Adventures in Babysitting with Maebe A. Girl

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
On the Bechdelcast. The questions asked if movies have women
in them, are all their discussions just boyfriends and husbands,
or do they have individualism? The patriarchy, zeph and best
start changing with the Bechdel Cast.

Speaker 2 (00:16):
WU we woo. Another plug for our upcoming Midwest tour.

Speaker 3 (00:24):
It's gonna be a great one, guys. For the first time,
we are touring with the Bechdel Cast throughout the Midwest
in the following four locations at the end of the
summer and your summa with us. First in Indianapolis, Indiana.
Ever heard of it? I have? I have two. That's

(00:46):
where they raced the Weirdermobiles a couple of months ago.
It's also where Let's Fest is going to be happening
the last weekend of August, and we will be performing
on August thirtieth at two pm. And that is going
to be at the Fountain Square Theater as a part
of Let's Fest. I'll also be doing a solo show

(01:07):
also at the Fountain Square Theater. So come all day,
come all weekend. It's going to be It's a great lineup.
Some past guests of the show will be there. It'll
be a blast.

Speaker 2 (01:16):
Our next show is in Chicago. Oh, is that where
today's movie takes place.

Speaker 3 (01:23):
It's all tied together. Our web connects them all.

Speaker 2 (01:29):
Our web indeed connects them all. So the following day,
on August thirty first, our show is in Chicago at
the Den Theater.

Speaker 3 (01:39):
We're so stoked. Chicago heads in particular, you guys have
been asking for this four years and we are finally
doing it. From there, we are going to be headed
to Madison, Wisconsin at the Burrough Theater a couple days later,
on Thursday, September fourth.

Speaker 2 (01:56):
We're also so stoked for that show. I've never been
to Madison. I've never been to Wisconsin.

Speaker 3 (02:01):
Decided Wisconsin rocks.

Speaker 2 (02:02):
I have also never been to Minneapolis, which is where
our final show of the tour is on September seventh.
It's at Dudley Riggs Theater and we are going to
have a blast. We are still deciding on what movies
to cover, but we will announce that very soon.

Speaker 3 (02:22):
Sound off in the comments if you have particular Midwestern
you know classics that you would like to see covered.
No John Hughes this time, chill out.

Speaker 2 (02:32):
Yeah, we've done enough.

Speaker 3 (02:33):
We've suffered long enough. But We are very, very excited
to keep your eyes peeled for our movie announcements, but
in the meantime, get your tickets because our live shows
are always a blast. We're so excited to bring them
to the Midwest. Not only do we do our classic discussion,
we do bits, we do audience involvement, we have exclusive

(02:54):
tour merch, we do meet and greets afterwards. They're always really,
really fun and we hope to see you there.

Speaker 2 (03:00):
Grab your tickets at link tree slash Bechdel Cast. We'll
also stick the link in the description of this episode.
Tickets will likely sell out for all of these shows.
Not to brag, but people love us.

Speaker 3 (03:16):
But we really have never toured here before. So you
got it. So if you're if you're on the fence,
just just get it done now and we'll see it
at the shows.

Speaker 2 (03:25):
See there, cast, Jamie, don't fuck with the Babuchdel Cast.
I almost said babysitter, and then it turned into the
name of our show.

Speaker 3 (03:37):
Ooh me, I'm just a guy from the city. I'm scary.

Speaker 2 (03:41):
You're so scary.

Speaker 3 (03:43):
I'm what a kid thinks of when they think of
a scary guy. Yeah, welcome to the Babytail Cast.

Speaker 2 (03:51):
That's I think what I was trying to say, and
then I just couldn't.

Speaker 3 (03:54):
Don't mess with the Bechdel sitter.

Speaker 2 (03:57):
Okay, there it is, that's it. Anyway, we figured it out.

Speaker 3 (04:02):
We're you know, that's the beauty of podcasting. You don't
really need to know what you're saying when you open
your mouth.

Speaker 2 (04:08):
Yeah, that's ninety nine percent of podcasting.

Speaker 3 (04:10):
I would say, yeah, yeah, I think we actually think
harder than ninety nine percent of podcasters. And that's not
saying very much.

Speaker 2 (04:17):
No, the bar is low. Yeah, So welcome to the
bechel Cast listeners. My name is Caitlin Durante.

Speaker 3 (04:24):
My name is Jamie Loftus, and this is our show
where we take a look at your favorite movies using
an intersectional feminist lens, using the Bechdel Test as a
jumping off point for discussion. But Caitlin, the hell is
the Bechdel Test?

Speaker 2 (04:41):
Well, it originated in our best friend Alison Bechdel's comic
Dix to Watch Out For.

Speaker 3 (04:47):
I love that we can adjust the show to reflect
that we have spent exactly forty five seconds with the
real life Alison Bechdel.

Speaker 2 (04:55):
I would say, it's more like forty five minutes plus
a different encounter.

Speaker 3 (05:00):
I mean, I guess I meant physically physically physically forty
five seconds, okay to the till.

Speaker 2 (05:07):
Yes, forty five minutes and forty five seconds when you
combine our recording with her and are in person meet
and greet. Anyway, we are best friends. The Bechdel tests,
there are many versions of it. The one that we
use requires that two people of a marginalized gender have names,
they speak to each other, and their conversation is about
something other than a man. And ideally we like it

(05:29):
when it's substantial dialogue and not just a throwaway oh hey.

Speaker 3 (05:36):
Girl or whatever, unless that is very meaningful, and it depends.

Speaker 2 (05:42):
It could be, it could be.

Speaker 3 (05:43):
Your mileage may vary. Yeah, but yes, that is the show.
And today we are covering a request that has been
around for really as long as our show has. It's
I want to say it's it's it's a classic for many.
We're covering Adventures in Babysitting. Chris columb Is first movie Yeah,
from nineteen eighty seven.

Speaker 2 (06:04):
And our guest today. She's the first drag queen elected
to a public office. She has been serving on the
Silver Lake neighborhood council since twenty nineteen. She works professionally
as the operations manager for cila neighborhood homeless coalition, and
she just announced a run for California State Senate in
District twenty six. It's maybe a girl.

Speaker 4 (06:27):
Hello, Hello, Hey, everybody, super excited to be here.

Speaker 2 (06:34):
Thank you for coming.

Speaker 3 (06:36):
Such a pleasure to have you. Maybe before we get
into the movie, yes, tell us a little bit more
about your campaign and let the listeners know what you're
all about.

Speaker 5 (06:45):
Yeah.

Speaker 4 (06:46):
So, I've been involved in local politics since about twenty nineteen.
That's when I was elected to the Silver Lake Neighborhood
Council and I actually just recently got re elected for
my fourth and final term. We actually we have term limits,
which is remarkable that we have term limits on the
micro governmental level.

Speaker 3 (07:05):
I didn't realize that until you got elected to a
fourth term.

Speaker 4 (07:09):
Yeah, yep, so this will be my final two years
in the neighborhood council. It's been a really awesome experience.
You know, a lot of local organizing and getting your
neighbors to get together and care about the community. You know,
we also influence legislation at the city level through community
impact statements. We do neighborhood purpose grants. It's been a

(07:31):
really awesome experience. I definitely have my complaints as well.
You know, when it comes down to it, we're supposed
to act as advisory boards to city Council, and whether
or not city Council actually takes our advice very much
up for debates. So we are an advisory body, We're
not a legislative body. And having been involved at this

(07:52):
level for over six years now, I am ready to
move on to something bigger and larger. So by the
time anybody is listening to this, I will have announced
a run for California State Senate District twenty six in
twenty twenty six, and basically that covers the Hollywood area,
Silver Lake, Echo Park, parts of downtown ky Town, Eagle Rock,

(08:17):
Highland Park, and I'm very excited to get back on
the campaign trail. Many of you might know I ran
for Congress. I ran for US Congress. We came pretty close.
In twenty twenty two. I came in second place out
of nine candidates advanced to the general election. It was
the first time that an openly trans, non binary person
has ever advanced to a general election for a seat

(08:39):
in US Congress, and this time we're ready to make
it happen. I think it couldn't be any more necessary
than the politically tumultuous time that we're going through right
now to have progressive representation truly.

Speaker 3 (08:54):
And as a maybe head, I would like to add,
I just I have I admired you from afar and
then as a friend over the years, as I've been
lucky to both campaign for you and then also work
with you hands on at Celia, I mean maybe works
day in and day out with our neighborhood's unhoused population

(09:18):
and in a way that I have never seen anyone
running for office do in earnest actually get to know
the most disenfranchised people in their districts and try to
understand more meaningfully, like what are the issues they're experiencing
and what can we do to help and how are

(09:39):
they being failed at every level, whether that's community, city, state,
and federal. So I just we love you. I just
am so happy you're here.

Speaker 5 (09:49):
Thank you, Jamie. It really means a lot to me,
thank you.

Speaker 3 (09:52):
Of course. And then there's the feature film Adventures and Babies,
which I was actually really surprise is it how much
overlap there is in this conversation.

Speaker 2 (10:03):
Weirdly enough, Yeah, for sure. So maybe what is your
relationship with this movie?

Speaker 4 (10:10):
So I will say this is it's one of my
favorite movies of all time. It's probably I've probably seen
this movie more than any other movie I've seen. It's
at least in the top five in terms of the
number of times that I've seen it. I can pretty
much watch the whole thing and just I could lip
sync the movie. Actually, maybe I should do that.

Speaker 2 (10:30):
I'm a drag quin Woa lipstick for your life.

Speaker 5 (10:34):
Yeah, so I think I don't know.

