October 23, 2017 • 48 mins
Breaking: Every man in entertainment is scum! JK we have known this forever, but in light of recent events and in support of all the victims coming forward, Caitlin and Jamie dig into the daddy of all problematic movies that men are still recommending to us at crummy parties: Woody Allen's Manhattan.
(This episode contains spoilers)
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Episode Transcript
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Speaker 1 (00:00):
On the pick Doll Cast, the questions asked if movies
have women in them, are all their discussions just boyfriends
and husbands, or do they have individualism the patriarchy? Zef
In best start changing it with the beck del cast. Hi,
welcome to the backdel cast. Already sounds so excited. I
guess this isn't really so uh bonus episode alert. Yeah,
(00:24):
we're doing an episode that's and it's a bonus, but
it's it's grim. It's a grim. It's a grim bonus.
It's it's still the scariest month of the year, true
and truly the news has been proving it is the
scariest month of the year. So we are doing a
bonus episode. Obviously, if you're cooking on it, you know
(00:45):
what it's about about the nine Woody Allen movie Manhattan,
And why have we chosen to do this movie? I
mean we really dug deep inside. No, we literally woke
up and looked at the screens that we sleep next to,
and it said that, you know, everything is a nightmare,
which we knew Harry Weinstein, Harvey Weinstein, Woody Allen, dozens
(01:07):
of others. Right, it's been it's been, I mean obviously
a deeply traveling a couple of weeks. For all the
allegations that are coming out, it's it's very positive that
they're being brought out to the world. But it's hard, right,
especially because the victims who are coming forward are perceiving
some backlash, especially Woody Allen saying things like, oh, I
(01:32):
don't support what Harvey Weinstein did, but you know, let's
not start a witch hunt, you know, which hunts those
things that men used to do to women for no
reason other than they were threatened by women existing in
the world around them. Right, So we thought it would
(01:57):
be perhaps useful to look back on an example of
a very predatory movie made by an allegedly very predatory
person and talk about it, because it is wild watching
this movie now came out what thirty eight years ago
now is while watching this movie and ever thinking that
(02:20):
this was, like this is amazing, Like this isn't a
hard movie to watch at all. Right. I saw it
for the first time probably in college, probably around ten
years ago, and that was the only time I had
seen it, But I didn't remember even what it was about.
I didn't remember that a forty two year old man
was in a relationship with a seventeen year old girl.
(02:42):
I just didn't remember that that's what the story was
because ten years ago, you know, I guess I just wasn't.
I mean, I probably was like, oh, that's that's weird,
and then I just forgot about it. Whereas today, well,
and I think that a lot of work is done
by the movie itself to really glaze over any problems
that are there where I mean, we'll get into that too,
(03:03):
where no one at the movie really raises a stink
other than a passing joke at the fact that their
crimes happening in front of them. So I think that
the world Woody Allen creates, and I mean, we weren't
alive for it, but it seems like the general society
at that time did not point stuff like this out,
and so the movie doesn't point it out, and that's bad.
(03:25):
I first saw this movie in college as well, but
it did bother me quite a bit because I saw
this movie. This would have been the Lateen, which is
when allegations about Woody Allen were first starting to surface,
like really exploded in early but late there was rumblings
and I had to take a class to graduate school
(03:47):
and so I ended up having to take this class
about Charlie Kaufman, Woody Allen, and Billy Wilder films. So
we had to watch a lot of Woody Allen films,
and I recall not liking them, not doing well in
the class, and getting in trouble for specifically being like,
this is gross. Why is he fucking a kid? Like
(04:08):
that in particularly got me in trouble at that class. See.
I So I took a directing class because you know,
I did go to film school twice, and I was
given like the script to a scene in Manhattan to
be like, Okay, let's see how you would direct this.
And it's the scene between Woody Allen's character and Tracy's character,
(04:30):
the seventeen year old girl kidding, the one we're they're
in bed and he has just moved into his new
apartment and he was talking about like the water being
brown and the noises from the his neighbors and stuff
like that, and like at the time, I was just like, oh,
I'll just direct this scene. Like it didn't really occur
to me, like how gross and problematic, And that was
(04:53):
a school assignment, Like that's great. Yeah, I mean I
was like, yeah, I what was my professor thinking. I
had literally had no choic but to watch these money
or I couldn't graduate. Like it's just great. And also
I I not to say this was a benefit in
any way, but I was armed with a lot of
a lot more information in latee of like this guy
(05:14):
was basically being I mean not that there was no
way to tell, as he had already married his daughter,
but there there were serious allegations coming out, and it
just felt wrong to be idolizing this work in anyway,
especially when it's just like he he it's why he
really is just laying it out in front of you
of like I'm a predator. I fun kids, I did,
(05:37):
like you're just like he's unapologetic about it, and it's nuts.
