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The Sixth Sense · The Bechdel Cast

• 0:00
  Speaker 1: Hi, what's Uh, it's a quick announcement at the top
• 0:04
  Speaker 1: of the show. You know how these go. It's a
• 0:06
  Speaker 1: live show, so we gotta announce it months in the future. Uh.
• 0:11
  Speaker 1: And we'll speaking of live shows, yeah, we've got some
• 0:14
  Speaker 1: coming up pending coronavirus. We don't know about Corona cancelations
• 0:20
  Speaker 1: will show up and you can confin our mouths as
• 0:22
  Speaker 1: far as I'm concerned. That's how committed we are to
• 0:25
  Speaker 1: our fans. But upcoming shows, we have a show that
• 0:29
  Speaker 1: is sold out in Austin, Texas on April eighteenth. But uh,
• 0:34
  Speaker 1: little bird that is us told us. We told ourselves
• 0:38
  Speaker 1: that maybe building a second show at it, So keep
• 0:41
  Speaker 1: your eyes peeled, follow us on social media and check
• 0:44
  Speaker 1: our website for that. We also we will be doing
• 0:48
  Speaker 1: a show in Boston for the Women in Comedy Festival
• 0:51
  Speaker 1: in early May, and then we are going to do
• 0:55
  Speaker 1: a Caitlin's Birthday baths slash general huge show at Dynage
• 1:00
  Speaker 1: Typewriter in Los Angeles on ma Baby. We're doing Titanic
• 1:05
  Speaker 1: for the fifth time, the fifth episode. More to say,
• 1:08
  Speaker 1: I I emailed Billy Zane's agent h so we'll see well,
• 1:13
  Speaker 1: so he might be at the show. There's only one
• 1:15
  Speaker 1: way to find out. You bet so Yeah, go to
• 1:18
  Speaker 1: back toelcast dot com for all the ticket information and
• 1:21
  Speaker 1: we'll keep everyone updated in case there are any cancelations.
• 1:25
  Speaker 1: Fingers crossed that there will not be day safe. Wash
• 1:28
  Speaker 1: your hands, be healthy, stay, yes, do all that, do
• 1:31
  Speaker 1: all that good stuff, and uh, without further ado, here
• 1:35
  Speaker 1: is an episode we recorded back in January in Philadelphia
• 1:38
  Speaker 1: about the sixth sins Enjoy on the Beck dol Cast.
• 1:45
  Speaker 1: The questions asked if movies have women and them? Are
• 1:49
  Speaker 1: all their discussions just boyfriends and husbands? Do they have individualism?
• 1:53
  Speaker 1: The patriarchy? Zef invest start changing it with the Beck
• 1:58
  Speaker 1: del Cast. Everybody welcome here, we are Philadelphia. We're back.
• 2:06
  Speaker 1: Who's who's been here to see us before? Oh? I
• 2:10
  Speaker 1: love I love when people are studios and they're like
• 2:13
  Speaker 1: me hand up there, my hand. We're so sacked to
• 2:17
  Speaker 1: be back. We love good goods so much. Yes, yes,
• 2:20
  Speaker 1: thanks for coming. Uh well we're the good God. We're
• 2:26
  Speaker 1: the bectel Cast. My name is Caitlin Dronte, I'm Jamie
• 2:28
  Speaker 1: Loftus and this is our feminist movie podcast. Has anyone Well,
• 2:34
  Speaker 1: we'll do a quick, quick quiz at the top. Um,
• 2:37
  Speaker 1: so this is the free applause part. Who here has
• 2:40
  Speaker 1: listened to the Bechtel Cast? Wow, validation, validation, we love it? Okay, um?
• 2:47
  Speaker 1: And then practical who has not listened to the Bechtel Cast.
• 2:50
  Speaker 1: I'll be shy right in this we see front Okay, Okay,
• 2:57
  Speaker 1: there's work to be done. So today's movie is the
• 3:01
  Speaker 1: sixth sense? Who has seen the movie? Kah and has
• 3:08
  Speaker 1: anyone not? There's one person? Oh my gosh, I it's
• 3:14
  Speaker 1: so it's such a well we'll talk about it. But
• 3:16
  Speaker 1: like I never got to see this movie without knowing
• 3:20
  Speaker 1: the twist that happened. So I never got to see
• 3:23
  Speaker 1: a good movie. It's like it's not fair. I felt cheated.
• 3:29
  Speaker 1: Oh well, we'll talk about I'm kidding. It's the greatest
• 3:31
  Speaker 1: movie ever made. But like you've seen it? What? Um?
• 3:36
  Speaker 1: So we're doing the sixth sense today. We're doing it
• 3:37
  Speaker 1: because Galaxy Brain, it happens here, it does Philadelphia? Ever
• 3:45
  Speaker 1: heard of it? Um? We should say what the Bexel
• 3:48
  Speaker 1: cast is? Yes, let's do that. So we are a
• 3:51
  Speaker 1: feminist movie podcast. We analyze the portrayal of women in film,
• 3:56
  Speaker 1: one movie at a time. There's no movie, so there's
• 3:59
  Speaker 1: no if you left. We use the Bechdel test as
• 4:03
  Speaker 1: a jumping off point to initiate a larger conversation, and that,
• 4:06
  Speaker 1: of course, is a media metric created by cartoonist Alison
• 4:09
  Speaker 1: Bechdel that requires that two female identifying characters with names
• 4:13
  Speaker 1: have to speak to each other about something other than
• 4:15
  Speaker 1: a man. Does it happen in movies? Every once in
• 4:18
  Speaker 1: a while? It does? Sometimes there I not to I mean, okay,
• 4:23
  Speaker 1: I will say anytime someone says that they've listened to
• 4:26
  Speaker 1: our podcast but is lying, they're like, oh, your show,
• 4:29
  Speaker 1: isn't it about you spend an hour trying to figure
• 4:32
  Speaker 1: out if it passes the Bechdel test. No, what imagine
• 4:36
  Speaker 1: if we were just pouring over the screw every single
• 4:39
  Speaker 1: line of dialogue. How do you feel? Nope, doesn't look
• 4:42
  Speaker 1: like it like, but can we demonstrate the Bechdel test
• 4:47
  Speaker 1: for anyone who's not familiar. Yes, Hey, Jamie Caitlin, I
• 4:52
  Speaker 1: see Dead Women. Wow, that's so brave and progressive of you.
• 5:04
  Speaker 1: And that's like, you know, it doesn't have to be
• 5:06
  Speaker 1: good writing. It just has to be writing. Um. And
• 5:09
  Speaker 1: so that's what we're doing here, and so um. After
• 5:13
  Speaker 1: you know, people have been begging us, Jamie Caitlin, do
• 5:16
  Speaker 1: a feminist analysis of the sixth Cents. It's our top request.
• 5:22
  Speaker 1: Everyone wants to know. But like, I mean, really the
• 5:24
  Speaker 1: Benett I mean, I'm just thrilled that we get to
• 5:26
  Speaker 1: talk about Haley Joel Osmond. Um my my lifelong crush.
• 5:31
  Speaker 1: So this episode will not pass at all because we'll
• 5:35
  Speaker 1: just be talking about when you talk about Haley Josmond.
• 5:39
  Speaker 1: It does pass the Ptel test we checked. Same applies
• 5:45
  Speaker 1: to Alfred Molina. Of course, if I have a crush
• 5:48
  Speaker 1: on them, it passes the Piketel test. Um is that's
• 5:51
  Speaker 1: cannon um, Caitlin, What is your history with the cinematic
• 5:59
  Speaker 1: masterpiece The sixth Sense. I saw the movie in theaters
• 6:04
  Speaker 1: in nine in do Boys, Pennsylvania, and anyone familiar. I
• 6:11
  Speaker 1: was twelve or thirteen. Didn't really know anything about it
• 6:15
  Speaker 1: except that it was like, you know, the hot movie
• 6:17
  Speaker 1: of the moment. It was very spooky, and because I
• 6:20
  Speaker 1: was the age that I was, I thought it was great. Um,
• 6:25
  Speaker 1: this movie is for twelve year olds, Like this is
• 6:27
  Speaker 1: like this movie is like the most hardcore ship a
• 6:31
  Speaker 1: twelve year old has ever seen. Like I think that
• 6:35
  Speaker 1: like that kind of applies to like might Shine's entire filmography.
• 6:39
  Speaker 1: Like if you're twelve, you're like, this ship is unbelievable.
• 6:45
  Speaker 1: But then when you are, you know, thirteen, you're like, oh,
• 6:48
  Speaker 1: what what is happening? And I don't think I had
• 6:51
  Speaker 1: seen it again since? But because it's such like it's
• 6:55
  Speaker 1: such a huge part, it's infiltrated pop culture that everyone
• 6:59
  Speaker 1: knows the twist ending everyone knows the famous line about
• 7:02
  Speaker 1: seeing dead people not women, not feminist. No, I think
• 7:07
  Speaker 1: it's a gender neutral term and it's and it's you know,
• 7:09
  Speaker 1: all encompassing. I think that Haley Joel Osmond is in icon.
• 7:12
  Speaker 1: He probably insisted on that line what if I'm ni
• 7:16
  Speaker 1: shan One was like, okay, you're gonna say I see
• 7:19
  Speaker 1: dead hetero men, and Haley Joel Osmond's like, now I
• 7:23
  Speaker 1: have an idea. I know I have eight years old,
• 7:27
  Speaker 1: but let's be inclusive, you know, I hope, so I'm
• 7:29
  Speaker 1: gonna be cutting them all kinds of slack. What is
• 7:33
  Speaker 1: your history with the movie? Not much? I I was
• 7:38
  Speaker 1: too I wasn't allowed to see this movie when it
• 7:40
  Speaker 1: came out, um, because I think it was like six
• 7:42
  Speaker 1: or seven when it came out, and so I didn't
• 7:44
  Speaker 1: get to see it, but I knew the twist years before.
• 7:48
  Speaker 1: I think I finally saw it maybe in middle school,
• 7:51
  Speaker 1: but I already knew the twist because some jackass at
• 7:55
  Speaker 1: school had sucked it up for me. So I didn't
• 7:59
  Speaker 1: I like to the twist. But by that point, I
• 8:01
  Speaker 1: think I had seen the sixth sense after I'd seen
• 8:04
  Speaker 1: Hayley Joel Osmond in Secondhand Lions, and I'm right, we
• 8:09
  Speaker 1: have some secondhand Lions. The Secondhand Lions High has come
• 8:14
  Speaker 1: to Philadelphia. It's like Lions, Uh, not that bad. Pretty good,
• 8:19
  Speaker 1: that's pretty good. I think that that, you know, pretty good,
• 8:21
  Speaker 1: that's solid pretty good. But that that was like where
• 8:23
  Speaker 1: my crush really like solidified. I'm like, well, we've got
• 8:27
  Speaker 1: to go back, We've got to see everything. So that
• 8:29
  Speaker 1: was so I went to see it for horny child purposes.
• 8:34
  Speaker 1: Uh and I was like, okay, you know, and that's
• 8:38
  Speaker 1: my entire history. And then I watched it again. I
• 8:41
  Speaker 1: forgot Tony Collette is in this movie. I saw this
• 8:44
  Speaker 1: movie before I knew who Tony Colette was, so I
• 8:46
  Speaker 1: didn't know she was in it at all. Yeah, I
• 8:49
  Speaker 1: think that Tony Colette, like I mean, based on the
• 8:51
  Speaker 1: interviews I've read with her, it seems like maybe she
• 8:53
  Speaker 1: would prefer We Forgot You was in this movie. She's like, yeah, anyways,
• 8:58
  Speaker 1: knives out like she just blaze through it. Although I
• 9:03
  Speaker 1: think that Tony Colett's character in this movie is kind
• 9:05
  Speaker 1: of like the lightest version of her character in Hereditary
• 9:10
  Speaker 1: because a lot of times in movies, Tony Colette is
• 9:13
  Speaker 1: just like, what's going on with my son? Like that
• 9:17
  Speaker 1: is the part she's given a lot like multiple She's
• 9:21
  Speaker 1: just like she's on screen and we're like, oh, I
• 9:23
  Speaker 1: went over. Her motivation is, She's like, my son's doing
• 9:26
  Speaker 1: fucked up things and and then that's them. I'm like, come,
• 9:29
  Speaker 1: we gotta you know she should have an oscar. Not
• 9:32
  Speaker 1: for this though. She was nominated though, right for this movie?
