaker 1: Ali about Noah does not pass. God. That seems so
• 1:10:15
  Speaker 1: annoying too, because Ali is like, isn't it so weird
• 1:10:18
  Speaker 1: how he just threw him off at me? And she's like, no,
• 1:10:21
  Speaker 1: that's like later on, whenever Noah shows up to the
• 1:10:26
  Speaker 1: surprise date that he has orchestrated, Sarah goes, you remember Noah,
• 1:10:30
  Speaker 1: don't you? And she's like, it doesn't pass. They talk
• 1:10:33
  Speaker 1: about I mean a scene later on when they're like
• 1:10:37
  Speaker 1: playing in a body of water birds. No bird birds
• 1:10:41
  Speaker 1: are not present here. Um, there's there's a rope that
• 1:10:44
  Speaker 1: they're all swinging from. Oh God, that scene is terrible.
• 1:10:48
  Speaker 1: Sarah is like get in the water and she's like,
• 1:10:50
  Speaker 1: I can't. Maybe passes. That is honestly the closest one yet,
• 1:10:56
  Speaker 1: but I forgot about that scene Ryan Gosling, She's afraid
• 1:10:59
  Speaker 1: to do muff the rope swing and Ryan Castling is
• 1:11:01
  Speaker 1: just on the side like do it, go for it,
• 1:11:04
  Speaker 1: get do it, go for it, baby, just try it, honey,
• 1:11:10
  Speaker 1: you left. Get out the fucking water, I mean, drump baby.
• 1:11:16
  Speaker 1: Other scenes where women interactor. Other scenes where women interact.
• 1:11:21
  Speaker 1: Um Ali is chatting with her college friends about James Marsden.
• 1:11:26
  Speaker 1: We do not know any other names, and they're talking
• 1:11:28
  Speaker 1: about a man. Ali is in a group of women
• 1:11:30
  Speaker 1: at her wedding dress fitting their squealing about the dress
• 1:11:34
  Speaker 1: and the wedding but we do not know any of
• 1:11:35
  Speaker 1: their names out and she's on the top half of
• 1:11:40
  Speaker 1: the newspaper and then it flops down in port elis
• 1:11:43
  Speaker 1: under the fold with the picture of poor man renovates
• 1:11:47
  Speaker 1: haunted house. It's like rich girl getting married, poor boy
• 1:11:51
  Speaker 1: does something. Question. Another another contender for passing the Bacte
• 1:11:57
  Speaker 1: test is when old Ali meets all of her female relatives.
• 1:12:03
  Speaker 1: Obviously they know she is, but she doesn't know who
• 1:12:05
  Speaker 1: they are. It's all his like, those are the kids
• 1:12:08
  Speaker 1: that they made in their relationship. I don't think like
• 1:12:10
  Speaker 1: what's your name again counts when they're the literal if
• 1:12:13
  Speaker 1: it was a character like someone else's family. IBE. That's
• 1:12:17
  Speaker 1: me stretching, but like reintroducing yourself to your kids when
• 1:12:20
  Speaker 1: you have dementia and your husband is right there, it's
• 1:12:24
  Speaker 1: still kind of about your relationship in that case. And
• 1:12:29
  Speaker 1: also I like, I think that God and I hate
• 1:12:31
  Speaker 1: that we have to get so into the weeds of
• 1:12:34
  Speaker 1: like what is a past? But the fact that even
• 1:12:37
  Speaker 1: if the daughters in that scene do have names, which
• 1:12:40
  Speaker 1: they believe they do, it some they don't. She doesn't
• 1:12:43
  Speaker 1: know their names, so it can't pass if at least
• 1:12:48
  Speaker 1: the women talking don't even know each other's name. So
• 1:12:52
  Speaker 1: that I was like, that can't I think that's very
• 1:12:54
  Speaker 1: ablest of you. But those kids only come in to
• 1:12:58
  Speaker 1: be like dad, stop taking care of Mom, so they
• 1:13:01
  Speaker 1: also only talk about their relationship. And also what hateful children?
• 1:13:07
  Speaker 1: So we hate don't you hate how dad loves mom?