Speaker 4 (10:36):
I just I loved it as a kid, and I
still watch it probably at least once a year. For me,
it's like a comfort movie, you know. We talked earlier
before we started recording. I'm originally from Pittsburgh, Pennsylvania, but
my family moved to Chicago when I was nine. That's
where I grew up sort of came of age, if
you will. So having been in La now for over

(10:57):
twelve years, I think it's also very ste for me,
like nostalgic childhood wise, but also for Chicago.

Speaker 3 (11:04):
Yeah. Wow, I didn't know that you spent time as
a kid in Chicago. Mm hmm. It seems like such
a cool I don't know. It's so wild that like
the Midwest and Chicago specifically the Greater Chicago area is
the basis for so many seminal movies because of movies
like this totally and everything John Hughes has ever done. Basically, Yes, Kitlin,

(11:26):
what's your experience with this movie?

Speaker 2 (11:27):
I did not grow up with it.

Speaker 3 (11:30):
Interesting.

Speaker 2 (11:30):
Yeah, the eighties movie that Elizabeth Shoe was in that
I watched all the time was Back to the Future too,
so that.

Speaker 3 (11:41):
There's a fair amount of Back to the Future overlap,
because isn't Marty McFly's little sister plays Sarah.

Speaker 2 (11:48):
Oh wait, Marty McFly has a little sister, question Mark.

Speaker 3 (11:54):
I think it might be in one of like the
alternate timeline things.

Speaker 2 (11:56):
Okay, yeah, I'm like my mind is being blown right
now because I'm like, I didn't recognize that little girl
at all. Anyway. Yes, so, I had not watched Adventures
in Babysitting until maybe two years ago. I think it
was just because I was like, oh, we'll need to
cover this eventually, let me familiarize myself with it vaguely,

(12:18):
and I remember thinking that it was different than what
I was expecting it's like grittier. It's like a teen
version of After Hours, which is what the screenwriter was
going for. But I was like, oh, I thought this
would be like way more lighthearted. I was like, WHOA,
I didn't. I thought they would just like, I don't know,

(12:39):
hang around a jungle gym or go to the park
or I don't know. But I was like, they get
into some some misadventures, I would say, But I still
thought it was a romp.

Speaker 3 (12:50):
It definitely is a romp. I mean it's like a
Chris Columbus movie. It's like even when it's some things
that are fucked up of like the pacing's pretty incredible, like.

Speaker 2 (13:01):
Yeah, ten out of ten on the rampometer. But I
have a lot of thoughts otherwise. And yeah, I just
watched it again to prep for this episode. And then
I also did some extra credit and watched the twenty
sixteen d com reboot starring Sabrina Carpenter among other child

(13:21):
stars who I have no idea who they are and
have some stress thoughts on that one too that we'll
get into eventually. But yeah, I don't have much of
a history with this movie, but I'm excited to dig
in Jamie, what's your relationship with it?

Speaker 3 (13:38):
I first wanted to just correct so the reason that
it's not Marty McFly's little sister, it's Lorraine Bain's little sister.

Speaker 2 (13:47):
Oh yes, Okay.

Speaker 3 (13:49):
The actor, the child actor who plays Sarah Maya Brutten
is a character in Back to the Future. I'm not
a Back to the Future head. I can't answer to
this shit.

Speaker 2 (13:59):
Okay, No, that's all.

Speaker 3 (14:00):
And I feel guilty in advance because I feel like
I am going to be a micro generational hater on
this movie. I have seen adventures in babysitting once at
like a middle school sleepover. I remember really vividly because
it was like such a fun night, and we took
a sip of vodka from someone's mom's bottle, and it

(14:23):
was the only time I tasted vodka before college. So
I associate this movie with my first sip of vodka.
And the hot dog joke, which is the only thing
I remembered about this movie. Is then no wiener and
we were laughing.

Speaker 2 (14:42):
You don't have money for me, I don't have a
wiener for you, or whatever it is.

Speaker 3 (14:46):
And so we were twelve, and so we were laughing,
and that was. And the other connection that I had
to this was I was a big fan of Rent
as a middle schooler. When I saw this and rilled
to see Anthony Rap a very young Anthony Rap, who
plays Marcus in the original Broadbay cast of Rent and

(15:07):
also plays Mark. Probably shouldn't have because everyone was so
old in the movie adaptation, but Chris Columbus goes on
to adapt Rent for the screen in two thousand and
five not well, but I loved it, and Anthony Rap
is in that as well. So I think that that
was probably why I was like wanting to watch this

(15:29):
movie as a kid, because I was like, there's Rent connections,
and that's about my only connections to it. But I
do I have a lot of thoughts about it. I
think that there's like a lot going on in this
movie that makes it a very interesting time capsule.

Speaker 2 (15:44):
Definitely. Yeah, Well, let's take a quick break and then
we'll come back for the recap. And we're back, okay,
So here's the recap of Adventures in Babysitting nineteen eighty seven.

(16:07):
I just want to place a quick note at the
top as far as the version I watched, slash Am
doing the recap on is the Disney Plus version, which
is slightly edited from the original version. I don't think
the Disney Plus version cuts any scenes. I think it's

(16:27):
mostly just like slight changes to dialogue. I think so
based on what I was finding. Yeah, and we'll talk
about these changes later, but just wanted to give that
little disclaimer in case I am leaving something out that
people are like, what about that moment or that scene,
because the theatrical version and the Disney Plus version are

(16:50):
slightly different. So just FYI, Okay. So we are in
the suburbs of Chicago.

Speaker 3 (16:58):
We so often are movies, and this time truly in
Chris Columbus movie specifically, Yes so often are.

Speaker 2 (17:06):
Yes, And we meet Chris Parker played by Elizabeth Shu.
She is a seventeen year old high school senior and
she's getting ready for a big dinner date because it's
her anniversary with her boyfriend, Mike Todwell, played by a
young Bradley Whitford.

Speaker 3 (17:25):
And not to shame him, but when we say young,
he's like twenty nine years old in this movie. He's like,
you know, he's I guess young in the span of
like between here and The Ming Dynasty. But he's certainly
not you know, a teenager?

Speaker 2 (17:46):
Yes, true, And he shows up in his car with
a license plate that says so cool to tell Chris
that he has to cancel their date because his little
sister sick and he has to stay home and take
care of her. So Chris is really bummed if she
was really looking forward to the anniversary dinner, and her

(18:08):
friend Brenda comes over to console her and also to
complain about her overbearing mother in a scene that passes
the Bechdel test. And then a missus Anderson calls wanting
to know if Chris can babysit her daughter tonight, and
Chris reluctantly agrees. We cut to the Andersons. We meet Sarah,

(18:34):
the I don't know nine year old girl.

Speaker 3 (18:37):
She's a little stinker. She's got the best outfits.

Speaker 2 (18:40):
Oh yeah, she loves Thor.

Speaker 3 (18:44):
Before it was cool.

Speaker 2 (18:45):
Yeah, before Thor was Chris Hemsworth. Right, So this is
who Chris will be babysitting. And then Sarah's fifteen year
old brother, Brad played by Keith Coogan, is also there
and he has a huge crush on Chris. The Anderson

(19:05):
parents give Chris a few instructions on how to care
for Sarah, like make sure she has cough syrup and
stuff like that, and they say they'll be home by
one am, and then they head out. Now, Brad is
supposed to sleep over at his friend Darryl's that night,
but now that he knows Chris is gonna be at
his house, he wants to stay home. And Darryl shows up,

(19:29):
played by Anthony Rapp, he wants to hang out. He's like, hey, Brad,
look at this centerfold model in this month's issue of Playboy.
She looks just like Chris, and so we're like, oh,
he's like you know that like eighties pervert kids stock character.

Speaker 3 (19:48):
Yeah, poor Anthony rap he's really putting a box on
this one. Yeah.

Speaker 2 (19:53):
I also just mention this Playboy issue during the recap
because it keeps up throughout the movie.

Speaker 3 (20:02):
It's Daa's ex Playboys as a former Playboy employee. M
M I support.

Speaker 2 (20:10):
Yeah, Chekoff's Playboy issue. Then Chris's friend Brenda calls, saying
that she decided to run away from home because her
mom is that awful, and she made it as far
as the bus station in the city, but she's freaked
out and she needs Chris to come pick her up

(20:32):
because she doesn't have any more money for a bus
or a cab ride home. And Chris agrees. But the
only way she can really make this work without anyone
like telling on her that she like left these kids
to go into the city is if she takes Sarah
and Brad and Darryl along. So they all pile in

(20:55):
Chris's mom's car and she drives them to the big
skinyy city.

Speaker 3 (21:03):
I did love a good station wagon. That's something that
I genuinely get nostalgic for. It's like, where the hell
did those cars go? I liked them. We knew they
were made out of wood, but I liked the effort. Oh.

Speaker 2 (21:19):
I loved that game you would play when like, yeah,
the wood paneling on the side, have we caught it?
Like woody whacker or woody whack back or something like that.

Speaker 3 (21:27):
Ohit, I don't know this game.

Speaker 2 (21:28):
Yeah, you'd be in the car your parent was driving,
and then you'd see one of those like wood sided
paneled station wagons and then you'd hit the person next
to you and you'd say, woody whacker, no whack backs
or something.

Speaker 3 (21:41):
I don't remember, Caitlin, what you were hitting cars?

Speaker 2 (21:46):
I was hitting my sister.

Speaker 3 (21:48):
What do you want, Oh, you hit your sister? Yeah yeah, yeah, yeah,
oh yeah. I guess it's okay to hit your sister. Yes,
I thought you were leaning out of the car and
hitting the car. No no, no, no, no, no, no, okay, yeah, no,
you can hit your sister. That's okay.