• 9:37
  Speaker 1: Am I wrong? Oh my god? She was for what Wait?
• 9:43
  Speaker 1: I love Tony Colette, but you're just like she's dressed
• 9:46
  Speaker 1: like Velma from Scooby Too. At the end of the movie.
• 9:50
  Speaker 1: She was nominated for the Best Supporting Actress. That is
• 9:53
  Speaker 1: so funny. It's like, I mean she didn't win. I
• 9:56
  Speaker 1: mean she didn't. I mean I don't think so she
• 9:59
  Speaker 1: didn't win. Did you notice that when you were rewatching it,
• 10:03
  Speaker 1: like the end of the movie where Hayley Joel Osmond
• 10:06
  Speaker 1: and um Tony Collette's relationship is like resolved. At the end,
• 10:11
  Speaker 1: She's dressed exactly like Velma from Scooby Doo. She's wearing
• 10:16
  Speaker 1: the turtleneck dark, the hairstyle is exactly the same, and
• 10:21
  Speaker 1: she's crying. But I'm like, I can't engage. I'm so
• 10:24
  Speaker 1: distracted by the fact that she's cosplaying during this. I mean,
• 10:28
  Speaker 1: when you think of it, the sixth sense is like
• 10:30
  Speaker 1: a very gritty Scooby Doo narrative unpacked and who unpacked that?
• 10:37
  Speaker 1: Who is the bad guy in this movie? Death? Is
• 10:42
  Speaker 1: it like Final Destination? In that way we should come
• 10:46
  Speaker 1: and Final Destination movie? Um, they'll all pass and kid um.
• 10:51
  Speaker 1: But um, yeah, I don't know. I guess that. The
• 10:53
  Speaker 1: I mean, the closest we get to a villain in
• 10:56
  Speaker 1: this movie is Munchausen's by proxy mom, who I forgot
• 11:00
  Speaker 1: about and I'm like, what is that doing here? And
• 11:03
  Speaker 1: then there's little Misha Barton. We'll get to that too.
• 11:06
  Speaker 1: Well should I do the recamp? Yeah? I guess we
• 11:08
  Speaker 1: started on accidents, So here we go. Um. Dr Malcolm
• 11:14
  Speaker 1: crow Is Bruce Willis and a million times a movie,
• 11:18
  Speaker 1: or like, it's not dr Ian Malcolm dr Malcolm Crow.
• 11:22
  Speaker 1: This is not Drastic Park as much as we want
• 11:24
  Speaker 1: it to be. Um and his wife and a Crow
• 11:30
  Speaker 1: and a crow. Yeah. I like in the beginning scene
• 11:33
  Speaker 1: her whole thing, she's like, I'm your wife. She literally
• 11:37
  Speaker 1: says that. She's like, I'm your wife and you don't
• 11:38
  Speaker 1: pay attention to me, And he's like, anyways, Like that's
• 11:43
  Speaker 1: the whole first scene, they're staring at a plaque that's
• 11:46
  Speaker 1: honoring his accomplishment at a job we soon learn he's
• 11:49
  Speaker 1: not that good at good at and she says like,
• 11:53
  Speaker 1: I'm your wife and your mean and he's like, ha ha,
• 11:59
  Speaker 1: But that's they're celebrating because he's received an award from
• 12:03
  Speaker 1: the City of Philadelphia. I hope that, you know, Philly
• 12:09
  Speaker 1: doesn't just give out awards for this kind of stuff.
• 12:14
  Speaker 1: And then a former patient of his, Vincent Gray, who
• 12:19
  Speaker 1: was played by Donnie Wahlberg. But I okay, So, for
• 12:24
  Speaker 1: some reason, when I was rewatching this movie with my boyfriend,
• 12:27
  Speaker 1: kill me. I'm not a feminist, uh As I was
• 12:31
  Speaker 1: watching it with him, and for some reason, I was
• 12:33
  Speaker 1: so one million percent sure that the guy who shoots
• 12:37
  Speaker 1: Bruce Willis was Christian Bale to the boy where when
• 12:41
  Speaker 1: he came on screen and it was visibly not Christian Bale,
• 12:44
  Speaker 1: I was like, he's a chameleon, Like he's so good
• 12:49
  Speaker 1: that he has a different head. But it's not. It's
• 12:54
  Speaker 1: Donnie Wahlberg. He lost forty pounds to do this one scene,
• 12:58
  Speaker 1: which is like kind of embarrassing for him. But imagine
• 13:03
  Speaker 1: losing forty pounds and then being on set maximum two days.
• 13:06
  Speaker 1: You know, like what was he trying to prove? Whatever
• 13:11
  Speaker 1: it was, it didn't work. He owns a cheeseburger, you know, joy.
• 13:15
  Speaker 1: Whatever he does. Fine. So this former patient, Vincent gray
• 13:19
  Speaker 1: Um feels Dr. Malcolm Crowe has completely failed him, and
• 13:25
  Speaker 1: so he shoots Malcolm in the abdomen and then he
• 13:28
  Speaker 1: shoots himself in the head. We cut to the following fall.
• 13:32
  Speaker 1: Malcolm is stalking a child the way, Yeah we see that. Yeah, No,
• 13:41
  Speaker 1: he's stalking. He's stalking a child named Cole's Steer. Also Cole.
• 13:47
  Speaker 1: Okay for everyone in the crowd who's like, wait, Cole Seer.
• 13:52
  Speaker 1: This movie is very subtle. You have to be careful
• 13:55
  Speaker 1: with these sort of things, but it's not spelled as
• 14:00
  Speaker 1: E E are no you. It's subtle different there. It
• 14:05
  Speaker 1: is really fun to read. Like I have some quotes
• 14:08
  Speaker 1: for later, but whenever. M n Chanel like when this
• 14:10
  Speaker 1: movie was coming out, he was interviewing for this movie
• 14:12
  Speaker 1: as if the very obvious things in the movie were
• 14:16
  Speaker 1: so subtle. He's like, well, Cole Seer, now not everyone's
• 14:21
  Speaker 1: gonna get this, but he's sears dead people. So we
• 14:31
  Speaker 1: find out that Cole is Malcolm's patient, and he's a
• 14:35
  Speaker 1: sweet boy. He's he's an angel, he's a talent, you know,
• 14:39
  Speaker 1: Jacob Tremblay wishes you know. But there there's something different
• 14:45
  Speaker 1: about Cole. He's not like the other boys, not like
• 14:48
  Speaker 1: the other Seers. And he speaks Latin and he opens
• 14:55
  Speaker 1: all the drawers in the kitchen or is that him
• 14:58
  Speaker 1: or is it we don't know. We meet his mom,
• 15:02
  Speaker 1: lyndsay here, that's totally and she's like, don't look at me.
• 15:07
  Speaker 1: So Cole and Malcolm have an appointment at Cole's house
• 15:11
  Speaker 1: and we learn more about him, like he made a
• 15:14
  Speaker 1: drawing that depicted this violent murder and he has a secret. Okay,
• 15:19
  Speaker 1: So meanwhile, um, Malcolm's home life is rough. He and
• 15:24
  Speaker 1: his wife keeps ignoring him, and we're like, why does
• 15:31
  Speaker 1: anyone into the crowd not know? Okay, never mind, but
• 15:34
  Speaker 1: like it's so like there is this thing with thrillers.
• 15:38
  Speaker 1: We're just talking about this backstage. There is this thing
• 15:40
  Speaker 1: with like thrillers that have a twist that you can
• 15:43
  Speaker 1: really only tell if they're a good movie when you've
• 15:45
  Speaker 1: seen it twice. Like if anyone is seen Parasite, I
• 15:48
  Speaker 1: will not spoil anything. There's a twist in the movie,
• 15:51
  Speaker 1: and when you see it the second time, you're like, oh,
• 15:53
  Speaker 1: this is an amazing movie because it gets even better
• 15:56
  Speaker 1: once you know the twist, whereas the sixth sense is
• 15:59
  Speaker 1: a little different. Once you know the twys, You're like, oh,
• 16:03
  Speaker 1: this is the worst thing I've ever seen in my
• 16:05
  Speaker 1: entire I can't wait. I have so many questions that
• 16:09
  Speaker 1: are going to poke some holes in this plot. We're
• 16:12
  Speaker 1: really going to show him. This movie was nominated for
• 16:17
  Speaker 1: Best Picture that year, I know, but like not a
• 16:20
  Speaker 1: good year for anyone. That's okay. So wife is ignoring
• 16:27
  Speaker 1: and his wife. Malcolm and Cole meet again and they're
• 16:32
  Speaker 1: making some progress, but there's something that's really troubling Coal
• 16:36
  Speaker 1: and we still don't know what it is. He has
• 16:38
  Speaker 1: an outburst at school. Then there's this birthday party incident
• 16:43
  Speaker 1: where some mean boys lock coal and a little cupboard,
• 16:46
  Speaker 1: and then he has some sort of seizure type thing.
• 16:49
  Speaker 1: Then Malcolm is with him in the hospital and Cole
• 16:53
  Speaker 1: says he's ready to tell Malcolm his secret, and the
• 16:56
  Speaker 1: trailer moment we get the line line, I see dead women.
• 17:06
  Speaker 1: Haley Joel Osman is a really good actor. He's you
• 17:10
  Speaker 1: know me. I don't like a lot of child actors,
• 17:12
  Speaker 1: but Haley Joel really knocks out of the park. He's perfect.
• 17:15
  Speaker 1: He's perfect in all subsequent roles as well. I have
• 17:19
  Speaker 1: a whole section later. Okay, good, Okay. So he sees
• 17:24
  Speaker 1: dead people, and the ghosts that he sees there everywhere.
• 17:28
  Speaker 1: They don't know that they're dead. He sees them all
• 17:30
  Speaker 1: the time, and it's just they're very melodramatic, these ghosts
• 17:34
  Speaker 1: that he sees, they apparently have all died very violent
• 17:37
  Speaker 1: deaths as well. There's no I thought that was because
• 17:40
  Speaker 1: of its like, oh, it's just people with unfinished business
• 17:43
  Speaker 1: who they're unfinished businesses. I want to scream at Haley
• 17:46
  Speaker 1: Joel Osman, like their unfinished business has never really made
• 17:51
  Speaker 1: that clear. They just want to yell at him and
• 17:53
  Speaker 1: scare him. It's a lot of people died having not
• 17:56
  Speaker 1: yelled at him yet, and that is what a as
• 18:00
  Speaker 1: them to pass on. I guess who knows This movie
• 18:04
  Speaker 1: makes no sense. So Malcolm assumes that Cole seeing dead
• 18:08
  Speaker 1: people is the result of a mental illness. But we
• 18:12
  Speaker 1: start to learn that there actually are dead people walking
• 18:16
  Speaker 1: around who torment and abuse and yellow at coal. So
• 18:21
  Speaker 1: Malcolm he's under a lot of pressure. He says he's
• 18:23
  Speaker 1: going to transfer Cole to another doctor because he needs
• 18:26
  Speaker 1: to spend more time with his wife's wife and because
• 18:30
  Speaker 1: his wife is getting a little flirty with some guy,
• 18:34
  Speaker 1: and Bruce Willis is acting out about it because he
• 18:37
  Speaker 1: doesn't know he's dead and so forth right, but Cold
• 18:43
  Speaker 1: begs Malcolm to help him and believe him because you know,
• 18:47
  Speaker 1: hashtag believe Haley. I think everyone in the crowd would
• 18:53
  Speaker 1: agree we as a fan base believe Haley. Joelw Hosmins.