• 1:13:11
  Speaker 1: I know they're terrible. I will say I'll give this
• 1:13:14
  Speaker 1: movie credit as a film. It is very focused on
• 1:13:17
  Speaker 1: telling one story that although we've criticized it's negative aspects,
• 1:13:21
  Speaker 1: is very beautiful. It's a love story over the overtime,
• 1:13:23
  Speaker 1: and it's it is just about the relationship of these
• 1:13:26
  Speaker 1: two people. And in the movie, no one talks about
• 1:13:29
  Speaker 1: anything else. So it's a weird movie to apply the
• 1:13:32
  Speaker 1: test too, because no one has a conversation about anything else.
• 1:13:35
  Speaker 1: It's not like two women in the movie would have
• 1:13:37
  Speaker 1: an opportunity to be like, did you admire this silverspoon?
• 1:13:40
  Speaker 1: It's detail is quite exceptional. They talk about nothing except
• 1:13:44
  Speaker 1: for whether Ali and now we're gonna sunk forever. That
• 1:13:46
  Speaker 1: is the sole focus of the film, an accomplishment in storytelling.
• 1:13:49
  Speaker 1: It is a very focused, well crafted story with not
• 1:13:52
  Speaker 1: a lot of fat to trim. Again, that scene with
• 1:13:54
  Speaker 1: Martha after Ali shows up and war Widow comes cruising
• 1:13:57
  Speaker 1: in knock knockdock, I brought you a pie. Wink winkly
• 1:14:00
  Speaker 1: opens the door and it's like, come on in, let's chat.
• 1:14:02
  Speaker 1: And again the next scene is like it's dark out.
• 1:14:04
  Speaker 1: They just YadA, YadA through all that conversation. They don't
• 1:14:07
  Speaker 1: talk about anything that isn't just the two of them.
• 1:14:08
  Speaker 1: With that scene pass the backtel test, though he's right
• 1:14:11
  Speaker 1: there and the context of their conversation is like, we
• 1:14:14
  Speaker 1: both have kissed the same man. Sisters, let's take bread
• 1:14:20
  Speaker 1: or whatever. Oh wait, oh, the bingo board has reminded
• 1:14:25
  Speaker 1: me of something I wanted to talk that this movie. Originally,
• 1:14:31
  Speaker 1: the Steve Bushemy test is basically just a framework that
• 1:14:37
  Speaker 1: makes it so that because Ryan Gosling is the one,
• 1:14:41
  Speaker 1: you know, Ryan Gosling, notorious Hollywood hunk, is the one
• 1:14:44
  Speaker 1: displaying all the predatory behavior at the beginning of this movie,
• 1:14:48
  Speaker 1: we're conditioned by movies to think that because he's so hot,
• 1:14:52
  Speaker 1: it's okay. So the idea being if we sub out
• 1:14:56
  Speaker 1: Gosling with Bushemy or just someone not considered Hollywood hot,
• 1:15:04
  Speaker 1: it immediately registers as not okay. Where if bush Emmy
• 1:15:09
  Speaker 1: shows up in the rain saying I wrote you every
• 1:15:12
  Speaker 1: day for a year, you call the cops and it's like,
• 1:15:16
  Speaker 1: not a question. So that's that's what that's what that is. Yeah, Yeah,
• 1:15:21
  Speaker 1: that's alarmingly true in this film. Yeah, if you subot
• 1:15:24
  Speaker 1: it flies because they're like both hotties, anyone who's not
• 1:15:28
  Speaker 1: right if you and if you sub ut Rachel McAdams
• 1:15:30
  Speaker 1: with someone who's not alarmingly hot and she's just hitting
• 1:15:33
  Speaker 1: Ryan Gosling. You're like, no, this is but I feel like,
• 1:15:37
  Speaker 1: especially when this movie came out, probably that behavior on
• 1:15:40
  Speaker 1: her part barely registered. It didn't register for me at all.
• 1:15:43
  Speaker 1: I forgot that she was hitting him all the time
• 1:15:46
  Speaker 1: they were teenagers. You know, I just accurred to me,
• 1:15:49
  Speaker 1: what's kind of beautiful about being unconventionally attractive is that
• 1:15:52
  Speaker 1: even if you're rich. Report if you fell in love
• 1:15:55
  Speaker 1: at seventeen as an if you're a bush Emmy and
• 1:15:58
  Speaker 1: a lady bush Emmy and you eat each other, oh yeah,
• 1:16:02
  Speaker 1: deeply love and you come back to your mother and
• 1:16:05
  Speaker 1: father like tooth jutting out over your lower lip. No,
• 1:16:08
  Speaker 1: his hair visible, whatever your problems are, Like, daddy, I
• 1:16:11
  Speaker 1: found love like you don't. Yeah, congratulations, we don't give
• 1:16:14
  Speaker 1: a ship. If he works at the lumber yard. This
• 1:16:16
  Speaker 1: is the best. He's a rock hormp on his back.