Not even unapologetically he's victimizing himself about like it's just okay.
So let's talk about the movie. Manhattan comes out in
nineteen seventy nine after Annie Hall, after he's sort of
said that I guess we're doing this now, you know,
(05:59):
or watching way Allen do the same fucking things. Great, Yeah,
I'll do the recap. Manhattan is about a Woody Allen
type character about one Allen. His character though, is named Isaac,
and he is in a relationship with a seventeen year
old funny and everyone's like, wow, she's beautiful, and he's like,
(06:23):
she's seventeen in public, she's in high school, she's seventeen.
Isn't this funny? Isn't this weird? And the characters responded
by saying, yeah, that is weird, that is funny, where
it's just like, you know, we weren't there in ninety nine.
But I find it very hard to believe that there's
two characters responding, oh, that is so weird, like it's
(06:45):
just because it was a crime. Towards the end, she's like,
I turned eighteen, so I'm legal now, acknowledging that the
sex they were having before was not legal, which it wasn't,
and no one gave any shit about it. So not
even the movie that, not even not even the characters
in the movie who won And another straight white guy
(07:06):
whose name eludes me at this it's Yale. No, like
the co writer for the movie Marshall Brickman. Marshall Brickman,
So they write this movie together. They're writing all these
female characters, meaning they're directing, you know, like Diane Keaton's
character who on paper and then I think several parts
of the movie is a good character I would agree
(07:27):
to given a background. And it's like, man, I hate
that there's a good female character in this movie. But
I mean, she has, she is armed with all the information,
she is intelligent, she is she's very outspoken, very outspoken,
doesn't seem to care, doesn't seem to care, And it's like,
how fucking convenient that you're very empowered female character just
(07:48):
also doesn't seem to notice that you're fucking a kid.
And if she mentions it, mentions it as like so
weird that this is going on. At one point, so
there's a character named Yale, which is what EN's character's
best friend, and he's married to Emily. At one point,
Emily says, oh no, I don't think seventeen is too young.
That's like in the first fifteen roots of the movie.
And I know, and to tell you you flame and
(08:11):
hot trolls out there who were like the women in
the movie. Yeah, but that the women in the movie,
those words weren't put there by a woman. They were
put there by two men. So it's like these relatively
realized female characters spouting nonsense like it's just yeah, sorry,
I love how it worked up. We are It is
(08:31):
infuriating movie watch at times, deeply uncomfortable. We laughed at
two different parts and that was upsetting too. Were like,
I hate that, I found that funny. I hate the chuckle.
I hated it. It's just oh god, okay, anyway, so okay.
So Isaac is dating a seventeen year old woman. His
friend Yale is married, but he starts seeing this woman,
(08:54):
Mary played by Dan Dane Keaton. Woody Allen meets Mary
and he's like, oh, I actually, I like there's another
thing in here where it's It's like, oh, Wh're gonna
forgive him for these hanous crimes he's committing because he's awkward. Again,
the use of an awkward personality as an excuse to
do fucking insane things. I'm gonna go ahead and coin
(09:18):
the term stutter corps. This is a stutter corp movie.
All Woody Allen movies are stutter corps, and which just
is you can shave fifteen minutes off the top of
the movie. Right. So he meets Mary and they get
off to a rocky start, but then he starts to
like Mary, and Mary starts to like him, so he's conflicted, Oh,
(09:40):
do I stay with this seventeen year old girl or
do I hang out with Mary even though she's also
dating my friend Yale. There's like kind of all this
back and forth. He's writing a book, he's writing a book,
he quits his job and is a writer. He's an artist,
which comes into play later. He surrounds himself with affluent, white,
fucking pretend just people, which is dumb, which I know,
(10:03):
but it's very intentional what Woody Allen chooses to satirize
in this movie and what he does not just satirize
in this movie, because I think he is satirizing bullshit
intellectualism quite a bit by being like, look at these people.