• 19:00
  Speaker 1: So Malcolm starts to reflect back on his treatment of
• 19:04
  Speaker 1: Vincent the person from the beginning of the movie Christian Bale,
• 19:08
  Speaker 1: not Christian Bale, Donnie Wahlberg, and he plays back some
• 19:12
  Speaker 1: old tapes, and Malcolm realizes that Vincent had this same
• 19:18
  Speaker 1: seeing dead people curse, which we learn apparently only afflicts
• 19:23
  Speaker 1: little boys whose parents are divorced. That's Malcolm is obsessed
• 19:29
  Speaker 1: with divorce. Anytime you see him, like treating a patient,
• 19:34
  Speaker 1: the first thing about them is like first name, last name,
• 19:37
  Speaker 1: status of parents, marriage and that, like he's so, and
• 19:40
  Speaker 1: then he's like divorced. Okay, this kid is going to
• 19:43
  Speaker 1: be I'm like, you know, by that logic, half of
• 19:46
  Speaker 1: the planet would see people. Yeah, which we do. Well,
• 19:53
  Speaker 1: you were a child of divorce, y, yes, right now,
• 19:59
  Speaker 1: but I can see them. My parents are their marriage
• 20:02
  Speaker 1: is legally binding, so I can't see dead people. Have Yeah,
• 20:06
  Speaker 1: get them to sign the papers. Your life is going
• 20:08
  Speaker 1: to change. Bryce Willis is going to show up, Okay,
• 20:16
  Speaker 1: So Malcolm he realizes that the dead people that Cole
• 20:21
  Speaker 1: is seeing just want help from Coal. They want cold
• 20:24
  Speaker 1: to help them, and he thinks, he's like, if you
• 20:27
  Speaker 1: just listen to them, they'll go away. Um. But it's
• 20:31
  Speaker 1: still very unclear what some of the ghosts want to
• 20:33
  Speaker 1: help with, because we really only find out about one
• 20:36
  Speaker 1: of them, which is ghost She shows up. She's puking
• 20:40
  Speaker 1: everywhere and then feminists. Cole is like, Hi, how can
• 20:48
  Speaker 1: I help you? And this is his first customer service.
• 20:54
  Speaker 1: That is a lot of customer services. Someone puking at
• 20:56
  Speaker 1: you and you're being like, I don't mind this. Like
• 21:02
  Speaker 1: so we cut to Cole and Malcolm going to her
• 21:04
  Speaker 1: funeral and everyone thinks she died of a terminal illness,
• 21:08
  Speaker 1: but Cole helps uncover that Misha Barton was actually being
• 21:12
  Speaker 1: poisoned by her own mother. In a scene that hint
• 21:15
  Speaker 1: hint passes the Bechtel test when you know what your
• 21:17
  Speaker 1: mom is killing you and it passes. That was a
• 21:22
  Speaker 1: wild one. She was like, I want you to eat
• 21:29
  Speaker 1: your soup and don't complain about how it tastes. Passes.
• 21:37
  Speaker 1: This is one of my new favorite passes. It's really good.
• 21:43
  Speaker 1: So that has been resolved, and then Cole tells his
• 21:47
  Speaker 1: mom about his secret. There's this exchange about she's dressed
• 21:50
  Speaker 1: like grandmother, right, and Malcolm is like, Okay, I'm gonna
• 21:56
  Speaker 1: try to reconnect with my hint his wife. But but
• 22:00
  Speaker 1: it's because Cole says something that outside the context of
• 22:03
  Speaker 1: the movie is like, He's like, I know what you
• 22:06
  Speaker 1: should do talk to your his wife while she's asleep,
• 22:10
  Speaker 1: and I'm like, if he's alive, this is the scariest
• 22:13
  Speaker 1: thing that's ever been set. Like, imagine waking up and
• 22:17
  Speaker 1: someone you love being like, I just wish I could connected.
• 22:28
  Speaker 1: I feel like text me, I know, just yeah. But
• 22:34
  Speaker 1: but like Haley Joel Osmi gives this advice because he
• 22:36
  Speaker 1: knows Bruce Willis is dead, and Bruce Willis just receives
• 22:39
  Speaker 1: it like never thought. Okay, That's what I'm unclear about.
• 22:42
  Speaker 1: Does Haley Joel know that he definitely does? Yeah, that's
• 22:47
  Speaker 1: what when he says all the time, he's like, literally
• 22:50
  Speaker 1: right now, I'm saying dead people. Wait, am I the
• 22:56
  Speaker 1: am I alone here? I thought that he didn't know.
• 23:00
  Speaker 1: He definitely knows. He definitely, Like he gives hints all
• 23:03
  Speaker 1: the time that he knows. My interpretation maybe I'm giving
• 23:07
  Speaker 1: m night Shine like too much credit, but my interpretation
• 23:10
  Speaker 1: is he doesn't tell Bruce Willis that he's dead because
• 23:12
  Speaker 1: if he tells him he's dead, Bruce Willis will disappear,
• 23:15
  Speaker 1: he'll go away, and he doesn't want Bruce Willis to
• 23:17
  Speaker 1: go away because daddy issues. However interpreted, I interpreted knows
• 23:24
  Speaker 1: that he had no idea and he was like, Oh,
• 23:27
  Speaker 1: here's a child psychologist conveniently here to help me. Did
• 23:31
  Speaker 1: you underestimate Hayley John Osman. He well, no, because at
• 23:35
  Speaker 1: the end he says like, this is the last time
• 23:37
  Speaker 1: I'm going to see you, huh, because he knows that,
• 23:40
  Speaker 1: Like I think maybe he figures it out by the end.
• 23:43
  Speaker 1: Maybe I don't know. I literally I was like, he
• 23:47
  Speaker 1: doesn't know, just like we don't know. Well. It's like,
• 23:50
  Speaker 1: I mean, the logic of this movie relies on Bruce
• 23:53
  Speaker 1: Willis his character being very stupid, which he is, but
• 23:57
  Speaker 1: it's like there's multiple scenes where it's like if you
• 23:59
  Speaker 1: were Lee Joel Osmond and there was a strange man
• 24:02
  Speaker 1: in your hospital room that your mom had never met,
• 24:06
  Speaker 1: you would be like, mom, you know, but like but psycho,
• 24:11
  Speaker 1: but a psychologist, But like we don't. I mean, Bruce
• 24:14
  Speaker 1: Willis just shows up and he's like, I'm You're like,
• 24:16
  Speaker 1: I don't know. I think Hayley Joel Osmond knows. Well.
• 24:18
  Speaker 1: One of my questions that would poke holes in the
• 24:21
  Speaker 1: story logic is like how did this patient doctor relationship start.
• 24:27
  Speaker 1: That's why I feel like Hayley Joel Osmond just accepts
• 24:29
  Speaker 1: it because he can tell when people are dead, and
• 24:31
  Speaker 1: he's like, oh, this ghost seems like less bleeding than usually. Like,
• 24:38
  Speaker 1: let's see where this goes? Got it? Okay, well this
• 24:42
  Speaker 1: has just crumbled my entire life. I could be wrong.
• 24:47
  Speaker 1: I don't know that. I want to take a poll.
• 24:50
  Speaker 1: Can we who read it the way that Jamie reads it?
• 24:53
  Speaker 1: That Hayley knew that grando applause? Okay, okay, A fair
• 24:58
  Speaker 1: amount of people okay, rand up, applause who did not know?
• 25:03
  Speaker 1: And I thought that Cole does not know that he's
• 25:05
  Speaker 1: a ghost. Okay, okay. So we have some MENSA members
• 25:10
  Speaker 1: in the room, and we have some people's master's degrees
• 25:15
  Speaker 1: in the room. You know, being a MENSA member costs
• 25:19
  Speaker 1: sixty how much? Anyways, I don't know. I mean, I
• 25:26
  Speaker 1: guess it doesn't. I mean, at the end of the day,
• 25:28
  Speaker 1: how hard was and they trembled thinking about that? I
• 25:31
  Speaker 1: mean not there's so many plot holes? Um okay? So
• 25:35
  Speaker 1: they So Bruce Wallis is like, I gotta go reconnect
• 25:38
  Speaker 1: with my wife, and then his attempt to do that
• 25:43
  Speaker 1: makes him learn that he's been dead the whole time
• 25:51
  Speaker 1: because he was shot. He was killed whenever when when
• 25:55
  Speaker 1: shot him? Yes, and uh, that's the movie. And then
• 26:00
  Speaker 1: we're like, wow, it's perfect. No notes, Okay, I mean
• 26:12
  Speaker 1: should we start with like what a dogshit child? Psychologist?
• 26:16
  Speaker 1: Malcolm is like alive or dead. He's he's trash, he's
• 26:21
  Speaker 1: so bad. Like he we've already sort of talked a
• 26:23
  Speaker 1: little bit about his like obsession with divorce, where he's
• 26:28
  Speaker 1: like divorce equals mental illness equals ghosts. Like he's like
• 26:34
  Speaker 1: really taking it a long way. And then another thing
• 26:37
  Speaker 1: that I noticed just throughout the movie is he also
• 26:40
  Speaker 1: has a like a strong aversion to medicating any sort
• 26:44
  Speaker 1: of mental illness. There's this really dramatic shot when he's
• 26:48
  Speaker 1: first of all, watching his wife shower. She doesn't know
• 26:52
  Speaker 1: he's there, and then he so, okay, weird to start,
• 26:58
  Speaker 1: and then he it pans over and there's a very
• 27:00
  Speaker 1: dramatic shot of her bottle of zoe loft, and he's
• 27:03
  Speaker 1: like like, first of all, everyone on the planets is
• 27:09
  Speaker 1: all like like what are you taught? Like? And he's
• 27:11
  Speaker 1: a psychologists, a psychologist. I'm like, oh my god, have
• 27:16
  Speaker 1: you never prescribed someone zoved? You? Probably should, you know.
• 27:21
  Speaker 1: So he's he's like so deeply shocked that his wife
• 27:24
  Speaker 1: would dare to go so far as to take Zolf
• 27:29
  Speaker 1: and then when Cole tells him, you know, I see
• 27:33
  Speaker 1: dead people that are around me all the time. And
• 27:35
  Speaker 1: then Malcolm like reassesses his like evaluation of Colon. He's like, oh,
• 27:40
  Speaker 1: it's like worse than I thought. He might need hospitalization
• 27:44
  Speaker 1: and medication, and then proceeds to not do anything about it.
• 27:48
  Speaker 1: Like he's just like, well, we'll just meet like several
• 27:51
  Speaker 1: more times. I'll go to his play. So that's like
• 27:56
  Speaker 1: also dr patient, Like that breaches something right, Like imagine
• 28:00
  Speaker 1: if if my like therapist came to like here, I
• 28:06
  Speaker 1: would be like get stage less talk. But like, but
• 28:11
  Speaker 1: in theory, that's very unprofessional, Yes, I think so. But
• 28:15
  Speaker 1: one okay, but one thing I did like that Bruce
• 28:17
  Speaker 1: Willis does was when he leaves the first place he
• 28:19
  Speaker 1: goes to two plays. Also he's like school has so
• 28:22
  Speaker 1: many plays, which goes into the whole daddy issues thing
• 28:25
  Speaker 1: that I have later. But um, at the end of
• 28:28
  Speaker 1: the first play, he's like, well it was better than cats,
• 28:30
  Speaker 1: and You're like, you fucking idiot, like this was not
• 28:35
  Speaker 1: better than and then we're like, oh, well, I never
• 28:39
  Speaker 1: was there ever. A cat's so clever imagine, and there's
• 28:46
  Speaker 1: and there's also like, first of all, like Hailey Hilsmond
• 28:49
  Speaker 1: wishes he was Skimble Shanks in his wildest dreams and
• 28:53
  Speaker 1: he could have done I have no doubt, but you know,
• 28:56
  Speaker 1: which was a majority British cast. But all that to say, um,
• 29:03
  Speaker 1: you know what is that phrase about people? Is it?