• 1:16:21
  Speaker 1: He's just got like you know, he's bald but wrong.
• 1:16:23
  Speaker 1: It's just on the sides and not on the top
• 1:16:26
  Speaker 1: like you know, just like whatever, I'm so glad you
• 1:16:29
  Speaker 1: love our beaver tooth daughter. Congratulations. I'm gonna buy you
• 1:16:32
  Speaker 1: that mansion and restore with your huge hands. I do
• 1:16:36
  Speaker 1: want to pitch to our certainly all industry audience. UH
• 1:16:39
  Speaker 1: My new film Lady bush Emmy, directed by Credit coming
• 1:16:47
  Speaker 1: of It's a companion to my famous uh Tony Dance,
• 1:16:53
  Speaker 1: A biopic Tony also coming out in the coming year,
• 1:16:58
  Speaker 1: so check out. I'm gonna take these movies led by
• 1:17:00
  Speaker 1: women and replace them by man. I do want to
• 1:17:04
  Speaker 1: see Tony Dance land a triple axel, Tony spot haircut.
• 1:17:11
  Speaker 1: Everything else is the same, but it's Tony Dancing. Shall
• 1:17:15
  Speaker 1: we rate the movie on our nipple scale? So we
• 1:17:18
  Speaker 1: have a nipple scale, will rewrite the movie based on
• 1:17:20
  Speaker 1: its portrayal of women a zero to five nipples. This
• 1:17:24
  Speaker 1: is gonna be tricky for me because, aside from the
• 1:17:27
  Speaker 1: first fifteen minutes, which are very problematic and very irresponsible
• 1:17:31
  Speaker 1: in the way that they depict like a budding romance,
• 1:17:34
  Speaker 1: the rest of the movie I don't think does that
• 1:17:37
  Speaker 1: badly in depicting a romance. I think I want to
• 1:17:41
  Speaker 1: give it two and a half nipples. I mean between
• 1:17:46
  Speaker 1: like the like noticeable lack of toxic masculinity. Again, aside
• 1:17:51
  Speaker 1: from the first fifteen minutes in the movie, the way
• 1:17:53
  Speaker 1: that you depict Noah in his dad relationship and other
• 1:17:57
  Speaker 1: male characters. I mean, why am I giving credit to them?
• 1:18:00
  Speaker 1: This is not what this podcast is about. I guess
• 1:18:06
  Speaker 1: Ali is a character I appreciate. She's generally pretty well developed.
• 1:18:12
  Speaker 1: I think, um, she doesn't fall into a lot of
• 1:18:15
  Speaker 1: tropes that you see in romantic stories. Some of them, yes,
• 1:18:19
  Speaker 1: but overall, I think she's like pretty dynamic. I mean,
• 1:18:23
  Speaker 1: she's one of two main characters. She's helping to drive
• 1:18:25
  Speaker 1: the story, she's making choices, she has agency. But you know,
• 1:18:29
  Speaker 1: the movie is not perfect for all the reasons. So
• 1:18:31
  Speaker 1: we've already discussed. So Yeah, I'm gonna two and a
• 1:18:33
  Speaker 1: half nipples. One of them goes to Ryan Gosling's nipple
• 1:18:37
  Speaker 1: that is exposed in the movie. That is the only
• 1:18:39
  Speaker 1: nipp we get right. One of them I'm going to
• 1:18:42
  Speaker 1: give to Fabrizio from Titanic. Uh. And the half nipple
• 1:18:51
  Speaker 1: I'll give to gay Mustache Daddy's mustache sick. Yeah, let's
• 1:18:56
  Speaker 1: give a mustache. That's actually very forward thinking of you.