Speaker 2 (22:02):
Yeah, thank you.

Speaker 3 (22:03):
She turned out fine.

Speaker 2 (22:05):
Yea, yea yeah, yeah, she's great. Okay. So on the
way into the city, they get a flat tire and
have to pull over, and there's no spare in the car,
and Chris realizes she forgot her purse back at the house,
so they don't have any money to get like a
tow truck or anything like that, but a tow truck
driver conveniently shows up. Anyway. This is John Pruitt. There

(22:30):
is a lot of ableism around this character, and we'll
talk about that later. But out of the kindness of
his heart, he hooks up the car and drives them
into the city. But before they reach Dawson's garage where
he's taking them too, he gets a call about another

(22:52):
man being over at his house who's like fucking his wife,
so he drives everyone to his house and starts shooting
this other man who his wife is having an affair with.

Speaker 3 (23:06):
He's having a day. It's like that he's just having
the wildest day. I want to show him grace, but
he's having a difficulty.

Speaker 2 (23:15):
He is I want to see a spinoff movie like
Adventures in Tow truck Driving.

Speaker 3 (23:21):
It is demonstrated repeatedly. He's got a good heart, yeah,
but it escalates very quickly with him.

Speaker 2 (23:28):
Yeah, he has a gun and he's not afraid to
use it. Sure, and so the kids dash into the
first car they see, which is in the process of
being stolen by a man named Joe Gibbs, and Chris
starts freaking out, but she realizes that she has to
be level headed. You know, she's the responsible one in

(23:51):
this situation. So she puts her babysitter hat back on.
She keeps her cool. She's like, Sarah, take your cough syrup, Brad,
don't eat chocolate, it'll you acne.

Speaker 3 (24:01):
Darryl, put your.

Speaker 2 (24:02):
Seat belt on, and we're like, wow, she's such a
good babys She's doing great. So then Joe takes them
to this warehouse full of stolen cars where this group
of crime bosses is having a meeting and They're like,

(24:22):
what the fuck are these kids doing here? They're gonna
rat us out to the cops.

Speaker 3 (24:27):
It's so wild that I mean, and we'll get into
the implications of these stock characters, but it's like every
possible stock character that could appear in this movie does
because then you just get to like a Godfather pestige
in the middle of You're like, yeah, I guess, like

(24:47):
I don't know.

Speaker 2 (24:48):
Right, So these crime bosses lock Chris and the kids
up in like their office, but the kids escape through
a hole in the ceiling, but not before Darryl takes
a copy of the Playboy magazine that he finds in
the office. But oh no, that's where the crime bosses
have written all of their crime notes.

Speaker 3 (25:12):
Wait, how does he refer to it? Where he was like,
that's the Philadelphia idea is you're like the what, yeah,
deis ex Playboy magazine?

Speaker 2 (25:26):
Yeah, yeah, certainly.

Speaker 4 (25:28):
I Also I want to add that I remember them
saying those notes were so important, and I think they
would have let the kids go if not for taking
that magazine because they said that if they had the
magazine that the information could put them away for twenty years.

Speaker 2 (25:42):
So the stakes are very high. For these crime bosses.

Speaker 3 (25:45):
They shouldn't have put the Philadelphia plan in there. That
was a big mistake.

Speaker 2 (25:50):
Yeah, their Philadelphia story needed to go elsewhere. Yeah, okay,
So when the bosses discover the kids have escaped, they
start chasing them. Chris and company run into a blues
club and accidentally end up on the stage, and so
the owner of this club, played by Albert Collins, won't

(26:13):
let them leave until they sing the blues.

Speaker 3 (26:16):
This is a pretty iconic scene. Yeah.

Speaker 2 (26:20):
Yeah. It is also replicated in the Sabrina Carpenter twenty
sixteen Adventures and Babysitting, where she has to.

Speaker 3 (26:27):
Oh and she can actually sing no offense to this.

Speaker 2 (26:31):
Well, she has to improvise a rap. No, she and
the other kids, and in the reboot there are like
eight kids for some reason, it's double the number of children,
and they all improv a rap. They freestyle wrap their
way through this, needing to get out of the whatever

(26:54):
club they find themselves in, and it's a very bad song.
I would say it's a argument for producing original stories. Yes, absolutely.

Speaker 3 (27:06):
Yeah.

Speaker 2 (27:06):
Anyway, so Chris improvs a blues song about how hard
it is to be a babysitter, and I believe the
song is called babysitter Blues.

Speaker 5 (27:16):
Is that right, babysitting blues.

Speaker 2 (27:18):
Babysitting blues? Okay, yes, yes, yes, important important. Yeah. And
so after that, Chris and friends leave the blues joint
and Brad is like, hey, Chris, your boyfriend sucks. You
should be interested in me instead, especially because I just
noticed that you're more than a pretty face and you

(27:41):
actually have a personality as it turns out, and she's like, Okay,
that's one of.

Speaker 3 (27:49):
The only ways I mean, not totally, but one of
the only ways in which this movie slightly subverts eighties
plot lines, where usually that would just confer end game
between these two characters is like, hey, I just realized
you had two brain cells and you should probably be
my wife. And usually that means that that will happen,

(28:12):
very true, but spoiler alert, she's just gonna end up
being with some other.

Speaker 2 (28:18):
Yay, a different guy. Yeah.

Speaker 3 (28:20):
Yeah.

Speaker 2 (28:21):
Meanwhile, back at the bus station, Brenda is having a time.
Someone takes her glasses so now she can't see, and
she picks up what she thinks is a cute little kitten,
but it's actually a huge rat and she's like, yuckye
and then back to the babysitting Adventure, the two crime

(28:44):
boss guys plus Joe Gibbs are still chasing the kids,
who managed to evade them again by getting on the
metro the l If You Will, where they find themselves
in the middle of a turf war between rival gangs.

Speaker 3 (29:02):
It's literally like the amount of thought put into this
sequence is like sharks versus jets, Like they might as
well be snapping.

Speaker 2 (29:11):
Yes, but they're wearing blue and red, so I think
it's implied that it's like maybe a bloods and crips thing.

Speaker 3 (29:18):
Yeah, but it's so musical theater coded. Absolutely, I'm curious
where the edits are coming in. Were there edits in
that scene?

Speaker 1 (29:26):
Oh?

Speaker 3 (29:26):
This is the big edit. This is the big edit. Okay,
in terms of dialogue, I wasn't aware that there was
edits to that extent.

Speaker 2 (29:33):
Yeah. So basically, they're about to kill each other, these
two gangs, but Chris intervenes and she in the original
version says, don't fuck with the babysitter, and that's like
the famous line of the movie. They should let her
say that, I know, but the Disney Plus version has
her says don't fool with the babysitter.

Speaker 3 (29:57):
I can't believe, like we should have left that behind
with TNT edits. Yeah, I always still do it because
at this point Disney Plus is such and they should
still hire me. But there's such a shithole that, like
I watched Secret Lives of Mormon Wives on that same
platform yesterday. You can just let her say, don't fuck

(30:20):
with the babysitter. There's no laws on this platform anymore.

Speaker 2 (30:24):
Come on, there are movies with like nudity in them
on Disney Plus.

Speaker 3 (30:29):
Yeah, Tetan. We watched Titan on Disney Plus. Like it's
it's silly. Yeah, there's no need to like do a
PG edit.

Speaker 2 (30:39):
I don't know, yeah, especially because well the movie is
still rate a PG thirteen and PG thirteen movies I
think are allowed one fuck maybe two because there's.

Speaker 3 (30:48):
I wonder how that's changed. Yeah, I think it's like
one hard swear.

Speaker 4 (30:52):
I think it's two because in the original, the reason
that Chris says that is because one of the gangsters says,
don't fuck with the Lords of Hell. Oh yeah, yeah,
it stabs Brad in the foot with the knife. She
pulls the knife out and says, don't fuck with the babysitters,
So I guess that's two right.

Speaker 3 (31:12):
There is true, yeah, but that's also just a really
good callback, so right, there.

Speaker 2 (31:19):
Should be an exception. There should be an exception also
in this scene, and I couldn't totally confirm this, but
different gang members call Chris a witch, which I imagine
the original line would have been.

Speaker 3 (31:35):
They say bitch the first time. They say bitch once.
Oh I rewatched and I was like, I assume that
was edited. Yeah, they say bitch once and then they
say which the rest of the time. But I'm assuming,
based on your description in the original that there was
no witch. It was all bitch.

Speaker 2 (31:54):
It was all bitch, and then all bitch, no witch.
Well new merch maybe. Anyway. The point of this scene
is that a knife gets dropped on Brad's foot or
he gets stabbed in the foot, so they rush to
the hospital. It turns out Brad only needs one stitch,

(32:14):
but there is a misunderstanding between the hospital staff and
the kids, and for a moment, Chris thinks that Brad
died from his knife wound, and so she faints because
women be fainting, but he's not dead, and everyone rejoices.

Speaker 3 (32:34):
No.

Speaker 2 (32:34):
Meanwhile, the toe. Truck guy John Pruitt is also at
the hospital because he was previously in a gunfight a
few scenes ago, and he's like, oh, come with me, kids.
Your car is fixed and it's at Dawson's garage by
the way. He you know, mister Dawson's going to make

(32:55):
you pay fifty dollars for the tire repair. But the
kids don't have fifty dollars, so they have to figure
out a way to get some money. So they come
upon a frat party where Chris meets a college guy
named I Think Dan, who at first thinks she's Miss

(33:15):
March from this month's issue of Playboy magazine, so he
like approaches her and they start chatting and flirting and dancing,
and Brad, who again is in love with Chris, is like, meanwhile,
a drunk college girl is kissing, aka assaulting, a visibly

(33:39):
fifteen year old Darryl, so we have that. Then Chris
asks Dan if she can borrow fifty dollars and he's like,
no problem, here's free money, except he only has forty
five dollars on him, and he also drives them to
Dawson's garage.