• 29:05
  Speaker 1: People in glass houses? Shouldn't throw stones? M night shimels
• 29:09
  Speaker 1: coming after Cats? I'm like, it's all bad, honey, Like
• 29:13
  Speaker 1: it's all you can't be like in the middle of
• 29:16
  Speaker 1: the sixth sense the stupidest movie ever and be like
• 29:19
  Speaker 1: Cat sucked, right, I'm like, sir, it all sucked. Like
• 29:26
  Speaker 1: calm down, I okay, I don't think this movie is terrible.
• 29:30
  Speaker 1: I don't. I don't think it's terrible. I just think
• 29:32
  Speaker 1: it's dumb. It's very stupid. Dumb movies are fun all
• 29:35
  Speaker 1: the time. For example Cats, of course, can I ask
• 29:40
  Speaker 1: my questions? Ask your questions? Thank you so much. Okay,
• 29:44
  Speaker 1: So the movie does a little bit to show the
• 29:47
  Speaker 1: Malcolm and his his his wife have grown apart and
• 29:51
  Speaker 1: they don't really talk anymore. But we're to believe that
• 29:54
  Speaker 1: he's been dead for several months. He's been doing for
• 29:57
  Speaker 1: a while, and then it's like we just I'm mean,
• 30:00
  Speaker 1: the story logic is so bizarre where it's like, I mean,
• 30:03
  Speaker 1: and most people did suspend their disbelief, like I mean,
• 30:06
  Speaker 1: including me, and but it's like we're to believe that, um,
• 30:10
  Speaker 1: Bruce Willis has not spoken to his wife, had a conversation,
• 30:14
  Speaker 1: they wouldn't have had sex or like kissed or anything
• 30:18
  Speaker 1: like that, which I mean, it happens, but like I mean,
• 30:23
  Speaker 1: if you're not even having a conversation, eventually you're gonna
• 30:26
  Speaker 1: be like, hey, you like okay, So like that would
• 30:31
  Speaker 1: be me like day two, I mean I would be like,
• 30:35
  Speaker 1: excuse me, past the but what does he been eating? You? Right?
• 30:41
  Speaker 1: What does he She's been making dinner for one And
• 30:44
  Speaker 1: then like day fifty, he's like I'm hungry, Like what
• 30:49
  Speaker 1: you would you humor me, Jamie and you pretend to
• 30:53
  Speaker 1: be my wife and I'll be dead Bruce Willis, and
• 30:58
  Speaker 1: You're just gonna have to ignore everything I day because
• 31:00
  Speaker 1: I'm dead right, Okay, I'm horny for someone. Also, it
• 31:05
  Speaker 1: is kind of okay, wait, can I break um the
• 31:08
  Speaker 1: fact that it has only been a couple of months,
• 31:10
  Speaker 1: and she's like, I should probably be fucking I'm like,
• 31:13
  Speaker 1: you know what, everyone grieves differently. I'm okay with a
• 31:18
  Speaker 1: very horny grief. Okay, So you're my bed his wife
• 31:22
  Speaker 1: and his wife. Hey, honey, how was your day at work? Honey?
• 31:28
  Speaker 1: Did you have Why are you ignoring me? Did you
• 31:30
  Speaker 1: have a bad day? Something wrong? Yeah? That's also we
• 31:43
  Speaker 1: were to believe that she hasn't talked about it at all,
• 31:46
  Speaker 1: like he's never walking on her on the phone, being
• 31:49
  Speaker 1: like so about my husband's assets, like right, or like
• 31:54
  Speaker 1: the funeral, the funeral? Where was he what? Or I
• 31:58
  Speaker 1: mean it was it? Are we supposed to believe that
• 32:00
  Speaker 1: maybe he like came to said but then we okay,
• 32:04
  Speaker 1: someone saying yes. But then it's also like he's acting
• 32:07
  Speaker 1: like we've been growing apart for months and so I
• 32:11
  Speaker 1: don't know, I don't know. It doesn't make sense. But
• 32:14
  Speaker 1: it was nominated for many oscars, not the first time. Okay.
• 32:19
  Speaker 1: So does Malcolm not notice or care that he apparently
• 32:22
  Speaker 1: has only one patient and it's and one outfit, one outfit,
• 32:32
  Speaker 1: one outfit, yeah, his his sweater. Does he not notice
• 32:37
  Speaker 1: that no one seems to talk to him except a
• 32:39
  Speaker 1: small child? Um? No, he does. He thinks people are
• 32:45
  Speaker 1: talking around him all the time, but no one ever
• 32:47
  Speaker 1: direct Imagine if no one ever directly addressed you, you
• 32:50
  Speaker 1: would just feel like you were in junior high again,
• 32:52
  Speaker 1: Like it would be he's just living in right. No
• 32:55
  Speaker 1: one seems to notice he exists, but he doesn't notice that.
• 32:57
  Speaker 1: Does he think he's getting paid? Right? This jig goes
• 33:02
  Speaker 1: on for a while and you're like, is Tony Colette
• 33:06
  Speaker 1: supposed to be paying it? But it's like, I guess
• 33:08
  Speaker 1: they only see what they want to see, which is
• 33:10
  Speaker 1: like such a like throwaway line that excuses a lot
• 33:13
  Speaker 1: of plot holes. He's sending her like ghost bills. She's
• 33:17
  Speaker 1: not replying to his ghost invoices. You know we've all
• 33:23
  Speaker 1: been there, right, next question, Um, So various times when
• 33:27
  Speaker 1: it seems like Cole would be under adult supervision because
• 33:32
  Speaker 1: he seems to be with Malcolm, then you realize he
• 33:35
  Speaker 1: was just like alone in that hospital room, alone, walking
• 33:39
  Speaker 1: the halls of his school at night, alone, walking around
• 33:43
  Speaker 1: in a park like he was just like always a
• 33:44
  Speaker 1: talking talking talk no one. If you saw a tiny
• 33:48
  Speaker 1: little Haley Joel Osman baby talking to no one, you
• 33:51
  Speaker 1: would be like, I'm abducting you, you know, like you
• 33:55
  Speaker 1: might do that here my son. Now I don't know someone,
• 33:59
  Speaker 1: but some would do something. If not that, they would
• 34:04
  Speaker 1: be like are you, where's your mom? What's going on?
• 34:08
  Speaker 1: And then also why after Vincent Gray kills himself, why
• 34:13
  Speaker 1: does Cole never see him? Because he would be a
• 34:16
  Speaker 1: ghost unless he doesn't have any unfinished business. I guess
• 34:20
  Speaker 1: his business was to kill Bruce Willis. He was like,
• 34:22
  Speaker 1: I'm out, I don't know, we don't we have no
• 34:25
  Speaker 1: background for him. They're just like, well, child of divorce,
• 34:28
  Speaker 1: So clearly you're gonna want to kill Bruce Willis. Although
• 34:34
  Speaker 1: I think Vincent Gray is maybe one of the more
• 34:36
  Speaker 1: realistic characters in the story because he showed, I mean,
• 34:39
  Speaker 1: the ends don't justify the I don't know if I'm
• 34:42
  Speaker 1: using that phrase correctly, but you know, he does say, hey,
• 34:46
  Speaker 1: Bruce Willis, you're a shitty psychologist. You said because I
• 34:50
  Speaker 1: was divorced, I would like my parents were divorced. I
• 34:53
  Speaker 1: was satan and now you will pay Like that part
• 34:56
  Speaker 1: shouldn't have happened. But like up till then, he was
• 34:59
  Speaker 1: like really on a roll. He was a bad child psychologist. Also,
• 35:04
  Speaker 1: he's always violating hippo laws because he's like telling his
• 35:07
  Speaker 1: life about his patient. Nation that's not allowed. It's I know, well,
• 35:15
  Speaker 1: it's well because he has to talk about his job
• 35:18
  Speaker 1: to his wife, because we don't know anything about his
• 35:21
  Speaker 1: wife other than she's like, I feel neglected, and then
• 35:23
  Speaker 1: he dies we do find out. So if we're talking
• 35:26
  Speaker 1: about I mean, unfortunately, there's really not a ton of
• 35:29
  Speaker 1: discussion to be had about his wife because we know
• 35:33
  Speaker 1: so little about her other than she was married to him.
• 35:37
  Speaker 1: And then she's sad that she's not around anymore. She says,
• 35:41
  Speaker 1: home watching the wedding tape, you know, the whole bit
• 35:43
  Speaker 1: she's wearing out the VHS. There's one scene where we
• 35:46
  Speaker 1: see her at work at I think an antique shop
• 35:49
  Speaker 1: that sells jewelry. But the one thing we see her working,
• 35:53
  Speaker 1: she's like gaslighting a couple into buying a diamond ring
• 35:58
  Speaker 1: they clearly can't afford. Um. And then the unnamed female character,
• 36:05
  Speaker 1: one of the only non white characters in the movie, Um,
• 36:08
  Speaker 1: she's talking to her future husband and and she and
• 36:12
  Speaker 1: you know, it's just like it's kind of the classic
• 36:14
  Speaker 1: trope of like women be desiring blood diamonds, and and
• 36:21
  Speaker 1: so his wife, you know, gaslights the couple into being like, no,
• 36:26
  Speaker 1: this is actually a good idea and so that scene
• 36:29
  Speaker 1: is bad. Also, why is that scene really there? Does that? Uh?
• 36:35
  Speaker 1: What happens after that is the guy who's like who's
• 36:40
  Speaker 1: interested in her and who Bruce Willis is jealous of.
• 36:44
  Speaker 1: She she like gives him a gift. But we didn't
• 36:46
  Speaker 1: need the scene prior to that at a thing, We
• 36:48
  Speaker 1: didn't really need everything. I mean, I'm like, I didn't
• 36:52
  Speaker 1: all the scenes. You're like, I guess I could take
• 36:54
  Speaker 1: or leave it, Like, but that was a weird one.
• 36:56
  Speaker 1: And and yeah there is is he named there's like,
• 37:00
  Speaker 1: there's some guy who is interested in her and then
• 37:04
  Speaker 1: she's like, but but I can't, you know, because she's
• 37:08
  Speaker 1: not um through her grief process, which which is I
• 37:11
  Speaker 1: think like a valid arc. But that's the most you
• 37:14
  Speaker 1: get out of her, is like she is someone who
• 37:16
  Speaker 1: has lost her spouse recently and is like not sure
• 37:20
  Speaker 1: if she's ready to move on. That all makes sense, um,
• 37:23
  Speaker 1: but that's like literally all we get, right. I mean, overall,
• 37:28
  Speaker 1: the women who are in the story are really only
• 37:32
  Speaker 1: there because of their relationships to the two main male characters,
• 37:36
  Speaker 1: Mothers and Wives. That's just Mothers and Wives and the
• 37:41
  Speaker 1: Tony Collette character is slightly more important. Yeah, I think
• 37:45
  Speaker 1: the most important female character, which is like I'm not
• 37:49
  Speaker 1: saying that much, but they cast Tony Collette, you know,
• 37:53
  Speaker 1: so you're like that's significant, right, her character, I mean
• 37:57
  Speaker 1: I like her character. I think we are told that
• 38:00
  Speaker 1: she she's a single parent because divorce equals ghosts, and
• 38:05
  Speaker 1: she's a single parent. She has two jobs, but we
• 38:08
  Speaker 1: don't know what either of them are, right, which is like,
• 38:11
  Speaker 1: all right, I'm not ti one was you know, we
• 38:13
  Speaker 1: got you know, but she's it's just supposed to be
• 38:17
  Speaker 1: like she's working very hard, and then it's a Tony
• 38:20
  Speaker 1: Collette role in the nineties or early two thousands, so
• 38:23
  Speaker 1: she's like, what's going on with my son? Right? Yeah,
• 38:26
  Speaker 1: although I would say so what little we do know
• 38:28
  Speaker 1: about her, right, is that she she's divorced, she's working
• 38:31
  Speaker 1: two jobs. She is really good, a really good mother.