They're so smart, threat museums and observatories and planetariums all
the time, but they don't have it together. Like it's
(10:26):
you know, he's commenting on that. The things he is
not commenting on are just as glaring, such as he
is sucking a kid. This is barely commented on, and
and and in the way it's commented on. Tracy Mariel,
Hemingway's character is being developed at the expense of the protagonist,
which is like another continued I mean, I'm almost done.
(10:50):
I don't really know what else happens. It's not an
exciting movie. So at some point he breaks up with Tracy,
the seventeen year old girl. He starts to go in
sort of full force with Mary in their relationship, and
then Mary meanwhile it's like, actually I think I still
love Yale. So she and Yale kind of get back
(11:12):
to together, and then Woody Allen's character is like, well,
I'm lonely, so I better go back the girl to
the child. But here's a twist. She's not a child now.
She's she's crazy having gas let her throughout the entire
movie because she's like, why might want to go and
(11:33):
study in London and he's like, yeah, you should. Actually
we probably shouldn't be together you're young, but like not
to any point where he's going to really do anything
about it. And then at the end she's like, Okay,
I'm gonna go to London like you said I should,
and he's like, actually, no, not on, I don't have
anyone to validate me. And then she you know, but
(11:55):
what a six month matter if we're in love, which
is you know, a very eight, your old thing to say,
and it ends with him like smiling, and we're like,
oh yeah, maybe there's no there's never even the looming
threat of a consequence for treating this situation where he does,
(12:15):
for committing a crime over and over and over. It's
openly discussed between the two characters. You can't even call
it an open secret. It's not a secret. He's taking
her out in public. We don't know that much about
her parents or or where, nothing, nothing. I really know
nothing about her character apart from her age and that
she apparently is interested in acting. We're going abroad to
(12:38):
study that, right, and she goes to high school. This
this trope we've talked about before and it applies more
to sci fi characters generally, but it did want to
bring up the born Sexy Yesterday and that with Tracy
and Isaac. It's like this dynamic and what we sort
of are led to believe as a feeling about it
(13:00):
for ISAA because that he's teaching this girl, he's teaching
her intellectually, he's teaching her, teaching her, he's raping her,
but he's teaching her sexually or that's his impression or whatever.
Just the fact that there's there's no point in the
movie where it's brought up as anything but a funny thing.
It is never addressed it as a crime. It's indirectly
(13:24):
addressed as a crime, where it's a joke that she's
legal now, and there's no there's no threat that he
will receive any punishment, and in fact he doesn't and
he still has it. So great for Woody Allen funk Off.
I was at a bar last night and I was like, yeah,
brag and I was like, oh, sorry, I'm late. I
(13:46):
had to watch Manhattan. We're doing it tomorrow on my podcast,
and my friends were like, what why, And I'm like, well,
what better way to introduce all the fucking problematic ship
that's happening in Hollywood right now and that has always
been happening. Then a widely regarded movie where a major
(14:06):
platfoint is repeated. Rape. Amazing there for anyone who is like,
but wait, okay, let's think top of the Dome cinematography. Sure, great,
there's a seed in the planetarium where lights are used.
George Gershwood very talented man, also deeply problematic. You can
go into that Google hole yourself. New York a city
(14:30):
that exists. The technical merits of this movie is not
what we're here to discuss. So if that's where you're
coming from in terms of like, but the rapes look
so good, uh no, funk off enjoy your life. Also,
I don't like this movie, Like it's not it's I
(14:51):
hate I hate it, say I haven't. I have a
deep mistrust for anyone who's like, yeah, Manhattan's a great film.
Got goodbye. We have to we have to be going.
So we've discussed Tracy is obviously the glaring, major, major,
major issue in this movie. But the other two main
(15:12):
female characters are Mary, Diane Keaton's character and Jill, who
is Woody Allen's second ex wife. Correct, I didn't mention
her in the recap. She's played by Meryl Street and
she's depicted as this like greed true character. So the
plot point there is if, unless I'm mistaken, she is
(15:33):
writing a memoir about her Mary what a shitty partner
Woody Allen was like, I tell all kind of memoir thing.