• 1:18:58
  Speaker 1: I would accept a glass of milk from the mustache netball. Yeah,
• 1:19:03
  Speaker 1: I'll give it two and a half as well, for
• 1:19:06
  Speaker 1: all the reasons you stated, I think that the other
• 1:19:09
  Speaker 1: female characters we see in this movie, even the ones
• 1:19:11
  Speaker 1: that are better developed, like Ali's mom and like Martha,
• 1:19:16
  Speaker 1: are really I mean, and again it's kind of like
• 1:19:19
  Speaker 1: what you're saying, Caitlin Gil that it is because it's
• 1:19:22
  Speaker 1: just such a focused story that there's not really a
• 1:19:25
  Speaker 1: b plot at all. The b plot is the main
• 1:19:28
  Speaker 1: characters but older like Finn, who's there to set him
• 1:19:31
  Speaker 1: up on a date once, and then Diana war Let's
• 1:19:34
  Speaker 1: the entire that was his entire orbit to pretty embarrassing
• 1:19:40
  Speaker 1: set people up on a date one time later killed
• 1:19:42
  Speaker 1: in World War two. Uh. But like, I think that
• 1:19:48
  Speaker 1: there's little things this movie and the story could have
• 1:19:51
  Speaker 1: done more to better services female characters, such as not
• 1:19:55
  Speaker 1: having the best friend only say like you shouldn't go
• 1:19:59
  Speaker 1: with that guy who is threatening to kill himself if
• 1:20:01
  Speaker 1: you don't go on a date with him. The mom beat,
• 1:20:04
  Speaker 1: even though I didn't totally dislike that scene where it's like,
• 1:20:07
  Speaker 1: at least we get a scene understanding where the mom's
• 1:20:09
  Speaker 1: coming from and she's not just totally villainized, but the
• 1:20:12
  Speaker 1: fact that it was just like I sucked a poor
• 1:20:14
  Speaker 1: person ones to a big mistake, but what a great
• 1:20:18
  Speaker 1: dick like there that this is weird and I also
• 1:20:21
  Speaker 1: really don't like how the women of color in this
• 1:20:23
  Speaker 1: movie are treated where there, I mean, every woman of
• 1:20:27
  Speaker 1: color in this film is in a service position and
• 1:20:30
  Speaker 1: only one of them is given a name, and that
• 1:20:33
  Speaker 1: is annoying, especially considering that this movie takes place in
• 1:20:36
  Speaker 1: the South, and it's just like it's just this weird,
• 1:20:38
  Speaker 1: bizarre blind spot where it's okay, like it's like this
• 1:20:41
  Speaker 1: movie doesn't have to be about race, but it's like,
• 1:20:44
  Speaker 1: you know, give your characters a name, give them something
• 1:20:47
  Speaker 1: to do, give them, you know. So for for that reason,
• 1:20:51
  Speaker 1: I'm gonna give it two and a half and give
• 1:20:53
  Speaker 1: one nipple to Alley because I do like her. She
• 1:20:56
  Speaker 1: goes on a you know journey. She for a rich girl.
• 1:20:59
  Speaker 1: I don't want to killer, I guess. So that's good,
• 1:21:01
  Speaker 1: that's honestly, that's true. That is a solid point. One
• 1:21:06
  Speaker 1: nipple to Ali. I'll give one nipple to James Marsden,
• 1:21:10
  Speaker 1: who like feminist icon James Marsden in this movie, and
• 1:21:15
  Speaker 1: then I will give a half nipple to the wonderful
• 1:21:19
  Speaker 1: nurse who's constantly restraining old dementia Ali, whose name we
• 1:21:25
  Speaker 1: never get to learn, even though she has to discover
• 1:21:27
  Speaker 1: them dead not fair anyways. So that's those are who
• 1:21:30
  Speaker 1: I give my nipples to come with you. I'm gonna
• 1:21:33
  Speaker 1: give it to because I am frustrated by something I
• 1:21:38
  Speaker 1: didn't see but felt implied, and you had such great
• 1:21:40
  Speaker 1: actresses there would I like to feel this totally in
• 1:21:42
  Speaker 1: the movie even two in two thousand four. So much
• 1:21:45
  Speaker 1: of Ali's choice in the film is between you know,
• 1:21:49
  Speaker 1: her heart and her common sense, sort of like, she
• 1:21:52
  Speaker 1: has this uncertain but passionate relationship with this guy who
• 1:21:55
  Speaker 1: built a house for her and a very steady relationship
• 1:21:58
  Speaker 1: with a guy who's literally named lon uh Like. By
• 1:22:01
  Speaker 1: the time she has to make that choice, I as
• 1:22:05
  Speaker 1: a film watcher, only feel the tension of those two relationships,
• 1:22:10
  Speaker 1: when in reality that character is in a much like