Speaker 3 (33:58):
It does feel like you're gonna say every time Dawson's Creek,
and then it keeps being garage.

Speaker 2 (34:05):
Yeah yeah, yea yeah yeah. So Kristen friends go to
the garage and meet mister Dawson no relation to Jack Dawson.

Speaker 3 (34:13):
Yeah sure, Yeah.

Speaker 2 (34:14):
He's played by a young Vincent Dinofrio, which what a
what a thrill? What are the rill to see?

Speaker 1 (34:22):
Right?

Speaker 3 (34:22):
Yeah, move over, Chris Hemsworth. Tanafrio had it all figured
out in nineteen eighty seven.

Speaker 2 (34:29):
Right, because he has long blonde hair and is holding
a sledgehammer, which is famously a tool that auto mechanics
use all the time.

Speaker 3 (34:41):
I also like, I mean, we'll get into this afterwards,
but I feel like so much of this For Better
and for Worse is written from a suburban kid's perspective
of how they would view the city versus how cities
actually are. Oh yeah, for sure, And so I feel
like it's like, if you're a ten year old seeing
this movie, you're like, sure mechanics thor hammers, they could,

(35:02):
you know, right?

Speaker 2 (35:03):
Because the idea here is that Sarah thinks this guy
is Thor and she accidentally insults him based on another
line that was edited so earlier in the movie. When
we first meet Sarah and her brother Brad. Brad calls
Thor a homophobic slur, but the Disney Plus edit of

(35:26):
that is Thors a weirdo and Sarah's like, no, he's
not take that back, and so in this scene she's like, oh, yeah,
my brother said that you're a homophobic slur, but again
it gets edited to weirdo. So this really upsets mister Dawson,

(35:46):
and he also is upset that they shortchange him with
the forty five dollars instead of fifty, so he gets
pissed and refuses to give their car back.

Speaker 3 (35:54):
And these are reasonable reactions to what happened in script.

Speaker 2 (35:59):
Ye right, But then Sarah is like, wait for you're
my hero, you're a good guy, and she gives him
her helmet, and this endears mister Dawson to the kids,
and he's like, you little stinkers, here you go. Here's
the keys. So they drive off and head to the

(36:23):
bus station to pick up Brenda, who has gotten her
glasses back. By the way, she's trying to get a
hot dog, et cetera. But before Chris and the others
reach the bus station, they drive past the restaurant that
Chris's boyfriend was supposed to take her for their anniversary
dinner because they see his car parked outside with the

(36:46):
so cool license.

Speaker 3 (36:48):
No mistaking it if you're cheating, If you're a Cereal cheater,
here's my advice to you. Don't get a vanity license plate.

Speaker 2 (36:56):
Don't drive a red Camaro with a very recognizable license plate.

Speaker 3 (37:01):
Just drive a nondescript Prius. No one will know.

Speaker 2 (37:05):
Why do you think I drive a Prius because you're
a Liared. I mean, I'm freaking all the time, but
everyone else knows about everyone else.

Speaker 3 (37:16):
Everyone else. That's your bumper sticker part, because I'm fucking.

Speaker 2 (37:24):
Exactly. Okay. So they go inside the restaurant and Chris
finds her boyfriend Mike with another girl and she confronts him.
He gaslights her and belittles Chris. So Brad yells at
this shitty dude Mike, Daryl kicks him in the ass,

(37:46):
and everyone runs out of the restaurant, except they've kind
of lost Sarah, and the crime boss guys find Sarah
and chase her to the building where her parents' event
is and Sarah like this. There's high jinks where she
has climbed onto the roof slashes like dangling from the

(38:08):
side of the building. She's like thirty stories up. It's
like YadA YadA. It's the third act. You know, kids
on a roof. Yeah, yeah, yeah, And one of the
bad guys is still chasing after Sarah. The other bad
crime boy is the other what the bad crime boy?

(38:29):
Oh okay, yeah yeah. He ends up at the event
with Sarah and Brad's parents, as do the rest of
the teens, and they see Sarah outside of the window.
They save her. Joe Gibbs shows up, the one who
had stolen the car toward the beginning of the movie,
and he gets the Playboy magazine from them, but he's friendly.

(38:51):
He's like, I'll help you guys, and then he punches
his bad crime boy boss and so Chris and Brad
and Sarah and Darryl are safe. Cut to them picking
up Brenda at the bus station and driving like a
bat out of hell back to the Anderson house. They arrive,

(39:12):
Chris hurriedly cleans everything up while the kids rush to
get ready for bed, and then Chris sits down just
in time for mister and Missus Anderson to open the
door and return home, completely unaware of the adventure the
kids just had. Then Chris says goodbye to Sarah, Brad

(39:34):
and Darryl, and as she's leaving, that frat guy Dan
shows up because Sarah had left her roller skate in
his car with her address on it, which is how
he knew where to go.

Speaker 3 (39:49):
Yeah, bischemy tests that, see how it does?

Speaker 2 (39:53):
Yeah, exactly, And Dan is like, oh, maybe you could
baby it me sometime baby sit on my face that is.
And then they kiss.

Speaker 3 (40:06):
And that's exactly what he says.

Speaker 2 (40:08):
That's exactly what he says. And it's so weird that
Disney Plus didn't edit that.

Speaker 3 (40:13):
They didn't edit that. They actually added that in, which
is wild.

Speaker 2 (40:19):
And then they kiss and that's how the movie ends. Yeah,
so let's take a quick break and we'll come back
to discuss. We're back.

Speaker 3 (40:36):
Yeah, maybe where would you like to start the discussion?
What's jumping out to you?

Speaker 4 (40:41):
You know, let's start at the beginning. You know, I
want to point out, as I was rewatching this for
the umpteenth time last night, I saw a plot hole
really really early on that could.

Speaker 5 (40:54):
Have just made the movie not even happen.

Speaker 4 (40:58):
So, you know, Chris is at home, she's depressed, she's sulking,
she's talking to Brenda, and when her mom comes in
and she's like, oh, missus Anderson just called wants to
know if you can babysit to night. And you know,
that almost doesn't even happen, but she agrees. She shows
up and missus Anderson is just like, oh, you know,
thanks for agreeing to babysit at the last minute. And

(41:19):
there was just something unbelievable to me that the Andersons
and they live in a nicer home. It's you know,
it's very like up at East Suburbia. I think it's
Oak Park, and I just I could not believe that
they were going to this fancy event and didn't think
until twenty minutes before, oh we should get a babysitter.

Speaker 3 (41:41):
Right, It's like just as simple, like the babysitter is
sick or some some half assed something.

Speaker 2 (41:49):
Yeah, they had to cancel last minute.

Speaker 4 (41:51):
Yeah, I was searching for some sort of throwaway line
as to why.

Speaker 3 (41:54):
And yeah, there's no reason, given they're just negligent parents. Yeah,
which actually it does kind of come up later when
we see them again. They're like, well, they're probably fine, and.

Speaker 5 (42:04):
Like literally the daughter's dangling outside of the party.

Speaker 3 (42:09):
Parenting in the eighties seemed very chill based on what
I've seen in movies. Yeah, but I do think that
that opening scene, I mean, we've seen so many versions
of that type of scene to open a movie. The
other two that jump directly to mind, I think are
both from the early two thousands. It's Charlie's Angels one

(42:32):
with Cameron Diaz, which is full panties, like kind of
more exploitive version of this scene, and then also the
Lizzie McGuire movie two thousand and three that is I
think ripping off this scene directly and is fairly wholesome.
I don't know that the Adventures in Babysitting scene is
the blueprint for girl twirling around in bedroom to a

(42:53):
pop classic, but I think this is my favorite version
of it that I've seen. I like it.

Speaker 4 (42:59):
Yeah, Yeah, it's a really iconic opening, I do have
to say that. And even at the beginning, like as
soon as you see like the logo of the production company,
I think it was Touchstone, and you just hear like
the first few like chords of the song, you just
you know exactly what's coming.

Speaker 3 (43:19):
Yeah, Yeah, it's great. And Elizabeth shu is awesome in
this movie. I feel like she brings more to the
character than is necessarily on the page.

Speaker 2 (43:31):
Right, So speaking of I'll give a little. There's not
much like production stuff that's very relevant here. But as
we mentioned, this is Chris Columbus's directorial debut. The screenplay
was written by writer David Simkins, produced by Deborah Hill Yes,

(43:52):
who we've talked about on the podcast before.

Speaker 3 (43:54):
And Linda Owes, two really iconic women producers. Because Deborah
Hill like obviously got her start with John Carpenter doing Halloween,
she started super young and then went on to work
with Cronenberg and then also on Big Top Peewee as
in Babysitting, Escape from La Like Clue, so many of

(44:17):
my favorite movies she had a hand in. And then
Linda Obst, who I think passed away fairly recently and
went on to work I think with Christopher Nolan. She
also worked on Sleepless in Seattle, How to Lose a
Guy in Ten Days, Angus songs in Perfect Snogging, a
recent cover, and Interstellar. Okay, there, Chris Columbus weirdly kind

(44:40):
of closes it, and but that was her last credit
before she.