She is also now living with her girlfriend and raising
Woody Allen's son. That's she has primary custody of Woody
Allen's and her son, and Woody Allen is very uncomfortable
(15:55):
with two women raising his son, which is brought up
as a joke, and sort of there's the scene we
see like one longish scene between Isaac and the Sun
where you mentined he hits his Sun as his son
because his sons trying to get his dad to buy
him like a toy boat, very pointing to the bigger,
(16:18):
more expensive one, and then Woody Allen just like strikes
him in the head. So there's that, And then in
the next cut there at some sort of it's a
rest restaurant and Isaac is saying like, oh we could,
like you know, basically presents his son with like I
know you're being raised by two women, but don't forget
(16:38):
about toxic masculine. It like it's just where he talks
about picking up women as like a joke to his kid. Yeah,
he's like, if you were quicker, we could have picked
those women up, just you know, teaching him just like
fucking creep t he Also, it doesn't take too much
of a leap to say that Woody Allen is kind
of villainizing Jill Meryl Streep's characters sexuality as well. He's
(17:05):
just saying like this shrewish gay woman, and it's also presented,
and I thought this was interesting. I was reading Roger
Ebert went back and watched this movie and had more
come about it. In two thousand and one, he writes
about this character specifically in a way that I think
was weird, where he says Isaac's former wife Meryl Streep
(17:25):
left him the live with a woman and writes the
bestseller ridiculing her marriage and love life. We doubt her
new relationship is sound if it leaves her so obsessed
with the previous one. That is I mean, and I'm
maybe that is how that reads to another straight white man,
but that I mean, and I mean that's also just
pure speculation because you don't see that much of their
(17:47):
relationship on screen. But I think we are led to
believe that. You know, it's like, well, Jill can't get
over it, and she's trying to capitalize on what a
shitty partner he was and now she dates a woman
where I feel almost the implication is Woody Allen was
such a bad husband that he turned her gay. That
was what I took away. That's sort of how he
(18:09):
I think he can character. Yeah, I think that that's
what the movie thinks, you know, regardless of the integrity
of this character, who deserved better. I don't know. I
mean and and that is an individual's read. But I
think the fact that a professional movie critics read was like,
well she was so she's still so hung up on him.
It's like, you can't conflate trauma with being in love,
(18:35):
right and still being hung Like being angry about someone
abusing you does not equal she's still in love with him, Like,
but I think that that is what the movie would
have you believe in that bobble Well, I made a
list of all the things, or not even I probably
didn't even hit all of them, but many of this
you have a comprehensive list, Let's not sure, but I'm
(18:56):
saying that there were so many that I probably missed.
Some says this is such a fucking against stutter core
movie that I can't even not to shame people with stutters.
She was stutter shaming. No stutter shaming here, I'm just
saying that Woody Allen should fall off the edge of
the planet. So I made a list of all the
things that he says either to or about women in
(19:19):
the movie. The first one is he's talking to Tracy.
This is after she's like, I think I'm in love
with you for the first time pretty early on in
the movie, and he says, don't get carried away, you're
a kid. As long as the cops don't burst in,
we're going to break a couple of records. And then
later he's like, get dressed, like I'm going to fund
a kid more than anyone who ever a kid, Jesus Christ.
(19:41):
And then he's like, get dressed because you've got to
get out of here. I don't want you to be
comfortable here. You can't stay here, right does all he
can to make Tracy's character not feel like she is
a permanent fixture in his life totally. That And this
is like sort of the beginning of him gaslighting her
because constantly throughout the movie he's saying, you're too young,
you don't under stand what love is, because she keeps
being like, I love you. She literally says over and over,
(20:04):
take me, seriously, listen to me. But and then he's
just like, you're not old enough, Like you don't know
what love is, You're too young. Yeah, that, but that
criticism has never turned inward of like maybe this is
the wrong thing to be doing, because it ends with
maybe I we'll get to fund this kid again, like okay, sorry, continuous.
Later he says to Jill, his ex wife Meryl Streep,
(20:27):
of the two of us, I was not the immoral, psychotic,
promiscuous one. Oh is that a reference to her sexuality?
I think probably so excellent? Later on to Tracy, and
this is after she's like, oh, you know, maybe people
aren't meant to just like be with one person forever.