• 1:22:13
  Speaker 1: a larger context of her family and then the context
• 1:22:16
  Speaker 1: of the stupid world we live in, where a lot
• 1:22:18
  Speaker 1: of her choices aren't about her harder her head. It
• 1:22:21
  Speaker 1: is circumstance that, like Allie's parents do have a complicated
• 1:22:24
  Speaker 1: choice to make. Realistically, they're not crazy for thinking their
• 1:22:28
  Speaker 1: daughters shouldn't be in this impulsive romance, both for circumstance
• 1:22:32
  Speaker 1: and other reasons, and her mom, especially like waiting until
• 1:22:35
  Speaker 1: that scene where mom takes daughter to go look at
• 1:22:38
  Speaker 1: the dude she used to fuck, to reveal like the
• 1:22:40
  Speaker 1: complexities of the heart there These are women trapped by
• 1:22:43
  Speaker 1: choices that aren't made by the men that they're in
• 1:22:45
  Speaker 1: relationships with. Like everyone is kind of stuck here, Gay Mustache,
• 1:22:49
  Speaker 1: Daddie campy out he asked to marry Joan Allen, Like
• 1:22:51
  Speaker 1: everybody's got a circumstance binding them. And I wish when
• 1:22:54
  Speaker 1: it got to Alie's choice between these two boys that
• 1:22:57
  Speaker 1: she gets to funk forever or whatever. I wish I
• 1:23:00
  Speaker 1: didn't feel any of that weight. There's no greater social
• 1:23:03
  Speaker 1: Like you know, he yells at her, like forget what
• 1:23:05
  Speaker 1: other people want? What do you want? And we're supposed
• 1:23:08
  Speaker 1: to think that's romantic, But like, like I guess the
• 1:23:12
  Speaker 1: answer comes into a book about feminism in the sixties.
• 1:23:15
  Speaker 1: Like what she wants is to not have her only
• 1:23:17
  Speaker 1: choices be which guy to marry. Like what's not on
• 1:23:20
  Speaker 1: the table is like going to college, not to find
• 1:23:23
  Speaker 1: a husband, but like maybe learn something you want to do.
• 1:23:25
  Speaker 1: What's not on the table is like wearing pants, Like,
• 1:23:28
  Speaker 1: you know, there's so many things she doesn't get to do.
• 1:23:31
  Speaker 1: I'm pretty sure she majors in English too, because the
• 1:23:33
  Speaker 1: one scene we see her in college, the professor is
• 1:23:37
  Speaker 1: talking about Walt Whitman. Hey, do you think Nicholas Sparks
• 1:23:40
  Speaker 1: likes Walt Whitman. I wonder. I feel like Nicholas Sparks
• 1:23:44
  Speaker 1: and like Mitch Album have this time share together where
• 1:23:47
  Speaker 1: they just like jerk off for like a week every year,
• 1:23:52
  Speaker 1: and at the end they're like, it's a book. We
• 1:23:54
  Speaker 1: did it, the five notebook. The five notebooks, you mean,
• 1:23:59
  Speaker 1: and so those are I I wish that that there
• 1:24:06
  Speaker 1: had been a little bit more influence to that greater choice,
• 1:24:07
  Speaker 1: because it better understands Mom's choice to hide the letters
• 1:24:10
  Speaker 1: and not marry the hunk. Like for such a closed story,
• 1:24:13
  Speaker 1: I wish a little bit more of the world had
• 1:24:15
  Speaker 1: pushed its way in, because I think that's that would
• 1:24:17
  Speaker 1: have made this character of Adlie more real, and Rachel
• 1:24:20
  Speaker 1: McAdams is certainly capable of giving you a character with
• 1:24:23
  Speaker 1: more sales. Joan Allen, there was just something missing from
• 1:24:27
  Speaker 1: the women because all their choices were only about men,
• 1:24:29
  Speaker 1: and I guess that's implied. Yeah, they don't get to
• 1:24:31
  Speaker 1: make choices about anything else. There's no pain from that.
• 1:24:33
  Speaker 1: There's no weight from that in the film, and are
• 1:24:35
  Speaker 1: literally birds flying away like so it's hard. I those
• 1:24:38
  Speaker 1: are That's why I can't give it that extra half nipple.
• 1:24:40
  Speaker 1: And that's why even though I love love and I
• 1:24:42
  Speaker 1: think it's beautiful that you want to be in love forever,
• 1:24:44
  Speaker 1: and I think love is hard work and relationships are tough.
• 1:24:46
  Speaker 1: And it takes two devoted people who are passionate not
• 1:24:49
  Speaker 1: just about each other but about their relationship to actually
• 1:24:51
  Speaker 1: die in a hospital gurney together like that's really beautiful.