Speaker 2 (44:42):
Passed Okay, Yeah, so yeah, some iconic people behind the scenes.
It seems as though David Simkins, a screenwriter, drew inspiration
from Ferris Bueller's Day Off and again after Hours. Like
I mentioned, No, Also, several critics compared Adventures in Babysitting

(45:02):
to Risky Business. My point here is that a lot
of movies like this, where there's like a series of
misadventures that happen over the course of a day or
a night, have a protagonist who is a man or
a teen boy, and Adventures in Babysitting feels like one
of the few movies from this era with a female protagonist.

(45:24):
So that's something. Yeah, So that's pretty much the kind
of relevant production context.

Speaker 3 (45:30):
Yeah, they wanted Molly Ringwall to be the lead, but
she couldn't do it. All of the nineteen eighties facts
that you could almost make up predict yeah.

Speaker 2 (45:40):
Yeah. So basically, the general premise of the movie, to me,
the narrative thrust, if you will, yeah, is what would
be so scary and create so much conflict for a
group of middle class white kids from the suburbs. Put

(46:01):
them in this city where there are black people and
poor people, and that's like the logic this movie is
operating on where like, basically, here's who this movie thinks
is scary. People of color and especially black people, people

(46:22):
with physical disabilities, people dealing with drug addiction, people who
are unhoused, people who take public transit, working class people,
sex workers, immigrants, Like, It's just everything you'd expect from
a movie of this era. Almost every group of marginalized

(46:43):
people is like.

Speaker 3 (46:44):
So scary but also very I mean not uniquely tied
to Chris Columbus's catalog during this time, but like a
lot of his early work encapsulates these themes directly right
where he wrote Gremlins, which the inciting incident is an
encounter with an Asian person, and that is what like

(47:08):
reeks Havoc into this otherwise quiet white suburban life in
the eighties. Aventures in babysitting, even though he didn't write it,
feels like an escalation of this. I think you could
make the same argument for Home alone. This idea of
like this city life and the idea of like poverty
making its way into the quote unquote safe lives of

(47:28):
this like Oak Park white suburban community, Like it seems
so connected to his early work in general, which also
makes it even Wilder that they were like, yeah, let's
let this get a direct rent. I don't know, right,
And I mean there's a lot of you know, direct
overlap in like region and people that he worked with

(47:51):
with John Hughes's work. But I feel like John Hughes,
for all of the criticism we have loved at John
Hughes on this show, I think he has made a
couple of like just kind of evil movies and then
a couple of really good ones. But there isn't really
as much the like shades of gray that you could
see in a John Hughes movie in Chris Columbus movies

(48:15):
or I'm not sure, because I feel like as I
was going through like taking notes for this movie and
listing sort of like you were saying, Kuelen the list
of others quote unquote, not because they actually are others,
but because that's how the movie presents these characters to us.
Where totally it feels like this movie is written from

(48:35):
the perspective of a white suburban kid in the way
that they would imagine a city versus the way that
a city actually is. Where it's not that all of
the characters who are like you're saying, like who are black,
who are immigrants, who are poor, who are sex workers,
like any other quote unquote other character in this movie,

(48:58):
anyone who we come to love, we only come to
love because they help. These white characters, Like, it's not
because we come to know anything about them and the
systemic issues that create cities are you know, this movie
doesn't have an interest in and it's not the job
of a single movie, but it just feels like it's

(49:20):
a lot of stock characters that like, well, if this
character helps. I mean, I think Joe's a good example
where they literally present the fact that he exists as
a jump scare, like with the music where it's like bloop,
here's a black teenager. You're like, well, we didn't need

(49:40):
to choose that music. Cute, right, But like, because over
the period of the movie, we realize that he we
don't know his circumstances, we don't know anything about him
other than he decides that he's going to be kind
to these white suburban kids, and that's why we like him.
And I feel like we kind of see that in

(50:01):
the characters that we come to like, we only like
them because from the like very white perspective of the movie.
They quote unquote like earn our trust the same thing.
I mean, that whole Blues sequence I feel like illustrates
that really well, where it's presented as like, this is
a really hostile environment. Why doesn't anyone want Elizabeth Shoe here?

(50:22):
And it's like, well, but when it turns out the
club really likes her, all of a sudden, it's safe
and they're comfortable, and I don't know, I mean, it's
just it feels like a very kind of like Reagan
era time capsule in that way where it's like the
systemic issues that affect a city, and a very specific
city Chicago in the eighties is presented as like this

(50:44):
is just how it is, and ultimately, like the movie
is presented as like it's so cool that these like
young white teenagers survived this experience. I don't know, I
don't know what to make of it. I was like
a hard time with this movie.

Speaker 5 (51:02):
Yeah, well now I feel bad for liking it. No no, no, no,
no, no no no no.

Speaker 2 (51:10):
We always say you can like whatever you like. We
just encourage people to think about the media they consume critically.
But I mean, again, like back to the Future to one,
all of them totally I have the same a similar
slew of problems, and you know, they're still my favorites.
But also I kept saying, Joe Gibbs, it's Joe gipp

(51:33):
is the character's name, so my bad.

Speaker 3 (51:35):
Yeah. Played by Calvin Levels, who was I think mainly
a Broadway actor prior to this, he was a Tony
nominated actor. So there you go, there you go.

Speaker 2 (51:49):
Yeah, And then the kind of subplot with Brenda being
stuck at the bus station and it feels like most
of the characters that she and hunters there and this
is relevant to so much of the work that you
have done, maybe as far as like it seems like
they're all implied to.

Speaker 4 (52:08):
Be unhoused totally, yeah.

Speaker 2 (52:10):
And therefore like they're crazy and like all of those tropes.

Speaker 3 (52:17):
Right, or they're like fie. I was like, oh, maybe
you can really speak to yeah, like just the way
that unhouse people are presented totally.

Speaker 2 (52:25):
Uh.

Speaker 4 (52:25):
I definitely was thinking about that as I was rewatching it,
and just the tropes of the characters, they're very they're caricatures,
and I think, you know, watching it as a little kid,
I thought, you know, some of it was funny, but
I think absolutely from that perspective of how you described
it earlier, Jamie, as a you know, a white kid

(52:46):
that grew up in the suburbs of Chicago. I feel
as if I viewed it through that lens, sure, and
not really knowing what. You know, I didn't have many
interactions with people experiencing homelessness when I was probably until
I was, you know, a late teenager, and you know,
watching it now, you can definitely see that these are
just caricatures of human beings. And you know, working in

(53:09):
a field with people experiencing homelessness, you realize these are
human beings, and you can just make these assumptions about
what people are like simply by knowing their housing status.
But yeah, the characters at the bus station, definitely, we're
all implied to be either unhoused, dangerous, or both.

Speaker 3 (53:29):
Yeah, that's just how unhouse people lifeel like are presented
to us from the time that we're very, very young.
I'm trying to think of like the first I want
to say it was the movie Big Daddy for me,
which feels embarrassing, but just the way that is specifically
in like comedy, that unhouse people are presented as either

(53:49):
a part for an extra or a cameo to basically
just like mock the Endhouse. It's so normalized and still is.
I just saw what was the Key Palmer movie Kiki
Palmer and says that one of them days, Yeah, there's
a character like that in that movie, a movie I
otherwise liked that came out this year, like this year. Yeah,

(54:11):
this is still a very very common trope that is like,
you know, just deployed in comedy in this like lazy way.
And I feel like that's part of why it's like,
I paradoxically like this is a well made movie, Like
it's paced super well, the jokes are constant, the performances

(54:31):
are good, and it also just sort of like takes
you through this sort of like walking tour of white
suburban anxieties in nineteen eighty seven. Like there's so many
where I think about the they meet a seventeen year
old sex worker and a scene that felt like an
opportunity and then ended up not being used in that

(54:54):
way where you know, Anthony Rap's character because he's the
you know, like little eighties piece of shit kid is
talking to a sex worker and not realizing that she's
a sex worker, and Elizabeth Shoe comes over, they have
a brief conversation, they realize that they're the same age.
The sex worker, who does not get a name, I

(55:15):
don't think, says like I think Elizabeth Shoe asks like,
how did you like come to be doing this, and
then she's just like, oh, well, I ran away from home,
which is also like overly simplistic we don't know why,
like you know, but but she's just more positioned as
like a warning about what could happen to Brenda exactly

(55:36):
if they don't pick her up from the bus station
and then they just say bye and they don't.

Speaker 1 (55:43):
Like.

Speaker 3 (55:43):
As I was watching this, like it would have been
fun to start with just like even with like one kid,
instead of forcing this weird like two teenage nerds trying
to fuck the lead, which is every eighties movie of
all time. If you just started with the babysit and Sarah,
Chris and Sarah and then they sort of meet people

(56:04):
and they form a Wizard of Oz kind of coalition
as they go along versus these kind of like two
useless suburban teenage boys no offense. I almost feel like
like you could, you know, still be dated to an extent,
but like this movie had the opportunity to have kind
of the stereotypical protagonist in like kid comedies of this

(56:28):
time actually interact with people, you know. Yeah, but it's
sort of like they meet people and then they're like,
well bye, you know, like that's kind of what the
movie because it's so like episodic.

Speaker 2 (56:43):
Yeah, And I mean, as we've talked about many times
on the podcast before, especially with comedies or movies with
a lot of comic relief for such a long time
and again sometimes still to this day, the comedy is
relying pretty solely on punching down type jokes, and this

(57:10):
movie certainly does that. It feels as though basically every
kind of like eighties trope or any like you know,
status quo upholding thing is done here where you know,
it's the stuff that we've already talked about. It's the
you know, adults hitting on or kissing teenagers is totally

(57:35):
fine according to this movie.