It's kind of gone out of date. Again, more gasline,
because he's like, don't you tell me what's gone out
(20:49):
of date. You're seventeen. You were brought up on drugs
television in the pill gas lighting bullettling her experience. He
knows Benner because he has less hair. And then after
this is after he meets Mary, he says about her,
what a creep. She was overbearing, she was terrible, she
was all cerebral. If she said one more thing about Bergmann,
(21:10):
I would have knocked her other contact lens out. So
I don't like that she's smart. I want to hit her. Okay,
I'll just I'll just talk to translate. Please, this is
this is good. Shortly After that, he says about Jill,
I got a divorce because my ex wife left me
for another woman. Mary says, that must have been really demoralizing.
(21:31):
Isaac says, I tried to run them both over with
a car. Mary says, that's incredible sexual humiliation. And I
think that's enough to turn you off of women, which
I found to be a very bizarre scene because Mary
has been set up and later on the movie continues
to be the smartest and most rational in her thinking
(21:51):
and all of that. But because this character was written
by two men, she's just reinforcing what what he Alan
actually thinks, which was, Yeah, for me to have been
left by a woman for another woman, how humiliating. Well,
I think I think that this is sort of something
that comes up in a lot of Woody Allen's movies
(22:13):
where I wish I had a snappier title for it.
But a feminist character written by a man, So not
really a feminist character, but one that in appearance and behavior,
in profession, there's enough there that you're just like, oh,
you know, like you you would trust Diane Keaton's character,
(22:33):
but she's still being written by a villain basically, and
so when she glosses over the fact that when Allen's kid,
when she glosses over villainizing queer people. As an audience member,
you know, if you're not you know, you're sort of
being told don't think about it. The character you trust
(22:53):
thinks that, you know, queer people's lives don't matter either,
and and stupid people with no critical thing skills would
just be like, yeah, great, right, or people who have
not encountered alternate ways of thinking. Because Woody Allens, all
of his work is, We're told, is so intellectual and
so smart that it's like, where are you supposed to
(23:15):
be questioning? Where you not supposed to be questioning? He
directs your focus in very deliberate ways and also directs
your focus away. Okay, translation, I tried to kill gay
people who hurt my feelings. Response. That sucks for you,
and I can understand why you would have done that.
I get it, would have done the same thing myself.
(23:38):
Fuck that. Moving on later on, he says to Mary, well,
first Mary is talking about Tracy and she's like sixteen
years old, no possible threat at all. Isaac says, she's seventeen.
You know, sometimes you have a losing personality Mary, what
do you want. I'm honest, I say what's on my mind,
and if you can't take it, then funk off. I
(24:00):
I like the way you express yourself too. It's pithy
yet degenerate. You get many dates, I don't think so.
A very witty exchange in which women being smart is
stupid and people calling Woody Allen out on his bullshit
is stupid. Yeah, there's more. Don't worry. This is about Jill.
(24:21):
He's talking to Mary. He says, my son is being
raised by two women. Mary says, I've read studies you
don't need a man to Mothers are absolutely fine. Isaac says,
I feel very few people survive one mother. Uh, this
is what Allen saying. Probably something happened to me a
very long time ago that was emasculating, and now for
(24:41):
the next sixty plus years, I will take it out
on any woman I come into contact. Yes, and then
again about his mother. Later on, Isaac says, I wrote
a short story about my mother, the castrating Zionist. This
is what he Allen saying. I'm trying to make this
seem like a fun Jewish caricature, but what it actually
(25:05):
is is I hate every woman I've ever met. All
these exchanges, by the way, happened in the first half
hour of the movie. Yeah, and then this, So this
is when I got very frustrated and maybe stopped paying
as close attention. But there's a few more later to jail.
He is gaslighting her and saying I did not try
to run you and your lover over with my car,
(25:28):
even though he's exactly and she's like, well, what were
you doing by the cabin anyway? And he's like, I
was flying on you. Uh, there's no there's no words.