• 38:34
  Speaker 1: She's very caring and attentive. I think she's like appropriately
• 38:39
  Speaker 1: concerned for Cole's safety while also being like frustrated by
• 38:44
  Speaker 1: his at times alarming behavior because he's being haunted by ghosts.
• 38:49
  Speaker 1: But then her also like she's frustrated by her own
• 38:52
  Speaker 1: inability to help him, Like there's that scene where she's
• 38:54
  Speaker 1: just like they're kind of arguing about this like Bumblebee pendant,
• 38:58
  Speaker 1: and she's like, I'm so I'm tired in my body,
• 39:02
  Speaker 1: in my mind, in my heart, and like you can
• 39:04
  Speaker 1: tell she's like trying very hard to be a good
• 39:07
  Speaker 1: mother and she just has a son who sees dead people.
• 39:11
  Speaker 1: So how do you mean mothers in the audience that? Um? Yeah, No,
• 39:18
  Speaker 1: I mean I I I like her character, and I
• 39:21
  Speaker 1: also think that we don't in like pop culture in general,
• 39:25
  Speaker 1: you don't get a ton of mother son's stories that
• 39:29
  Speaker 1: um play out eventually as positively as this one does.
• 39:33
  Speaker 1: I feel like there's and and this movie has this
• 39:35
  Speaker 1: as well, but there's a lot of father son's stories
• 39:39
  Speaker 1: because men be making movies about their problems. Um. But
• 39:44
  Speaker 1: I think that like mother's son relationships are kind of
• 39:47
  Speaker 1: under represent and father daughter as well. But um yeah,
• 39:51
  Speaker 1: So so I like that you understand why Tony Colette
• 39:55
  Speaker 1: feels frustrated. It doesn't seem irrational at all. And you
• 39:58
  Speaker 1: also understand why Cole is an of is to tell
• 40:00
  Speaker 1: her because he doesn't want to be labeled as, you know,
• 40:04
  Speaker 1: an unstable child of divorce, which Bruce Willis is labeling
• 40:08
  Speaker 1: him ask um. So I like their relationship and I
• 40:12
  Speaker 1: also like because I sort of forgot, I forgot about
• 40:15
  Speaker 1: the scene, the scene where she stresses Velma at the end,
• 40:18
  Speaker 1: which does make me cry, um because I'm easily manipulated,
• 40:22
  Speaker 1: but um where their relationship resolves is and the way
• 40:27
  Speaker 1: that sort of Haley Joel Osmond proves to Tony Collette
• 40:30
  Speaker 1: that she should believe Haley Joel Osmond is he, you know,
• 40:35
  Speaker 1: shares an anecdote about his grandmother, her mother who passed away,
• 40:40
  Speaker 1: and they're crying and she believes him, and you don't know.
• 40:43
  Speaker 1: I'm like, what is she going to do now? Like
• 40:45
  Speaker 1: we don't really know, but you're like, okay, They're okay.
• 40:49
  Speaker 1: She believes him and they're going to figure it out,
• 40:50
  Speaker 1: which I think was like a lovely mother son relationship
• 40:55
  Speaker 1: arc indeed, especially because in that moment we realize that
• 41:00
  Speaker 1: Haley Joel Osmond's character is a feminist icon because he's
• 41:03
  Speaker 1: trying to help women pass the Bechdel test. He's like, hey, mom,
• 41:08
  Speaker 1: Grandma says, Hi, she saw you at the dance recital
• 41:13
  Speaker 1: and she wants you to know that you make her
• 41:15
  Speaker 1: proud every day. And Tony class not catching on. She's like,
• 41:19
  Speaker 1: uh huh. I'm like, no, you have to talk to her,
• 41:23
  Speaker 1: Come on there. Haley Cosmond's okay, his entire character, like
• 41:28
  Speaker 1: his name is cold, but it's like it's Haley to Osmond,
• 41:31
  Speaker 1: um his whole character. I like his character. I think
• 41:35
  Speaker 1: Cole is a little sweetie pie. He's a troubled boy.
• 41:38
  Speaker 1: But he's literally being haunted by every plot ghost. Every
• 41:45
  Speaker 1: plot relevant ghost is haunting him. All the non plot
• 41:48
  Speaker 1: relevant ghost who knows where they are. Um, But I
• 41:51
  Speaker 1: like the first ghost that he's able to break through
• 41:54
  Speaker 1: with is Misha Barton, So he's help helping women expose
• 42:00
  Speaker 1: their mother's crimes feminists. Um, he's an ally. He's an ally.
• 42:05
  Speaker 1: He just is Um. But but what I really do
• 42:08
  Speaker 1: like about the way, and it's like I don't know
• 42:10
  Speaker 1: how intentional this is, because I don't think that this
• 42:12
  Speaker 1: is like a movie that's like meant to show like
• 42:16
  Speaker 1: young people a role model through this haunted child. But
• 42:21
  Speaker 1: maybe I don't, we don't know. But but in general,
• 42:24
  Speaker 1: I mean I think it would be kind of like
• 42:26
  Speaker 1: an easy, bad writing thing to have, you know, because
• 42:30
  Speaker 1: like Haley draw Osmond's character is being bullied like other
• 42:33
  Speaker 1: boys who are very like, you know, emulating macho behaved
• 42:38
  Speaker 1: Tommy to Tamas Seema. He's a cough syrup commercial so
• 42:43
  Speaker 1: he's the best actor in the world. He's like that
• 42:46
  Speaker 1: character hilarious icon, uh, feminist icon Tommy tamas you know,
• 42:53
  Speaker 1: um question mark. But you know we see all we
• 42:58
  Speaker 1: see other other young boys like bullying Haley Joel Osmond,
• 43:01
  Speaker 1: and he's very like typically like macho ways and Haley
• 43:06
  Speaker 1: Jelosmond doesn't respond with like toxicity. He's just like, I've
• 43:10
  Speaker 1: got bigger fish to fry. I look Tommy Tennessineo, we'll
• 43:14
  Speaker 1: deal with him later. We've got we've got ghosts that
• 43:17
  Speaker 1: are screaming, like so scratching him and they're scratching him.
• 43:22
  Speaker 1: Why are they scratching him? He's so nice. Also, on
• 43:27
  Speaker 1: the rewatch the special effects in this movie. I'm like,
• 43:30
  Speaker 1: I looked up because I'm like, maybe this movie was
• 43:32
  Speaker 1: made for fourteen dollars, but it was not. It was
• 43:35
  Speaker 1: they had a forty million dollar budget in so like
• 43:39
  Speaker 1: even more now. But if you look at there's a
• 43:41
  Speaker 1: scene where you see, um, I mean, you know, female
• 43:45
  Speaker 1: ghosts representations pretty good in this movie. But one of
• 43:48
  Speaker 1: the first ones is a mother who has um. We're
• 43:50
  Speaker 1: to like she split her wrists. We don't find anything
• 43:54
  Speaker 1: else out other than she wants to scream like her
• 43:56
  Speaker 1: unfinished business. We don't know. I think she it's implied
• 44:00
  Speaker 1: that she has an abusive husband, right, but it's like,
• 44:04
  Speaker 1: what's Haley joel Osma going to do about that? Anyway?
• 44:07
  Speaker 1: But but when when she turns and we see the
• 44:09
  Speaker 1: special effects, it's literally like I party, like like it's
• 44:14
  Speaker 1: like the effects are not there. It's just like, yeah,
• 44:17
  Speaker 1: it's Halloween makeup that they're wearing. And then Misha Barton
• 44:21
  Speaker 1: has like a CVS brand like ghost makeup on her um.
• 44:27
  Speaker 1: Going back to the mother son relationship because I I
• 44:33
  Speaker 1: also quite like the way it plays out, especially because
• 44:36
  Speaker 1: so you know she's a single mother. We're not totally
• 44:40
  Speaker 1: sure how recent the divorce was, or how recently his
• 44:45
  Speaker 1: dad left, or how long he's been seeing ghosts, but
• 44:48
  Speaker 1: we have to assume since the day alcause there's all
• 44:51
  Speaker 1: those photos on the wall where like Tony Klauds like
• 44:54
  Speaker 1: what's this little shimmer in this photograph? And there was
• 44:56
  Speaker 1: some of h Well, then that challenges I thought it
• 45:00
  Speaker 1: was like, oh, your father and I got divorced and
• 45:03
  Speaker 1: that second is like boop, like ghosts have logged in. Oh,
• 45:09
  Speaker 1: so it's just like you're born with it. Maybe he
• 45:12
  Speaker 1: thought it was once your parents get divorced, you see ghosts.
• 45:15
  Speaker 1: Maybe it's that when you have a baby who sees ghosts,
• 45:19
  Speaker 1: it's so much pressure on your marriage that you get divorced.
• 45:23
  Speaker 1: Oh is a self fulfilling prophecy. You're like, why is it?
• 45:26
  Speaker 1: Why are there so many orbs in this picture of
• 45:28
  Speaker 1: our son? And then they break up? So really, when
• 45:35
  Speaker 1: you what you're saying is the divorce is Haley Joel
• 45:38
  Speaker 1: Osmond's fault, and we love to hear that the divorce
• 45:42
  Speaker 1: was the child's fault. I don't wishing interesting you would say,
• 45:49
  Speaker 1: but the relationship between mother and son in a lot
• 45:53
  Speaker 1: of movies you would see that dynamic play out where
• 45:56
  Speaker 1: like the boy would be like, when's daddy coming home?
• 45:59
  Speaker 1: Where's my dad? Like, either in an implicit or an
• 46:02
  Speaker 1: explicit idea that the mother isn't enough he needs a
• 46:06
  Speaker 1: male parental figure. I agree with that, but I would
• 46:09
  Speaker 1: also because Cole doesn't do that. But yeah, well, but
• 46:14
  Speaker 1: because it's like you know, it's Tony Collett, like it's
• 46:17
  Speaker 1: made very clear that she is a good mother, she's
• 46:20
  Speaker 1: trying her best to understand. But but then you kind
• 46:23
  Speaker 1: of I feel like m Night Shamling kind of has
• 46:25
  Speaker 1: it both ways because Bruce Willis comes in, he becomes
• 46:29
  Speaker 1: this parental figure. He's showing up to plays, he's showing
• 46:33
  Speaker 1: up to the hospital, he's doing these quote unquote fatherly duties,
• 46:36
  Speaker 1: and it's I feel like the plot would have you
• 46:39
  Speaker 1: believe that Haley Joe Osmond wouldn't have been able to
• 46:41
  Speaker 1: resolve his issues without this ghost father figure appearing and
• 46:46
  Speaker 1: then like probably kind of dramatically disappearing. But I don't know.
• 46:52
  Speaker 1: I was sort of because I was like, oh, that's
• 46:54
  Speaker 1: cool that, Like I do I love the mother son relationship.
• 46:57
  Speaker 1: But but I feel like there's also the slight implication
• 47:01
  Speaker 1: by the movie that Tony Colett couldn't have gotten the
• 47:04
  Speaker 1: job done on her own, like they ghost Daddy needed
• 47:06
  Speaker 1: to come in for a few weeks. Wasn't a ghost,
• 47:10
  Speaker 1: so she can't help with the ghosts, I know, which
• 47:12
  Speaker 1: is just like rude. It's like Tony could be a
• 47:15
  Speaker 1: ghost if she wanted. He didn't tell her, but I
• 47:20
  Speaker 1: I don't know. Yeah, it was like it wasn't like
• 47:22
  Speaker 1: I I and again I'm just like, I don't know
• 47:24
  Speaker 1: who who was thinking this hard about it. I think
• 47:27
  Speaker 1: we're we have like thought a few laps around the
• 47:30
  Speaker 1: first draft of the script, but um, I don't know.