Speaker 3 (57:37):
Well, it's like, particularly without getting too into it, but
like particularly that happening to a young Anthony rap which
becomes such a large part of his story that he
started speaking on when he was an adult, Like it
just feels especially like not that there's an appropriate way
for that to happen, but just because of Anthony Rap's

(57:59):
personal hiss, that felt especially like pointed, yeah, Jesus Christ,
like who was looking out for these kids?

Speaker 2 (58:05):
Yeah, and then his character is written to be someone
who for example, after they've picked up Brenda and she's
sleeping in the car on the way home, he tries
to like peek under her shirt and at least Brad stops.

Speaker 3 (58:19):
Him, which is presented as like, well, she should be
with him because he's not trying to assault her. I've
seen a lot of I don't know, it's because our
show's been on for since twenty sixteen, and a lot
of the kind of feminist arguments for movies around twenty
sixteen when we started the show, we're basically like, well,

(58:45):
if there is a female lead and she didn't get assaulted,
that's a feminist win. And yeah, yeah, and that was
a lot of that because I was interested in, like
what because it's like this movie has been through a
lot of, you know, rounds of discourse because it's been
around for a long time. And yeah, the last round

(59:06):
of discourse with this movie I think was in like
the late twenty tents where they're like this movie is
a feminist sleigh because she does not end up with
Brad question mark. Although I do think that that is
interesting for the time because the movie is telegraphing, and
I also feel like a lot of movies at this
time telegraph like the cool girl has to tate the

(59:28):
nerd because he just realized that she can think it's
a human. Yes, yes, and that doesn't happen here. But
then something else happens that I think is like annoying
in a totally different way.

Speaker 2 (59:43):
Yeah, basically, we're to believe he's an adult man. He's
eighteen or nineteen, you know, legally an adult.

Speaker 3 (59:51):
I'm not upset about like an age gap, but it's
just like, who is this guy? And he's also kind
of following her to her house? That was the issue
that I had. I was like, because I don't know,
when I was sixteen, I dated a nineteen year old,
and you know, I think that that dynamic can differ.
But like it's someone within two years of her age range,

(01:00:11):
I'm not super upset. I mean, also, Brad is within
two years of her age range on the other side,
but this guy followed her home. That's what I'm more
concerned about. Because it's like, what if she wasn't into
him and then he simply followed her home.

Speaker 2 (01:00:28):
Yeah, it's there's definitely some stalking happening. There is the
movie ending with this, like I think very wedged in
hetero kiss because like, that's not what the movie is about.
The movie's about. I mean, I guess it does open
with she gets ditched by her boyfriend. So if the

(01:00:48):
arc is like, oh, well, who's gonna kiss her now
that her boyfriend ditched her? Oh, she meets this other guy,
but the core of the movie is about her as
a babysitter and the adventures they get in. I don't know,
I just felt a little unnecessary.

Speaker 5 (01:01:01):
And then he kissed me, and then.

Speaker 3 (01:01:03):
He kissed me, and then he kissed her, and then
you're like, but wait, who kissed her?

Speaker 2 (01:01:09):
Who's this guy? Just a couple other things, you know, again,
tropes that are adhered to that are extremely reductive. There's
that doctor in the hospital who speaks English with a
not American accent, and he is characterized as being goofy
and cartoonish and not smart or good at his doctor job.

(01:01:33):
You have that scene where Chris sees her boyfriend with
another girl, and Chris's first instinct is to insult the
other girl and slut shame her rather than like be
pissed at her boyfriend, which she is in the next moment,
but like her first thing is like, I mean.

Speaker 3 (01:01:51):
It's very nineteen eighty seven.

Speaker 2 (01:01:53):
Yeah, yeah, yeah, for sure, So you know a bunch
of things like that. Maybe I'm sorry, I feel badly
we're just.

Speaker 3 (01:01:59):
Like, no, no, it's piling on totally.

Speaker 5 (01:02:02):
It's I mean, I recognize that.

Speaker 4 (01:02:04):
I mean, you know, that's it not as an excuse,
but it's just very of that time, where.

Speaker 3 (01:02:10):
Like, definitely, yeah, I would be.

Speaker 4 (01:02:13):
You know, a little shocked to find, you know, some
movies where we don't see those kinds of tropes, and.

Speaker 5 (01:02:20):
But yeah, there is a lot to unpack about a lot.

Speaker 4 (01:02:23):
Of the characters and scenes, and yeah, at the expense
of marginalized communities.

Speaker 2 (01:02:31):
I did note a couple exceptions to the you know,
pretty tropy nature of the writing, which is that, I mean,
I guess aside from like, the protagonist of a movie
from the nineteen eighties is a go go ga girl,
but then there's also the little girl Sarah. She is
obsessed with thor slash like superhero stuff like rather than

(01:02:56):
something traditionally hyper feminine, and you know, superhero and comic
books and all that kind of stuff is like it
has been pigeonholed into a quote unquote masculine interest.

Speaker 3 (01:03:08):
I love Sarah. She's so chaos. I love her. I
love that she's like a little bit evil in a
fun way. She's always laughing when they're getting into car crashes.

Speaker 4 (01:03:20):
Yeah, and then even you know, like at the restaurants
when she's like being all sneaky and sneaking the pastries
off the pastry cart, and then she just decides, you
know what, I'm leaving.

Speaker 5 (01:03:32):
I'm going to the toy store.

Speaker 3 (01:03:35):
Yeah, this is none of my business.

Speaker 5 (01:03:37):
And that this is how the whole building moment happens.

Speaker 3 (01:03:41):
Right. Yeah. I really appreciated her character. I feel like
this is like precocious young kid done right, because she
still feels like a kid, right, Like she still wants
ice cream and toys and has very like kid like interest.
But she's also like, I don't know, like moment at
the beginning where she I guess that I am pro Disney.

Speaker 2 (01:04:05):
Edit, but yeah, in this case, yes.

Speaker 3 (01:04:08):
That edit at the beginning, sure, I'm pro that, but
that she basically tricks her older brother into admitting that
he has a crush on Chris, and like, it's just
it's like it's younger sibling, devious, done well, and I
really like her and I like Chris too. I think

(01:04:28):
that there were opportunities for Chris that weren't really taken
in again in a way that is very of the time,
right where the moment I was like, I think just
Bachtel cast frustrated by was There's a moment towards the
beginning of the movie when Chris has just come over

(01:04:49):
and Sarah asks her, what are you going to major
it in college? Oh?

Speaker 2 (01:04:54):
Yeah?

Speaker 3 (01:04:54):
And she just goes like, what, I'm not going to college. Well,
I don't even know if that's the implication. I like,
it's like unclear she even heard it. And then Chris's
life outside of babysitting and having crushes is never brought
up again, which is like, you know, if you're seventeen,

(01:05:14):
obviously your life is small in ways that are to
be expected, right, But it was just like and I
wouldn't advocate for like a change that would be like
an over correction, Like here's a question, Kila, did they
add a weird woman in stem ambition for the Sabrina
Carbonder character. Was she like, I really want to be
a chemist.

Speaker 2 (01:05:34):
Not women and so, but she she wants to be
a photographer or an artist. She's like vying for an
art or photography internship or something like that.

Speaker 3 (01:05:44):
Okay, I appreciate that. Does it ever come into the plot?
Probably not, But I just thought it was funny that
in the eighty seven version, she's like what and then
it never comes up again, like an external life for her.

Speaker 2 (01:05:57):
That scene is is Sarah being like, Yo, what are
you going to major in or something? And Chris responds
by saying, I'm not going to college. She's like college. Oh,
and it's kind of like, I mean, it was more
affordable in the eighties, so if you were going to
go to college, that was the time to do it.

Speaker 3 (01:06:14):
But well it seems like, I mean, given their socioeconomic like,
she probably could. I don't know, I don't know. Yeah, sorry,
maybe we cut you off.

Speaker 5 (01:06:21):
No, No, I was just gonna say.

Speaker 4 (01:06:23):
I mean Sarah was digging through her purse, which also
sort of lends to that you know, sort of tvous
little character, little sister character you were talking about, and
she directly asks Chris. She goes, are you going to
go to college? And Chris is like what, no, thanks mom,
and like obviously like her mom is trying to convince
her to go to college and she's.

Speaker 5 (01:06:43):
Just not having it.

Speaker 4 (01:06:46):
And I think it's because she's so preoccupied with so cool,
mister so Cool.

Speaker 2 (01:06:52):
But to the Sarah being a little stinker and like
ragging on her older brother about the little crush that
he has. I think another subversion is that a teen
boy is characterized almost entirely by his crush on a girl,
where normally you would see a male character be way
more fleshed out, and that then a teen girl be

(01:07:14):
solely defined by her crush on a boy. But that
feels like there's a little bit of a flip there.

Speaker 3 (01:07:22):
That's true. I guess that there is like some equity
there where it's like Chris has more dimension than most
of the kids because she also has a friend named
Brenda who's at the bus station. And then the two
teenage boys are horny Horny Horney and Sarah lex Thor

(01:07:42):
And that is really what we have. And I don't
I'm not complaining about it. I do like a like
low concept like these are the characters. This is what
we've got.

Speaker 2 (01:07:51):
Mm hmm.

Speaker 3 (01:07:52):
Yeah, I guess it's just like the whole idea that, like,
I feel like with some very slight additions to Chris's character,
even I don't know watching it through this time, like
maybe you were saying, like the promise of like the
and then he kissed me at the very beginning is
fulfilled by the end. But that's like not really her

(01:08:14):
central goal the whole time, and so I wish that
there was like just a slightly different ending. I'm not
upset that she ends up with a boyfriend. It seems
like that's something that she wants, is like someone who
is thoughtful and treats her well, which this movie interprets
as following you to your house, who is nineteen eighty seven.