I think he just he just really hit the nail
on the head on that one. Yeah, yeah, yeah, no
translation needed. We talked about this one. We talked about
that one. Yeah, that was the one where he's next
(25:50):
to two women in the restaurant and he's explaining to
his son how they should have picked them up and
fletched them. You know, his son a six year old boy,
and and like and honestly again hate hers. It is
written as a joke, but I would argue that that
is just as much of a problem that he's like, hey,
here's a terrible way to think about women, and then like, well,
(26:12):
winky to the audience. Like this is funny. He's never
going to learn, like is that funny? And then later
on to Jill, this is after her book has come
out about their relationship. He opens the door and says,
I came here to strangle you. Well, sure, very funny,
(26:33):
great joke. Um. So the three main characters, Tracy is
just told like, you're you're right. I didn't even realize
how little we know about her other than she and
she sometimes has exams which we which we are to believe,
you know, probably Willy Alan's character doesn't know a lot
(26:53):
about her either because they don't discuss parts of her
life very often, or like he's never asked. Um. Then
we have Diane Keaton's character, who is just maybe the
most troubling of all because she's just a bunch of
smoke and mirrors in terms of a fully realized female character.
We're all, you know, all the all the elements are there,
(27:15):
but it's hollow and rings, totally hollow and and it
just sucks. Yeah. There are a few moments where I'm like, Okay,
I'm glad that she did this thing or says this thing. Yeah,
let's talk about that. Well, she there's a moment where
she's talking to a director friend of hers, and he's
talking about this movie he's directing about a man who's
(27:36):
such a sexual dynamo. Anytime he brings a woman to orgasm,
she dies. And she's just like, this is horrid. So
she calls him out. She calls out Yale for saying like, oh,
does your love for me always need to express itself sexually?
Because he's all like, let's go to do a how
talent fuck and well to be fair, really, and he
(27:57):
says make love. Oh, He's sorry love anyways, And then
she's just like, what about other values like warmth and
spiritual contact? So she's like, value me in other way
besides you being able to have sex with me make love?
But again, I I feel these like which I agree
(28:19):
that like, her character is right in all of these issues.
But even though she sees the more aggressive behavior of
men as something she doesn't want to deal with, the
world totally writes out any of the predatory behaviors with
the person that she. You know, with Woody Allen's character
where okay, so this character is written to see very
(28:41):
aggressive masculinity, you know where it's like when I fuck
a woman, she comes so hard. She dies great, but
but there's a total blind spot set up for that
same character of someone she's close to fucking a kid.
You know, Like it's just and that, and that's what
traveling to be about it is with this, and I
(29:03):
think it extends to a lot of like Woody Allen's
female characters, even the very well written ones are the
ones that are hailed as well written. He directs your
focus in such a specific way, and I feel like
these moments of like, oh, she's smart, she knows what
she's talking about, they're put there very deliberately for for
the sake of the story in the movie, but also
(29:25):
so that you notice less when she's ignoring things. And
that and her whole pursuit. I mean, she's working on
things professionally, she's a journalist. We know what she does
for a living. That's good. She's writing things, she's working
on different projects, but her seems like her main pursuit
throughout the whole movie is landing a man that she wants.
(29:47):
You know, it's between Yale and Woody Allen's character, and
she just keeps like going back and forth, and she
keeps saying, like I saw better, but like she's trying
to stand up for herself, but like, really she's insecure.
But it blows down to like her pursuit in this movie.
If you're just like looking at her character and her
character's goals and what she's trying to achieve, it's romance.
(30:09):
It's a romantic relationship, and it's I mean, sure, this
is like a romantic movie where I mean with every
character in this movie, every main character is bouncing between
two people at least, But I think her character is
is a little different in that the two male characters
(30:31):
to Isaac and then Yale, which like, God, hit me up,
we get it, he's smart, they both spend a lot
of their movie trying to break up with women, where
the women spend a lot of time in the movie
trying to convince the man that they are worth staying with.
That was what was more of an issue for me,
because everyone it is going between multiple people, and I
(30:52):
think that in theory, that's a part of the point
of like, oh love is a cloak. But there are scenes.
There's a scene between Yale and Mary where Mary is
basically just like, no, this is fine, I'm totally fine,
it's great, and then we sort of see her try
to convince him that she's worth staying with, and in
the end he does end up staying with her well,
and then as soon as they break up, she bounces
(31:14):
right back to right where they are each other's second
choice pretty pretty decisively, which is whatever plot point, but
that there's two different scenes where Wody on I mean
Woody is trying to break up with Mariel Hemingway pretty
much every single scene, and then she especially is constantly
trying to convince listen to me, I these are the
(31:36):
reasons that you should stay with me, and he's constantly
trying to leave her. So even though it's like every
character here's bouncing between multiple interests, there's never a pressure
on the man to prove to the woman what his
worth is. It's assumed that they have value, where the
female characters are kind of constantly trying to prove themselves,
(31:56):
which is not all surprising from a movie that is like,
I mean, Woody Allen is the king of like self
indulgent on the writer, director, actor, hero of my own
stories every single time, and he makes a point to
say like several times, and I'm sure you could argue
that these are like these are the jokes. But he's like, look,
how could I am fucking His character says it in
(32:19):
this movie, and I'd imagine I think it's a joke.