• 47:33
  Speaker 1: I feel like there is the implication that it's still
• 47:36
  Speaker 1: like that nuclear family dynamic that is able to accomplish
• 47:40
  Speaker 1: what the story wants to. I see what you're saying,
• 47:42
  Speaker 1: but I feel like Bruce willis who knows how long
• 47:45
  Speaker 1: he's been stalking Cold before they actually start talking to
• 47:48
  Speaker 1: each other. But I feel like it's implied that he's
• 47:51
  Speaker 1: only around for maybe a few weeks or a couple
• 47:55
  Speaker 1: of months or so before he then like disappears, because
• 47:58
  Speaker 1: it's like he needs to help Cole needs to help
• 48:01
  Speaker 1: Mischelle Barton for some reason. And then everyone's fine, question
• 48:05
  Speaker 1: like we don't know they need to help each other
• 48:09
  Speaker 1: like ather On me but there, but I don't know. Yeah,
• 48:13
  Speaker 1: the I said, ultimately, the doomsday clock is at a
• 48:18
  Speaker 1: hundred seconds. That's what I'm gonna start saying when I
• 48:24
  Speaker 1: run out of idea. Ok Uh, there is like there's
• 48:30
  Speaker 1: a few times when you learn that like Cole wears
• 48:32
  Speaker 1: his dad's like glasses, or like the frames of his
• 48:35
  Speaker 1: glasses or like his watch. Maybe it's just like a
• 48:37
  Speaker 1: small attempt to be like I wish my daddy was
• 48:40
  Speaker 1: still here. But it's not overwhelming. But then yeah, because
• 48:43
  Speaker 1: you know, Bruce Willis does sort of step into be
• 48:45
  Speaker 1: his his dad, his father. Yeah, I don't know, like yeah,
• 48:50
  Speaker 1: most of the stuff. I mean, I feel like there's
• 48:52
  Speaker 1: a version of this movie that would have like hit
• 48:54
  Speaker 1: on that theme way harder, in a more egregious way. Um,
• 48:58
  Speaker 1: But as it is, I mean, I mean, it's it's fine. Yeah,
• 49:03
  Speaker 1: it's fine. We do see Tony Collect's character doing laundry
• 49:13
  Speaker 1: in two different scenes. Well, who else is gonna do it? Well,
• 49:16
  Speaker 1: that's true, two scenes is unnecessary. One scene max one
• 49:20
  Speaker 1: scene we're like, well this is you know, like she's
• 49:22
  Speaker 1: obviously who else would be doing it in two scenes
• 49:25
  Speaker 1: where like what are her jobs? She has two jobs?
• 49:29
  Speaker 1: Why does she let her son roam around at night
• 49:32
  Speaker 1: with nobody? There's with ghosts? Where is the babysitter at
• 49:38
  Speaker 1: where is she? Or we don't know? Sorry, it's funny
• 49:42
  Speaker 1: to be inclusive with my babysitting. I'm trying to look
• 49:45
  Speaker 1: through my notes to see if I have anything else,
• 49:48
  Speaker 1: I wrote down a lot of female ghosts, a lot
• 49:51
  Speaker 1: of female ghosts. Um. I also, I mean I don't
• 49:55
  Speaker 1: even really know. Again, I'm just like, what really does
• 49:58
  Speaker 1: this plot point serve? He's able to help Misha Barton
• 50:02
  Speaker 1: ghost who's being killed by her mom, but we get
• 50:06
  Speaker 1: no insight as to like what's going on there, and
• 50:10
  Speaker 1: so that seemed just to me mostly read this very bizarre.
• 50:13
  Speaker 1: Misha Barton gets him the VHS evidence tape that she's
• 50:17
  Speaker 1: conveniently recorded, and then Haley Joe Osmond goes to her
• 50:22
  Speaker 1: father and it's like, here's evidence, and he's like, let
• 50:26
  Speaker 1: me watch it. During the way during the field, he
• 50:29
  Speaker 1: pops it in during the wake from a kid he's
• 50:31
  Speaker 1: never met who was there alone, because again Bruce Willis
• 50:36
  Speaker 1: is dead, he's at his wake alone, and like in
• 50:40
  Speaker 1: any other world it would be like a SpongeBob car too,
• 50:43
  Speaker 1: but like but in this case, this eight year old
• 50:48
  Speaker 1: standing important evidence about his daughter, and we see the
• 50:55
  Speaker 1: mother doing the like the Munchausen's by proxy thing she's doing,
• 50:58
  Speaker 1: and again in a very over the top visual signifiers
• 51:02
  Speaker 1: of like the thing that is clearly poison has like
• 51:05
  Speaker 1: a little X symbol on it, Yeah, what was that bottle?
• 51:09
  Speaker 1: What was it there? What is it? I don't know.
• 51:11
  Speaker 1: She pours in it. She she's like bleaching soup. So
• 51:17
  Speaker 1: we see her do the soup bleach, and then she
• 51:20
  Speaker 1: goes to Misha Barton like stopped saying the soup tastes
• 51:23
  Speaker 1: like bleach. Yeah, and we have no insight. I mean,
• 51:30
  Speaker 1: it's like I didn't know about even the term munchausens
• 51:33
  Speaker 1: by proxy until like the whole Gypsy Rose case like
• 51:37
  Speaker 1: five years ago, and let's talk about it after the show.
• 51:41
  Speaker 1: But I feel like munchausens by proxy and like the
• 51:44
  Speaker 1: idea of keeping someone sick intentionally was not a like
• 51:48
  Speaker 1: pop culture Like people didn't know about this then. So
• 51:51
  Speaker 1: the fact that it pops up and then her husband
• 51:56
  Speaker 1: like just confronts her and it's like why world, why
• 51:59
  Speaker 1: did you bleach the soup? And she just goes and
• 52:02
  Speaker 1: that's that's the last week. Does she get arrested? Like
• 52:08
  Speaker 1: do we get in the explanation? Like we get nothing?
• 52:12
  Speaker 1: And when I first saw this movie, I'm like, wow,
• 52:14
  Speaker 1: she seems like a real bit Like I'm like, but
• 52:18
  Speaker 1: that's clearly there's so much going on there. Then there's
• 52:21
  Speaker 1: so like it's such a complicated issue for m Night
• 52:24
  Speaker 1: ten to choose to be, Like, let me present this
• 52:27
  Speaker 1: very complex mental illness in one scene with characters you
• 52:31
  Speaker 1: don't know. I think there's a lot that gets like
• 52:35
  Speaker 1: seeds that get planted in the first movie that call
• 52:37
  Speaker 1: for a sequel. I think there should be a sequel
• 52:40
  Speaker 1: to the Sixth Sense. I think it should be called
• 52:41
  Speaker 1: the seventh Sense, even though that doesn't make sense. But
• 52:46
  Speaker 1: like again, like what happened? I want to know what
• 52:47
  Speaker 1: happens with like now that like he has a friendly
• 52:51
  Speaker 1: relationship with ghosts. Now I guess at the end that
• 52:54
  Speaker 1: we're supposed to believe, So like what does that look like?
• 52:57
  Speaker 1: You have to be careful though, because they will make
• 52:59
  Speaker 1: that movie. We don't actually want it. If anyone is listening,
• 53:04
  Speaker 1: that's like, maybe we should know we don't want it,
• 53:07
  Speaker 1: you know, because what it was that they just did
• 53:08
  Speaker 1: that with um the Shining, They were like, what if
• 53:11
  Speaker 1: the people are wondering, You're like, no one is wondering
• 53:15
  Speaker 1: what happened to Dan, Like no one gives a funk
• 53:17
  Speaker 1: what happened to Danny? So I just sorry, Hey, let's
• 53:23
  Speaker 1: talk about Hayley Joel Osmond for a second. He's had
• 53:26
  Speaker 1: a lot of great roles. Kaitlin. Maybe you've seen him
• 53:29
  Speaker 1: most recently in that Zac efron Ted Bundy movie, and
• 53:32
  Speaker 1: you wee see that he's he's he's he's finding that.
• 53:38
  Speaker 1: His whole role in that is he goes up to
• 53:40
  Speaker 1: Ted Bundy's ex girlfriend and who's like, I wish you
• 53:43
  Speaker 1: could get over Ted Bundy. That's his whole role. He's crying,
• 53:47
  Speaker 1: He's like, I I just Ted Bundy is cock blocking
• 53:51
  Speaker 1: me at every turn. Like so, he's not given much,
• 53:56
  Speaker 1: but he does a good job. My favorite post sixth
• 54:00
  Speaker 1: sense Haley Joel Osmond role is the movie sex Ed.
• 54:05
  Speaker 1: Has anyone on the planet besides me seeing sex Ed? Okay?
• 54:09
  Speaker 1: So sex Head is a movie that is currently streaming
• 54:14
  Speaker 1: for free on something called to Be Anyway Heny where
• 54:20
  Speaker 1: am I to Be? I was like what the fuck
• 54:22
  Speaker 1: is to be? And I downloaded it to watch the
• 54:24
  Speaker 1: sex said. Sex Ed is a movie where Haley Joel
• 54:29
  Speaker 1: Osmond plays a sex ed teacher named Ed. That's really
• 54:37
  Speaker 1: all you need to know to want to watch it.
• 54:40
  Speaker 1: But he plays a sex said teacher named Ed. He's
• 54:43
  Speaker 1: trying to he's having a bit of a dry spell,
• 54:45
  Speaker 1: but he's talking about sex all day, so he's horny.
• 54:50
  Speaker 1: Rhada Play is his best friend slash Landlord. She shows
• 54:54
  Speaker 1: up every few scenes to give exposition and then she disappears.
• 54:58
  Speaker 1: Um anyways, at the end, Hayley Joel Osmond has sex.
• 55:02
  Speaker 1: Whoa spoilers sorry and then whatever you like. At the end,
• 55:08
  Speaker 1: he was dead the whole time. You gotta watch sex said,
• 55:13
  Speaker 1: it's onto b Um, here's something that's sort of relevant
• 55:20
  Speaker 1: to what we normally discuss. Um. So there's there's a
• 55:25
  Speaker 1: component in this movie, and it's recurring in a lot
• 55:28
  Speaker 1: of like horror thriller movies. But um, something's happening to
• 55:31
  Speaker 1: someone and no one believes them at first. Um, and
• 55:35
  Speaker 1: groups of people who are often not believed. I see
• 55:38
  Speaker 1: where this is going. Children, like we see in the
• 55:42
  Speaker 1: sixth sense, women ever heard of him? Um, seniors, you know,
• 55:48
  Speaker 1: basically any marginalized group. And there's like there's a line
• 55:51
  Speaker 1: of dialogue where Cole says, like, please believe you believe me? Right?
• 55:56
  Speaker 1: How will you help me if you don't believe me?
• 55:58
  Speaker 1: And that's just you know, poignant. I think that that's good. Yeah,
• 56:03
  Speaker 1: like it it does like make it clear that like
• 56:05
  Speaker 1: and and that's also like What is preventing Cole from
• 56:08
  Speaker 1: having any sort of resolution with his mother is that
• 56:11
  Speaker 1: he's so afraid that she won't believe him, and that
• 56:14
  Speaker 1: if he tells her the truth that she will disown
• 56:16
  Speaker 1: him or love him less or whatever. The internal logic
• 56:19
  Speaker 1: is that, yeah, am I Shevelin accidentally made a point, right.
• 56:25
  Speaker 1: There's even that scene where he says like, like, no
• 56:28
  Speaker 1: one knows my secret. I can't even tell my mom
• 56:30
  Speaker 1: because I don't want my mom to look at me
• 56:32
  Speaker 1: in the way everyone else does, like I'm a freak,
• 56:34
  Speaker 1: so like because it's it's very sleep Um let's talk
• 56:39
  Speaker 1: about um m I Chavelin for a second, because I
• 56:42
  Speaker 1: I mean, for he gets a lot of ship from people.