• 1:24:55
  Speaker 1: And I said, don't think it's crazy for women and
• 1:24:57
  Speaker 1: men to want that. I'm not inherent like monomies whatever.
• 1:25:01
  Speaker 1: But if it's what you want, do it. Do it
• 1:25:04
  Speaker 1: for real? Do it like that, be birds together. But
• 1:25:06
  Speaker 1: there's so much more that goes into that choice, especially
• 1:25:09
  Speaker 1: in those circumstances for that character. So two nipples and
• 1:25:11
  Speaker 1: they go on either side of the ferris wheel, beautiful
• 1:25:15
  Speaker 1: symmetry and and to the but I think that that
• 1:25:20
  Speaker 1: is also possibly because it is a love story written
• 1:25:23
  Speaker 1: by a man, that those that those points aren't addressed.
• 1:25:27
  Speaker 1: It's like, uh, And the point of view character is
• 1:25:30
  Speaker 1: Ryan Gosling. He's pretty much the protagonist this old time
• 1:25:34
  Speaker 1: I was arguing. I was like, Oh, is Ryan Gosling
• 1:25:36
  Speaker 1: man splaining Rachel McAdams's own life story to her the
• 1:25:40
  Speaker 1: whole movie? But I thought it was her. Nope, bug
• 1:25:45
  Speaker 1: the story that we talked about, where you just mastered
• 1:25:47
  Speaker 1: her handwriting and wrote the whole thing, and then you
• 1:25:49
  Speaker 1: were an idiot. You yelled at me, But I stuck
• 1:25:52
  Speaker 1: with you anyway, and forgetful old late it's like the
• 1:25:54
  Speaker 1: end of that love Rachel mcado. There's the same where
• 1:26:00
  Speaker 1: he's looking through a photo album of like their life together,
• 1:26:02
  Speaker 1: and it's pictures of young James Garner instead of Ryan
• 1:26:07
  Speaker 1: Gosling and Rachel mc adams. It's nothing like Rachel McAdams.
• 1:26:12
  Speaker 1: I'm like, like Michael Jackson, black and white fade out
• 1:26:15
  Speaker 1: of their faces, becoming one, like this is another thing
• 1:26:19
  Speaker 1: stolen from Titanic. The Titanic at least tries to photos
• 1:26:22
  Speaker 1: shop this real, real hack job in the notebook of
• 1:26:26
  Speaker 1: two people we've never seen before, and then he's just like, oh,
• 1:26:28
  Speaker 1: this is nice, Like who are these people? I do
• 1:26:31
  Speaker 1: feel like that's fan service for all the grandma's watching
• 1:26:33
  Speaker 1: it with a thirteen year old on t and t
• 1:26:34
  Speaker 1: you've been the whole time, like they've had to watch
• 1:26:36
  Speaker 1: James Garner. They're sex symbol there, Ryan Gosling in an
• 1:26:39
  Speaker 1: old folks home taking his button down off to be
• 1:26:42
  Speaker 1: in the doctor and this wife beater and he's got
• 1:26:45
  Speaker 1: this like, oh, at one point, I'll make this very quickly.
• 1:26:47
  Speaker 1: I'm glad old people got to be sexy in this movie.
• 1:26:49
  Speaker 1: Sexy old people. I think sex when year old is passionate,
• 1:26:51
  Speaker 1: beautiful and so great. And I hate it when movies
• 1:26:53
  Speaker 1: act like it's gross. And I thought that was really
• 1:26:54
  Speaker 1: sweetly handled. She wakes up from her dementially dance for
• 1:26:57
  Speaker 1: a minute. It's fair romantic. I like giving little people
• 1:26:59
  Speaker 1: credit that they the rock hard because they boned down.
• 1:27:03
  Speaker 1: Where the places where vinegregal diseases are spreading the fastest
• 1:27:06
  Speaker 1: is nursing homes. Yeah, my grandma is was the horny
• 1:27:09
  Speaker 1: cheefe rests ground, horny ist American woman I've ever met
• 1:27:15
  Speaker 1: in my life. Hey, thanks for coming to our show.
• 1:27:23
  Speaker 1: Thank you Caitlyn gil for being our guest. Thank you
• 1:27:26
  Speaker 1: Caitlin and Jamie for having me. Thanks for coming, and
• 1:27:29
  Speaker 1: good sail.