If Ryan Gosling says it, it's not a joke literally,
like you know, not as stereotypically alpha male is constantly
like it just doesn't read, especially if you're writing those
lines for yourself, like it's a joke if someone writes
that line for Woody Allen maybe, And there's also a
(32:39):
few different There's like that scene with Mary where she's like,
you have a pretty good sense of humor. He's like, well,
you don't have to tell me that. I know that, right.
He's like, I make a living off it. You dumb, right, right,
And it was like but yeah, so anyways doing a
faul like there's just like I'm great fun too. Yeah.
There's no pressure on the male characters to prove themselves
really any regard excellent point, and there's no consequences presented
(33:04):
to them except that they won't get fucked. Those are
the only consequences, right, There's no well there's a joke
about going into jail, but that's never never a present threat.
Another female character, I wanted to talk about who doesn't
get much screen time at all, but Emily yells wife
basically every time she's on screen, she's like, how about
(33:26):
we have kids? So our whole little whole thing is like,
once that kids, I want to have kids, which it's
all women can think about. I mean, if a woman
wants to have children, so much power to her. But
when you write a female character that that is apparently
the only thing on her mind and we know virtually
nothing else about that character, and is also presented as
(33:49):
this is why I want to leave this lady because
he's cheating on his wife. With Diane Keaton's character, Yeah,
she's like, nad kids, kids, kids, and he's like, how
about I going fuck other women instead? Number one sexist?
Number two bad writing, which is how you could really
characterize this whole movie if you wanted to. It's sexist
(34:12):
and it is bad writing. Do we have anything else
to say about the movie? Another thing I wanted to
talk about is how Manhattan and I would guess a
lot of Woody Allen movies based on the ones I've seen,
are extremely white. Yeah, Woody Allen's characters always seem to
be friends with only white people. There are no people
(34:32):
of color with any you know, significant screen time or
story beats or lines of dialogue in this movie. I
think you only see two people of color in the
entire movie who are helping him move into his new apartment,
but they don't have any lines or anything like that.
And Woody Allen is Jewish, so he's not you know,
(34:53):
your waspy, Protestant Anglo Saxon type of white. And I
want to acknowledge the persecution and prejudice that Jewish people
have faced throughout history and also today, but the fact
remains that Woody Allen has a habit of populating his
movies with only white people, and it's especially crazy for
this movie called Manhattan, set in Manhattan, New York City,
(35:19):
where are all the people of color. The other thing
I wanted to bring up is the age gap that
exists in this movie and then all cross most Hollywood movie.
I mean, this one is egregious, But then I think
is almost the only pro that we could say for
the massive age gap between Tracy and Isaac is that
(35:39):
at least it is pointed out, where in most movies,
I don't think it's even pointed out. You're yeah, absolutely right.
So I'm taking some stats from an article from Vulture
in I'm sure things have gotten better since the better
The title of the article is leading men age, but
(35:59):
their love interests don't pointing out that, Like you know,
Hollywood stars who are men get older because that's how
time works. But they're female kind of parts. The love
interests of their characters pretty much the same age, which
tends to be late twenties, early to mid thirties. Um,
(36:20):
Harrison Ford, he just started that new movie play runner
for nine. Uh and there, Yeah, I mean it's just
all the sorry it took me a second, was like
what you said. And he's still allowed to start in movies.
(36:40):
Get Harrison FOURD out of movies. He is not allowed anymore.
Give out, I retire, bitch, Harrison Ford, bitch retire. I'm
fine with Harrison Ford. Harrison for bitch retire. But he
is listed in this article as someone who has love
and test that do not get much older, and then
(37:02):
he usually has a pretty huge age gap, with the
closest one, it seems, was when he was in Writers
of the Lost Arc he was thirty eight, his love
interest Karen Allen was twenty nine. Harrison Ford bitch retired.