• 56:45
  Speaker 1: He has made more good movies than you think. Okay,
• 56:49
  Speaker 1: but in all, seriously, is am I Chavelin? I think
• 56:52
  Speaker 1: when I was very young, he was one of the
• 56:55
  Speaker 1: first non white directors I was aware of that was
• 56:57
  Speaker 1: wildly successful period. I mean, I think like when I
• 57:00
  Speaker 1: was a kid, I knew of Spike Lee, but I
• 57:03
  Speaker 1: wasn't old enough to see his movies. And then they're
• 57:05
  Speaker 1: like and and then I could watch m Night Chamelin movies,
• 57:08
  Speaker 1: So he did like I mean he did make I mean,
• 57:11
  Speaker 1: this movie was wildly successful. He basically got a blank
• 57:15
  Speaker 1: check for the rest of his career, um for better
• 57:18
  Speaker 1: or wars um after making this movie. And so I
• 57:21
  Speaker 1: think that, like that is worth acknowledging. And that is
• 57:24
  Speaker 1: like a very impactful thing because you know, directors are
• 57:26
  Speaker 1: still overwhelmingly male, but also overwhelmingly white of any gender.
• 57:32
  Speaker 1: So the fact that you know, this is a director
• 57:34
  Speaker 1: who um he he grew up in Philly, but he's
• 57:37
  Speaker 1: the son of immigrants, and like that is a really
• 57:40
  Speaker 1: powerful cool thing. And so I just wish his movies
• 57:43
  Speaker 1: were better. So you know, there's a lot, but but
• 57:47
  Speaker 1: I like, yeah, I think he was truly one of
• 57:50
  Speaker 1: the first non white directors I knew of and was
• 57:54
  Speaker 1: very you know in in the zeitgeist if you will. Um.
• 57:58
  Speaker 1: But also he ru and Avatar, so I don't know,
• 58:02
  Speaker 1: um oh some people disagree, okay, but yeah, I oh.
• 58:07
  Speaker 1: I also wanted to mention m Night Shimelin's which was
• 58:12
  Speaker 1: a wild year. So this was like The sixth Cents
• 58:15
  Speaker 1: was his big breakout movie. He wrote and directed it,
• 58:18
  Speaker 1: but prior to that he was like a Hollywood writer.
• 58:22
  Speaker 1: He would do a lot of like third or fourth
• 58:24
  Speaker 1: drafts of movies that were basically done and then they're like,
• 58:26
  Speaker 1: we gotta give it the m night touch. So his
• 58:30
  Speaker 1: film credits in addition to the sixth cents are he
• 58:34
  Speaker 1: did punch up on She's All That, and he wrote
• 58:40
  Speaker 1: and is credited as the soul writer of Stewart Little.
• 58:49
  Speaker 1: What a wild year for him, Like I he hasn't
• 58:54
  Speaker 1: had a year like that. I mean, he doesn't have
• 58:56
  Speaker 1: to punch up Stewart Little anymore. But that was a
• 58:58
  Speaker 1: fun movie. I never saw it, but yeah, like that
• 59:02
  Speaker 1: was that was the year where he was like crossing
• 59:04
  Speaker 1: over between being like a punch up writer and then
• 59:07
  Speaker 1: like this twisty oh tour. But you know, like Stewart Little,
• 59:12
  Speaker 1: it slaps, It's good, It's lass Gina Davis, isn't it goodness?
• 59:17
  Speaker 1: Pays his mother? I do like the my Shamalans. Basically,
• 59:24
  Speaker 1: his whole ethos is summarized in one line of dialogue
• 59:27
  Speaker 1: in this movie where Bruce Willis is like telling Cole
• 59:31
  Speaker 1: a bedtime story about a prince who was driving a lot,
• 59:35
  Speaker 1: and then Haley Joel Osmond is like, you've never told
• 59:39
  Speaker 1: a story before, have you? You have to add some
• 59:41
  Speaker 1: twists and also I'm nic shimally does the he sometimes
• 59:48
  Speaker 1: like m night Shanalin. I love him, and then sometimes
• 59:51
  Speaker 1: you're like your confidence is really for like it's it's difficult, um,
• 59:55
  Speaker 1: because what he does and a lot of directors do this,
• 59:58
  Speaker 1: but he specifically said like I'm basically this generation's Alfred Hitchcock.
• 1:00:03
  Speaker 1: And Alfred Hitchcock would play a small role in all
• 1:00:06
  Speaker 1: of his movies. So movie one was like, I gotta
• 1:00:10
  Speaker 1: be in this because otherwise I will people know I'm
• 1:00:13
  Speaker 1: Alfred Hitchcock now. Um, So he plays a small role
• 1:00:16
  Speaker 1: in this movie, gives himself a cameo and all of them. Yeah,
• 1:00:21
  Speaker 1: just I think that that's what Alfred Hitchcock did. He
• 1:00:23
  Speaker 1: would be in a few seconds of every movie. And
• 1:00:26
  Speaker 1: I particularly love like even in some of his worst movies,
• 1:00:30
  Speaker 1: the m I Childman cameos are always so fun. He's
• 1:00:34
  Speaker 1: always like a park ranger being being like, no, go
• 1:00:38
  Speaker 1: into those woods, see what happens. Like he's always like
• 1:00:41
  Speaker 1: introducing them into danger. It's fun. He should act more.
• 1:00:46
  Speaker 1: He doesn't seem like a bad actor. Um. There is
• 1:00:48
  Speaker 1: a Chucky Cheese reference in this movie. Visibility is important,
• 1:00:53
  Speaker 1: but it's also Tony Collette needs to explain. I don't
• 1:00:57
  Speaker 1: was that supposed to be some sort of class thing.
• 1:00:59
  Speaker 1: Like they're like Tony Colette and Haley Joe Osmond are
• 1:01:01
  Speaker 1: at this like fancy, nice birthday party and the mother
• 1:01:06
  Speaker 1: at the fancy birthday party doesn't know what chucky cheese
• 1:01:09
  Speaker 1: is and to like it's all embarrassed, and she's like,
• 1:01:12
  Speaker 1: well it's it's the greatest place on her all right,
• 1:01:15
  Speaker 1: because she goes chucky like chucky just what I say
• 1:01:20
  Speaker 1: every time? Oh man, it's the best. It is the
• 1:01:24
  Speaker 1: best place on earth. You know. I've been many times
• 1:01:28
  Speaker 1: with you, I know for my birthday is of course. Yeah.
• 1:01:32
  Speaker 1: So they mentioned chucky cheese and cats and they can't
• 1:01:34
  Speaker 1: take that away from So do you anything else? I
• 1:01:38
  Speaker 1: think that's about it. We're running a bit out of time.
• 1:01:41
  Speaker 1: Do we have any times for questions or comments? Time
• 1:01:44
  Speaker 1: for a few questions, comments come up to the mic,
• 1:01:48
  Speaker 1: so we can up to the mic. There's one person,
• 1:01:52
  Speaker 1: one brave soul. Oh come on, I love her sweaters.
• 1:01:58
  Speaker 1: What's your name? My name's d what's your question? My
• 1:02:02
  Speaker 1: sex head, that's what they call me. Your reputation proceeds.
• 1:02:11
  Speaker 1: My question is who do you think Alfred Molina would
• 1:02:14
  Speaker 1: play in this for asking, um, who would Alfred? I
• 1:02:19
  Speaker 1: think he could be Mischa Barton Ghost and all my fantasies. Unfortunately,
• 1:02:24
  Speaker 1: Alfred Billina takes a role from a woman. Um, he
• 1:02:28
  Speaker 1: could be Barton Goes. He could be he could? I
• 1:02:31
  Speaker 1: think the one role he could. I think he would
• 1:02:33
  Speaker 1: have genuinely been a good Bruce Willis. Um he could.
• 1:02:37
  Speaker 1: I mean he's a chameleon. He Oh, speaking of chameleon,
• 1:02:39
  Speaker 1: he could have been the killer at the beginning, because
• 1:02:43
  Speaker 1: then you would get to see him without his shirt on.
• 1:02:46
  Speaker 1: That that's the answer. I'll do it. He's the killer
• 1:02:48
  Speaker 1: at the beginning, and then we get to see him
• 1:02:49
  Speaker 1: in his little underwear. Yeah, and oh my god, what
• 1:02:54
  Speaker 1: if that was the only question? Uh, my name's Ivan,
• 1:03:00
  Speaker 1: and I believe that in Tommy's whatever his last name?
• 1:03:03
  Speaker 1: Uh yes, And I think in his first scene he
• 1:03:07
  Speaker 1: explains to uh queer icon Haley Joel Osman what improv
• 1:03:13
  Speaker 1: is like he's explaining improv. Um. My question is as
• 1:03:20
  Speaker 1: a as a non binary comedy fan, how do you
• 1:03:24
  Speaker 1: feel about the sixth sense actually being about Haley Joel Osment,
• 1:03:30
  Speaker 1: non binary icon trying to make it in comedy, but
• 1:03:35
  Speaker 1: having to deal with Tommy does annoying know it all?
• 1:03:40
  Speaker 1: Improv says that white man. Oh my god, I was
• 1:03:43
  Speaker 1: just wondering your take on that thing. I thank you.
• 1:03:48
  Speaker 1: Oh my god. Wait a second, I need to process
• 1:03:53
  Speaker 1: for a second. Okay, it's a Joker. It's the prequel
• 1:03:58
  Speaker 1: to Joker. It's literally you fast forward. Tony Collette is
• 1:04:05
  Speaker 1: Joker's mom. No, I'm kidding, but no, but wow, what
• 1:04:10
  Speaker 1: if this is all about Hayley chill Osmond's journey? Should
• 1:04:13
  Speaker 1: the upright Citizen's breakid? He's like I saw a ghost
• 1:04:19
  Speaker 1: and then I learned the power of yes, son, and
• 1:04:21
  Speaker 1: now my life is he really did? I mean literally,
• 1:04:24
  Speaker 1: all he does is yes and the ghost and he listens.
• 1:04:26
  Speaker 1: That's such a big part of listens. He listens to
• 1:04:29
  Speaker 1: the ghosts, you know, and he doesn't respond irrationally because
• 1:04:33
  Speaker 1: that would be a bad scene. Wow, Wow, everyone should
• 1:04:38
  Speaker 1: take class is a good good I guess that's what
• 1:04:39
  Speaker 1: we're saying there. That's why I first I had that
• 1:04:44
  Speaker 1: written down of like the worst character in the story
• 1:04:47
  Speaker 1: happens to mention improv can't be a mistake, can't be
• 1:04:52
  Speaker 1: a mistake, something to consider any other I think we
• 1:04:57
  Speaker 1: have time for one more question comment if if such
• 1:05:00
  Speaker 1: a thing exists. Yes, I have a bit of a
• 1:05:03
  Speaker 1: two parter. I'm sorry, I'm afraid this is this is
• 1:05:07
  Speaker 1: contrary to the spirit of the of the show, but
• 1:05:09
  Speaker 1: I wanted to comment on your your outfit for a moment.
• 1:05:13
  Speaker 1: What if I was like stormed out. It's I mean, okay,
• 1:05:17
  Speaker 1: so we have we have like seventies themed children's bedsheet,
• 1:05:22
  Speaker 1: homemade mini skirt cowboy themed. One of them is topless. Oh,
• 1:05:27
  Speaker 1: I mean you'll find that all of it. Okay, I
• 1:05:29
  Speaker 1: don't have the best view. It's incredible. You have a
• 1:05:33
  Speaker 1: single pocket in the middle of your chest, like I
• 1:05:35
  Speaker 1: found a piece of popcorn in it. It's like pockets. Yeah,
• 1:05:42
  Speaker 1: it's amazing. I'm sorry, thank you, thank you. Related to movies,
• 1:05:47
  Speaker 1: for for a long time, there was there was a
• 1:05:49
  Speaker 1: great controversy on one of the popular Beckdel websites. I'm
• 1:05:53
  Speaker 1: sorry if you've already covered this, but the Lego movie,
• 1:05:57
  Speaker 1: whether or not it passed the beck Deel hast hinged
• 1:06:01
  Speaker 1: on whether or not you considered Princess Unikitty a woman,
• 1:06:05
  Speaker 1: and I was hoping that you could weigh in on that.