(01:08:34):
But I don't know, Yeah, how did everyone feel about
the ending? I mean, it's obviously very dated.

Speaker 5 (01:08:39):
I mean it's interesting.

Speaker 4 (01:08:40):
It's kind of like you know, in the last like
fifteen minutes they like wrap up everything, I mean, from
getting the car back to racing home, to cleaning up
to pretending like nothing happened who end of the evening?

Speaker 5 (01:08:54):
Uh, and then he kissed me.

Speaker 4 (01:08:56):
So it feels like not necessarily, Like it feels like
the finale is not just the kiss, but like sort
of the scene where they're like, Okay, we're getting out
of the city, We're going back to the suburbs, like
that's the beginning of the finale, and then like the
kiss at the end is just sort of like what
they probably thought was like the cherry on top, right.

Speaker 2 (01:09:18):
Yeah, No, I totally agree the twenty sixteen decom reboot for.

Speaker 3 (01:09:23):
A Sabrina as a Sabrina fan. She had to go
through so much to get to Shortened Sweet.

Speaker 2 (01:09:30):
She really did. But I don't think like the final
frame of the movie are like teens kissing each other.
But there are various hetero love interests sprinkled throughout the
movie where Sabrina Carpenter's character has a crush on a
boy and there's a misunderstanding where oh no, someone told

(01:09:51):
him that she wasn't interested, but she is interested in
that you know, culminates and she like lets him know
that she does like him after all, and that's nice.
The other babysitter, because there are two babysitters in this one, and.

Speaker 3 (01:10:05):
There's two babysitters, two.

Speaker 2 (01:10:07):
Babysitters, two families two sets of kids, oh too much.
One of the younger girls likes one of the younger
boys from the other family, so there's another hetero love
interest in that one.

Speaker 3 (01:10:21):
And then they just like double down. They're like more more,
more teenage couples.

Speaker 2 (01:10:26):
So the other babysitter, and again I'm probably supposed to
know who that is. I don't have the tab open.
I don't know who plays her, but it's the other babysitter.
She is given a love interest who is a cop.
So it's, uh, you know, it's bad. And I think
that's all I really had to say about the reboot,

(01:10:48):
except that the nineteen eighty seven movie, like you said, Jamie, like,
it's well made, it's a good script.

Speaker 3 (01:10:54):
I think it's like directed well too. Like it's I
get why people really like it totally.

Speaker 2 (01:11:01):
Yeah, it's a fun romp. It's easy to follow. Yeah,
we're having fun. The Dcon reboot is so convoluted it
is nonsensical. It loses the thread almost immediately. I somehow
could not follow along. I was like, what is happening?

Speaker 3 (01:11:18):
I'm sure that the budget was like twelve dollars and
I recently read I've actually to get ready for our
upcoming Camp Rock episode. I just read a book about
the history of dcons that came out I think last
year called Disney High that said that The Adventures in
Babysitting reboot was in the works at Distey for so

(01:11:39):
long that I think by the time it actually came out,
they very much just kind of sharded it out because
it was originally supposed to start Raven Simone in like
two thousand and seven or something, and then like it
just kept not happening, and then poor Sabrina Carpenter, her
number came up and she had to be in. Yeah,
whatever of shit you had to watch, But this movie

(01:12:03):
isn't a piece of shit, and I actually do. I mean,
it's like Chris Columbus. I am constantly frustrated and impressed
by him because he directed this when he was like
twenty eight, he'd already written Gremlins. He would go on
to I mean, yeah, like a couple of years after
he directs Home Alone. Like obviously he went on to
have a ridiculous career, But it's interesting to seeing kind

(01:12:27):
of how much of what his kind of thumbprint in,
Like American family movies are kind of right from the
jump with even before this, with Gremblins of like, you
have this quote unquote like allegedly idyllic suburban life, and
then there is this sort of outside factor. I mean,
you could even attribute this to his Harry Potter movies

(01:12:50):
of like this idyllic suburban life that with complicated families
inside being disrupted in some way by an other force.
You're a wizard, Harry, whether it's a gremlin or wizards
or Robin Williams in Drag and Missus Doubtfire, Like there's
so many outside like that is just his playbook, and

(01:13:13):
I guess that never like fully came together for me
until Sitting With like his first the first movie he directed.

Speaker 2 (01:13:20):
But this is very much a through line babysitting with it.

Speaker 3 (01:13:24):
I babysat with it. Yeah wow? Yeah did we all?
Do we all babysit at different points? Any babysitting stories
to swap?

Speaker 5 (01:13:34):
No, I didn't really babysit.

Speaker 4 (01:13:36):
I mean, I've watched my little brother sometimes, but I
don't know if I it didn't feel like babysiting. I
never babysat for non family members.

Speaker 2 (01:13:46):
Okay, yeah, neither did I I didn't want to be
around children.

Speaker 3 (01:13:51):
Okay, Well, never mind, No, but tell yours. No, I
don't have any. I babysat a lot because I had
a huge fan and that's what they do. They exploit
your labor. But you get to know your cousins really well,
and so that's the upside of it.

Speaker 2 (01:14:07):
True.

Speaker 3 (01:14:08):
Yeah, I wiped all my cousins butts. Whoa fun I've Wow,
have you ever wiped the baby's butt?

Speaker 2 (01:14:15):
I never have and I never will.

Speaker 5 (01:14:17):
No.

Speaker 3 (01:14:18):
Sorry, everyone, I'm really good at it. I learned this
when I was quite young.

Speaker 2 (01:14:24):
I love that for you.

Speaker 3 (01:14:25):
That was I think that was Honestly, this is a
separate this is a side tanded, but I think that's
part of why I One of the many reasons I
connected to American Girl books was they were always having
a wipe baby butts and I was like, Wow, she's
so me. She wiped a butt today, I'm just like kirstone.

Speaker 2 (01:14:45):
Wow, visibility of wiping baby butts? Yeah, does anyone have
anything else they'd like to talk about?

Speaker 3 (01:14:52):
No? I mean this is this is like a tricky
movie in a fun way where it Yeah, like I
I like it. It's a fun movie to watch. It's
well made, it's funny, and there's all this nineteen eighty
seven stuff going on inside.

Speaker 4 (01:15:08):
Of it, you know, the only thing that I wanted
to mention. I know, we talked a little bit about
some of the vocal dialogue that was altered in the
Disney edits, and I got to say, I, as a homo,
I never felt offended by that joke.

Speaker 5 (01:15:27):
That line.

Speaker 4 (01:15:28):
I actually like, I don't know, I thought it was funny. Yeah,
it definitely is rooted in homophobia. But I also feel
like I take issue with pretending that that never existed,
that that never that that line was never there. It
sort of feels like it's glossing over, you know, the
prevalence of homophobic throwaway comments, you know, from the eighties

(01:15:51):
that went until like the two thousands, I mean still today,
So it kind of I don't know, for that reason,
I wish it was still there.

Speaker 2 (01:15:58):
Yeah, Yeah, I see your point. And it's interesting that
the like what this movie shows to censor and edit
and not because it's like I understand maybe the feeling
inclined to want to censor homophobic remarks, but like you're saying,

(01:16:19):
that ends up just sort of like erases the fact
that there was rampant homophobia during this time that was
so normalized, and like we need to contend with that
because it it has lasted and informs homophobia today, so
to pretend like it never existed is weird. But then

(01:16:40):
there's all these you know, there's these moments that are
shaming of sex workers and that are implying that all
the people of color in the movie are in a gang,
or they are unfriendly, or they're car thieves or uneducated.

Speaker 5 (01:16:56):
Yep, they're in a.

Speaker 2 (01:16:57):
Blues club and absolutely love these white teens sing a
shitty song.

Speaker 3 (01:17:03):
And that's what makes us like them is that they
like Elizabeth Shoe improvising. I also feel that we have
a Joe GiB where like Joe is a lovable character
from the.

Speaker 5 (01:17:17):
Moment we meet him, Yeah, from the beginning.

Speaker 3 (01:17:20):
Like he is a very very sweet person. I wish
that we got to know him better because at the end,
at least in the cut that's on Disney Plus, he
is I think the kindest that we see a man
really be to Chris in the entire movie, where she
is once again like compared to this playboy model and

(01:17:41):
he's just like I forget what the exact wording was,
but it was like, oh, you're you're even better. She's
got nothing on you, right, like and he he says
it in a way that doesn't like aggressively sexualize her
in the way that everyone else who has made this
comparison has totally. But it also feels like the movie
in a way that like I can't really articulate, but

(01:18:04):
like he's never seen as a viable interest for her,
and that feels very pointed in this like aggressively white
suburban movie, because I think if he were not a
black actor, he would of course be that's the guy
that you would go with as the person who is
sweet with you, if we absolutely need this teenage girl

(01:18:28):
to end up with a guy at the end of
the movie, adding that moment felt very interesting because in
ten minutes she ends up with this college guy who
is also nice to her. But like, Joe is like
so present in the story, but I feel like there's
almost this like and this is me galaxy braining it
so feel free to be like shut up, but like

(01:18:51):
it just feels like there's this implication that they really
the one place that the kids go that isn't presented
as like actively horrifically dangerous is a mostly white frat party, which.

Speaker 2 (01:19:04):
Is hilarious because those can be incredibly hostile and dangerous places.

Speaker 3 (01:19:09):
It's maybe one of the most dangerous places a teenage
girl could be. But it's presented as almost like I
don't even know if he has a name, but the
guy she kisses at the end, Dan, it's almost implied that,
like he's passing through the city, you know, like he'll
be back to the suburbs. He's quote unquote safe for her, whereas.

Speaker 2 (01:19:29):
Yeah, he's a yuppie, like fucking boat shoes wearing.

Speaker 5 (01:19:32):
Yeah, attending the University.

Speaker 3 (01:19:34):
Of shut right where it's like where Joe is presented
as not a viable of interest in spite of being equally,
if not more, kind to her. Yeah, it just feels
very of the moment and kind of quietly racist in
the way that he's not presented as viable because based

(01:19:55):
on everything that happens and this movie's insistence on her
having a love interest, he should be in the running,
Like why wouldn't he be.

Speaker 2 (01:20:03):
Totally Yeah, So it's all the things like that that
make this movie.

Speaker 3 (01:20:11):
Glaringly Reagan was president also not for nothing. Brenda, played
by Penelope Anne Miller, went on to play Nancy Reagan
opposite Dennis quaidas Reagan last year. Whoa so, because I
was like, this is like one of the most like

(01:20:31):
Reagan coded family comedies I've seen. And then I was like,
and she literally played Nancy Reagan.

Speaker 2 (01:20:38):
There you go the quaids. What a family anyway?

Speaker 3 (01:20:44):
What a web they weave? She's also she was also
in she her I don't know, but her her filmography
is very Republican coded. She also was in Rudy, The
Rudy Giuliani Story, which was a TV movie. Oh yeah,
I don't know.

Speaker 2 (01:21:02):
I'm also saying she was in Kindergarten Cop and Carlito's Way.

Speaker 3 (01:21:06):
Which are just I guess facts about her.

Speaker 2 (01:21:09):
Yeah, nothing nothing to see here.

Speaker 3 (01:21:11):
Not quite as republican cudit. Yeah.

Speaker 2 (01:21:15):
Anyway, Okay, does the movie pass the Bechdel test technically?

Speaker 3 (01:21:21):
Yes? It does.

Speaker 2 (01:21:21):
Yeah, I mean Chris talks to Brenda about Brenda's mom,
you know, Chris and missus Anderson talk about Sarah. Chris
and Sarah talk about roller skates and ice cream. So,
you know, quite a bit of passing the Bechdel test.

Speaker 4 (01:21:38):
You know, I have a slight argument in there. I
mean I've heard you know, the Bechdel test being a
conversation between two women, and technically Brenda and Chris are
our teenagers. They're seventeen, you know, they're not full adult
women yet, and so if you take that out, I

(01:21:59):
don't know if they if it passes. I mean, I
don't think there's any you know, mature adult women who
have a conversation between each other. But we definitely see,
you know, lots of men having conversations, like the bad
guys who.

Speaker 5 (01:22:12):
Run the car operations.

Speaker 4 (01:22:15):
So that's sort of my only arguments where I'm like,
I it feels like it does, but I don't know.

Speaker 5 (01:22:21):
It's a little between pass and fail for me.

Speaker 3 (01:22:25):
I feel like spiritually, for me, it definitely doesn't because
it's such a bummer, especially because we're set up with
what you would help. Because I also, like, didn't really
remember the details of this movie. We really Oh, we're
starting with these like two teenage friends, and you want
their friendship to be a more driving force in the movie,
but it just isn't, which sucks because they're opening I

(01:22:48):
thought their opening exchange was really funny where Brenda was
not afraid to be like, yeah, Bradley Whitford's a liar,
Like I was hoping for more of that dynamic, but
then she just gets stranded at the bus station and
she's just like a plot factor versus a character for
the most part.

Speaker 2 (01:23:08):
Yeah, she's also like, I'm gonna spike my mom's soda
with draino. I'm gonna murder my mom. Is Brenda's vibe.

Speaker 3 (01:23:19):
So she's hard, she's hard, She's so hard.

Speaker 2 (01:23:24):
Yeah, until she goes into the city and then she's
the softest motherfucker scene.

Speaker 3 (01:23:31):
You know.

Speaker 5 (01:23:31):
I guess that explains though, why she ran away. You know.

Speaker 4 (01:23:35):
Yeah, that's why she ended up at the bus stop.
That's why the whole adventure ended up happening. So you know,
it almost required Brenda having a poor relationship with her mother.

Speaker 3 (01:23:44):
Yeah, it's true anyway.

Speaker 2 (01:23:45):
As far as rating the movie on the Bechdel Cast
Nipple scale, where we rate zero to five nipples based
on examining the movie through an intersectional feminist lens, I
would say that this movie.

Speaker 3 (01:24:02):
M.

Speaker 2 (01:24:04):
I think like one nipple. It's not it's not doing great.
It is again adhering to many many tropes that punch
down to marginalize people and communities. It is just making
the easy choice almost every single time, the tropy reductive
choice almost every single time, and not really subverting anything significant.

(01:24:28):
But it is fun. I like that. It is yeah,
like a wild little caper kind of thing, or you know,
just a wild story of a night of misadventures that
does center a woman. And yes it is a white
woman from the suburbs, and but you know she she
takes initiative, she has agency. She drives the narrative quite

(01:24:52):
a bit. So there's I don't know, there's something there
in the car, and she drives the car literally. So
I'll give the movie one nipple, and I will give
it to the shirt worn by one of the like
car thief guys who's just in the warehouse that says

(01:25:12):
eat the Rich, and Brad is like kind of like
looking at everyone, he's like, cool shirt, but he's like
not really being serious. He's frightened, and that is meant
to be like a shirt that's scary. Oh no, eat
the rich. But I'm like, no, that is a cool shirt,
and I'm giving my nipple to that the end.

Speaker 3 (01:25:32):
I'll meet you there. I'll give it one nipple. I'm
tempted to give it one point five, but I don't
know why and so I guess I was kind of
there too. Okay, well then I'll do it. I'll go
one point five. I do think that with Chris and Sarah,
well they are, you know, like white suburban kids, we
do get a little more depth and centering than we

(01:25:53):
do in your average eighties movie. I think I like Chris.
I wish I knew more about her. I think Elizabeth
she brings a lot to that performance. I could take
your leave Brenda to be perfectly honest. But Sarah. I
love Sarah. I love a little tomboy kid with a

(01:26:13):
very specific interest. I feel seen by that. Uh huh same.
I love that she has this weird cronenberry. She loves
getting into car crashes. She's so weirdo. Like, I just
I really appreciated that character. I remember that being like
the big standout to me when I watched it when
I was younger. And yeah, I mean there in like

(01:26:36):
we've been talking about for an hour and a half,
there is I think this element of this to me
time capsule of white suburban anxieties at this very particular
moment that acknowledges but doesn't state a lot of things
that we now historically know were going on in the
mid to late eighties in a lot of cities, which

(01:26:58):
is there are drug epidemics that were being pushed by
the government. There's like all of these you know, the
AIDS epidemic was happening, Like, there are all of these
very very serious issues happening in the background of these
scenarios that are I think presented more as like what
would a white suburban kid think this scenario would be like,

(01:27:19):
versus what it actually would be. And so I feel
like this movie is best consumed when you frame it
as like a fantasy versus any reflection of like reality. Anyways,
I'll give it one and a half. I don't really
know why, but I'm giving one to Sarah, and then

(01:27:39):
I'm giving one to Sarah's mom because she's just phoning
it in.

Speaker 2 (01:27:46):
Yeah, She's like, who's the caterer at that party?

Speaker 3 (01:27:49):
She's like, if she dies, she dies. It was like
love that energy.

Speaker 2 (01:27:55):
Maybe how about you.

Speaker 4 (01:27:56):
I'm going to say three and a half. And I'm
saying this based off of my love, my early love
for this movie. I would have given it. I would
have given it five as a kid. But you know,
it's always you know, revisiting these things. For that reason,
I'm going to deduct one and a half nipples.

Speaker 2 (01:28:14):
Excellent. Well, thank you so much for joining us.

Speaker 5 (01:28:17):
Of course, I really enjoyed this.

Speaker 3 (01:28:20):
And where can we where can we find you? Where
can we find more about the campaign?

Speaker 5 (01:28:24):
Amazing?

Speaker 4 (01:28:25):
Yeah, you can find me on Instagram. It's at maybe
a Girl that's m A E B E A G
I R L. And then our website is maybe for
State Senate dot com.

Speaker 3 (01:28:37):
Yay, amazing, We're so excited.

Speaker 5 (01:28:40):
Thank you.

Speaker 2 (01:28:41):
You can follow us on Instagram mostly at Bechdelcast. You
can subscribe to our Patreon a k a. Matreon, where
you get two bonus episodes every month, plus access to
the back catalog of Matreon bonuses. It always sent her
an amazing genius, hilarious theme and then that's all for

(01:29:05):
five dollars a month. You can go to our link
tree for different important things.

Speaker 3 (01:29:12):
And with that, was piled in the station wagon and
get home and pretend we've never been to a city before.

Speaker 2 (01:29:20):
Yeah, the city's too scary. I'm skewed. Bye bye. The
Bechdel Cast is a production of iHeartMedia, hosted by Caitlin
Derante and Jamie Loftis, produced by Sophie Lichterman, edited by
Mola Board. Our theme song was composed by Mike Kaplan
with vocals by Katherine Volskrosenski. Our logo in merch is

(01:29:44):
designed by Jamie Loftis and a special thanks to Aristotle Acevedo.
For more information about the podcast, please visit link Tree
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