• 1:06:14
  Speaker 1: Caitlin I, of course have seen both Lego movies. Um,
• 1:06:21
  Speaker 1: I do consider Princess Unikitty a woman? Do they refer
• 1:06:27
  Speaker 1: to her in the movies with she her? I think so,
• 1:06:30
  Speaker 1: I think they do, right, I've seen the movies, but
• 1:06:32
  Speaker 1: I think I think so. I don't know. When I
• 1:06:35
  Speaker 1: watched the Lego movie, I'm just like, I have a
• 1:06:38
  Speaker 1: crush on Phil Lord. Yes, take away from that, I
• 1:06:43
  Speaker 1: think we just have to cover the Lego movie. Now. Yeah,
• 1:06:46
  Speaker 1: that's really adequately answer your question. We should? We should?
• 1:06:51
  Speaker 1: I think like a soft yes, a soft yes. And
• 1:06:55
  Speaker 1: speaking of the Bechdel test, does this movie the sixth
• 1:06:58
  Speaker 1: Cents pass? Dies? Well? I mean it's kind of okay.
• 1:07:04
  Speaker 1: So I say, when a mother kills her child that
• 1:07:08
  Speaker 1: is also a female child, it passes. But I mean
• 1:07:13
  Speaker 1: that her first name, she's such an insignificant character. I
• 1:07:18
  Speaker 1: feel like, I feel like one feels like she's really important.
• 1:07:22
  Speaker 1: For some reason. There's an argument to be made for
• 1:07:27
  Speaker 1: it passed because we do know Misha Barton's character's name,
• 1:07:31
  Speaker 1: which is Kira, right, and then we know her last name,
• 1:07:34
  Speaker 1: and then it's there's the Mr and Mrs character. First
• 1:07:39
  Speaker 1: of all, I think it's really funny if that scene
• 1:07:41
  Speaker 1: passes the back to second. I feel like because like
• 1:07:45
  Speaker 1: if it would be a little different for me if
• 1:07:47
  Speaker 1: the father was given a first name and the mother wasn't.
• 1:07:50
  Speaker 1: But neither of them were given a first name. They
• 1:07:52
  Speaker 1: are Mr and mrs. We do find it out forget
• 1:07:57
  Speaker 1: so I say, bleaching your daughter's soup cannon? Okay, then
• 1:08:05
  Speaker 1: I'll say yes as well. Um so give it up
• 1:08:10
  Speaker 1: for the six cents for murdering of several women. Um uh,
• 1:08:18
  Speaker 1: let's write the movie on our nipple scale. I truly
• 1:08:21
  Speaker 1: have no idea, so zero of five nipples based on
• 1:08:25
  Speaker 1: its representation of women. I mean, it's quite neutral. It's
• 1:08:28
  Speaker 1: not this movie doesn't hate women. It's not brutal and
• 1:08:32
  Speaker 1: cruel to women the way that a lot of movies,
• 1:08:34
  Speaker 1: especially from that year where I mean between fight Club
• 1:08:37
  Speaker 1: movies that like m Night Shimelin worked on, like Cruel
• 1:08:43
  Speaker 1: Intentions comes out this year The Mummy Never Been Kissed.
• 1:08:47
  Speaker 1: A lot of like really regressive movies that treat women horribly.
• 1:08:52
  Speaker 1: This movie doesn't do that. So feminist text, No, I'm kidding.
• 1:08:57
  Speaker 1: I mean I think it just sort of makes the
• 1:09:00
  Speaker 1: choice is made at some point of like I don't
• 1:09:02
  Speaker 1: know how to write female characters, so I won't, which
• 1:09:08
  Speaker 1: is not the solution to that problem, but it's it
• 1:09:12
  Speaker 1: is better than saying I'm going to write female characters
• 1:09:15
  Speaker 1: to complete stereotypes and to like only service the male
• 1:09:19
  Speaker 1: characters I want to. And there's no narrative reason whysoever
• 1:09:22
  Speaker 1: why the child who sees dead people couldn't be a
• 1:09:25
  Speaker 1: little girl. There's no reason why the child psychologists couldn't
• 1:09:29
  Speaker 1: have been a woman. Like it's just yeah, the movies
• 1:09:31
  Speaker 1: were like, well, these better be male characters. No one,
• 1:09:34
  Speaker 1: we'll say it right, And there is I mean, there's
• 1:09:37
  Speaker 1: like some I think it is nice that I don't
• 1:09:40
  Speaker 1: know who like busting this trope benefits. But the idea
• 1:09:44
  Speaker 1: of like the quote unquote evil child who is like
• 1:09:48
  Speaker 1: communicated with by the other world is usually made out
• 1:09:50
  Speaker 1: to be fully the villain of the movie, where you've
• 1:09:53
  Speaker 1: got like the bad seed, you've got Damien from the
• 1:09:55
  Speaker 1: Omen and usually if like a kid can communicate with
• 1:09:58
  Speaker 1: the other side, they are the devil. But in this
• 1:10:02
  Speaker 1: case they're the sweetest baby angel whoever lives. It's progressive.
• 1:10:07
  Speaker 1: It's progressive in terms of children who can speak to ghosts,
• 1:10:12
  Speaker 1: so you know, and again because he's helping women talk
• 1:10:14
  Speaker 1: to other women. He's advocating for Misha Barton ghosts. Um,
• 1:10:19
  Speaker 1: I don't know, it's like a one and a half. Yeah,
• 1:10:23
  Speaker 1: you know, because you're just like women are there and
• 1:10:26
  Speaker 1: they're they're they're not that important to the story, but
• 1:10:29
  Speaker 1: they're you know, the male characters aren't cruel to them.
• 1:10:32
  Speaker 1: They're they're they're costs playing. Sure, sure they're Scooby Doo
• 1:10:38
  Speaker 1: cos they're sure. They're only like wives, mother's daughters, very
• 1:10:42
  Speaker 1: stereotypical female roles. Yes, but one and a half one
• 1:10:50
  Speaker 1: and a half, and I'm going to give one to
• 1:10:52
  Speaker 1: Tony Collette and then I'm going to give the last two.
• 1:10:55
  Speaker 1: It doesn't feel right to get Taylee Joel Osmond is
• 1:10:57
  Speaker 1: too young to give him a nipple in this smoothie,
• 1:11:00
  Speaker 1: So I'll give it to um mommy murderer, Mrs bleach soup.
• 1:11:06
  Speaker 1: I believe her character's nipples. I'll give my one and
• 1:11:09
  Speaker 1: a half nipples to his wife because she deserved better.
• 1:11:13
  Speaker 1: We should have learned more about her. The only thing
• 1:11:16
  Speaker 1: we know is that she is sad and on so loft,
• 1:11:18
  Speaker 1: I guess, which is horrible. Remember to talk to your
• 1:11:24
  Speaker 1: loved ones while they sleep. That will solve all your problems. Um,
• 1:11:31
  Speaker 1: thank you so much for coming. Give it up for yourselves.
• 1:11:36
  Speaker 1: All right, folks, that was our episode on the sixth Sense.
• 1:11:40
  Speaker 1: We did want to add in really quickly that the
• 1:11:42
  Speaker 1: evening after this we did watch Sex Said on two
• 1:11:45
  Speaker 1: Be And that's not an endorsement of two because the
• 1:11:48
  Speaker 1: movie is wildly offensive and also just boring and hard
• 1:11:51
  Speaker 1: to watch. Yeah, it is. So when we recommended you
• 1:11:55
  Speaker 1: watch it during the live show, we weren't joking. We were,
• 1:11:58
  Speaker 1: but we didn't even realize we shouldn't have even recommended
• 1:12:00
  Speaker 1: it as a joke. It's wildly problematic and we're so
• 1:12:04
  Speaker 1: we're withdrawing. We take back the recommendation. But you know,
• 1:12:08
  Speaker 1: as you heard it killed in the room, so true,
• 1:12:12
  Speaker 1: so to be is canceled. Moving on, Thank you to
• 1:12:15
  Speaker 1: everyone who came to the show. That was such a blast,
• 1:12:18
  Speaker 1: and of people who came to the stand up show afterwards.
• 1:12:21
  Speaker 1: We love our Philadelphia fans. Thanks to anyone who asked
• 1:12:25
  Speaker 1: a question me to comment. Who bought merch at the
• 1:12:28
  Speaker 1: show That helps us all a great deal. So thanks
• 1:12:30
  Speaker 1: to thanks to everyone who participated, and as usual, you
• 1:12:34
  Speaker 1: can find us in all the same social media places
• 1:12:36
  Speaker 1: on Twitter and Instagram. At Bechtel Cast we have a Facebook,
• 1:12:40
  Speaker 1: we don't really use it. Twitter and Instagram and our
• 1:12:42
  Speaker 1: emails the best way to go. We had live shows
• 1:12:45
  Speaker 1: coming up, as you heard at the beginning of the episode,
• 1:12:47
  Speaker 1: in Austin, Boston and Los Angeles coming up in the spring.
• 1:12:50
  Speaker 1: Is possible Austin, Boston and Los Angeles. Uh as you know,
• 1:12:56
  Speaker 1: appending Corona, etcetera. And the Matron yes, um, so subscribe
• 1:13:04
  Speaker 1: to our matron where you can hear those other Titanic
• 1:13:07
  Speaker 1: episodes that you might not be privy to. Very true,
• 1:13:10
  Speaker 1: and it's Share March the Matreon on the Matreon. So
• 1:13:15
  Speaker 1: this month we're doing the Witches of Eastwick and Moonstruck.
• 1:13:18
  Speaker 1: Of course, we did not know before we chose that
• 1:13:21
  Speaker 1: topic that Sharon was voting for Biden, so we just
• 1:13:24
  Speaker 1: to cover our own asses. It was too late. But
• 1:13:28
  Speaker 1: so my one last thing is that during the live
• 1:13:31
  Speaker 1: show towards the end, when people were making audience were
• 1:13:34
  Speaker 1: like you know, asking questions and making comments and stuff. Um,
• 1:13:38
  Speaker 1: someone asked a question about whether or not the Lego
• 1:13:40
  Speaker 1: movie passes the Bichtel Tesla. There's this whole discussion on it, well,
• 1:13:43
  Speaker 1: it does un a kitty does she count as a woman.
• 1:13:46
  Speaker 1: And I totally forgot to mention that un a kitty,
• 1:13:50
  Speaker 1: whether or not she identifies as a human woman, she
• 1:13:52
  Speaker 1: definitely does have eight nipples. And as cat facts with Caitlin,
• 1:13:56
  Speaker 1: thank you. This is and we're recording this a month
• 1:13:59
  Speaker 1: and a half later, I was like editing the episode
• 1:14:01
  Speaker 1: and everyone the whole thing is like it sounds like
• 1:14:05
  Speaker 1: I'm gearing up to be like, well, I have the
• 1:14:09
  Speaker 1: answer to this and it's that you and a kitty
• 1:14:11
  Speaker 1: has eight nipples, and then I just like didn't remember
• 1:14:15
  Speaker 1: my own bit, so I'm doing it now. I like it,
• 1:14:20
  Speaker 1: you get it, Thank you so much and with that,
• 1:14:24
  Speaker 1: have a great week. Yeah you say it's day safe
• 1:14:27
  Speaker 1: Bye bye