Crazy age difference was when he was in Six Days,
Seven Nights, and and hait was twenty nine and he
(37:23):
was fifty five, so he got older. His love interest
was still in her late twenties. Other examples, So Johnny
Depp is a heinous piece of shit. But yeah, Johnny
Depp bitch retired. Yeah, that one literally gonna Joel. However,
he is one of my favorite movies, Shock a lot.
He is thirty seven. I hate that Alfred Willina had
(37:45):
to even meet him. I don't know if they have
any do they have scenes together? Maybe they don't, I
don't remember, let me watch it. But he is thirty
seven in that character in his love interest, Juliet Banosh,
she's thirty six, So there's only one year age difference,
which is that you don't get a trophy for that. No, No,
because in Transcendence he's forty nine and Rebecca Hall is thirty.
(38:09):
So that's you know, full on, we're we're at daddy's
status at that point. Totally. It's Tom Cruise also bade
George pretty bad Old Brother. We aren't though, another one
of my favorite movies. He's thirty nine and his wife
played by Holly Hunter in that movie is forty two,
so she's three years older than him. Amazing. Richard Gear
(38:30):
is another one. Richard Gear dribble butt theory, look it up,
Brad Pitt, Liam Neeson, Tom Hanks. Actually they point out
that he tends to be with age appropriate women in
his movies. Well there's that, there's one there, Woody Allen.
I mean, yeah, there's no way you can spend that
(38:53):
the relationship between he and Mariel Hemingley's character to make
it good. But the age difference is acknowledged, and we're
in those movies. It's not even it's it's an assumed thing, right,
It's just like, of course, this handsome older man would
have a young twenty or more years younger than him
(39:14):
love interests. And then I think that in movies very commonly,
if if the inverse does occur, it is immediately acknowledged
and made as a point of like this is like,
why would a young, handsome young man want to be
involved with an older woman. I rewatched Nightcrawler. I haven't
seen that. It is very good. It's in reeks of
(39:34):
toxic masculinity, but it's it's it's I like it a lot.
So Jake gillen Hall's character, who we're supposed to think
is in his late twenties early thirties, is interested in
Rene Russa's character, who's I think supposed to be in
her forties or fifties, and he pursues her, and it's
constantly their age difference is constantly brought up because she's like,
(39:55):
why would you want to be with me, I'm too old,
and he's like, I'm I'm secure enough to be with
an older woman, where that's never the issue in the inverse,
like a younger woman never has to say I'm secure
enough with myself to be with an older man. It's
just assumed that that it's gonna happen. Well, so okay, Cupid.
You know they do all their like analytics of dating patterns,
(40:18):
thoughts and feelings, and they compiled a graph it's like, oh,
a woman's age versus the age of the men she's
attracted to, and it's basically they tend to be attracted
to men very close to their same age. That's generally, like,
I mean, a direct correlation. Men are gross I think
not true because as the and this of course is
(40:41):
you know, very hetero. This is, you know, for hetero relationships,
but a man's age versus the women he's attracted to
is no matter how old he is, we don't crack.
We did not crack all the way up to fifty
because they ask what age of women are you most
attracted to? And no matter how old a man is,
(41:02):
they only much always say either between twenty and twenty
three pretty much fucking kids, which I can't I guess
I'm not allowed to say so just and it makes
so I wonder, is this because men are conditioned to
seeing depictions of older men in media with a younger
(41:24):
women and also kind of a complete omission of any
woman their age, right of course, Yeah, this is the
thing we talked about a lot on the podcast, where
rarely do we see women on the screen who are
you know, forties, fifties, sixties. So often, you know, women
in movies are super young. The implication we can draw
(41:46):
from that is no one wants to see an older
woman on the screen, no one cares about their stories,
And of course that's not true, but we're conditioned to
think that because we see so much, we consume so
much media where women of a certain age are ignored ignored.
Oh wow, this is deeply and to everyone who's like,
oh well, men are tried to do younger women because
(42:09):
they have a biological imperian because younger women are more
fertile and they want to put babies in them. Fuck,
we have population issues, bitch, retire, grow up. So basically
the point we want to make is the in recent
days weeks, a lot of women have come forward calling
out different men specifically. So I started with Harvey Weinstein
(42:32):
in this most recent sort of news cycle, although at
this point I've honestly lost track. I believe the founder
of Just for Laughs was forced out of his position,
the sitting CEO of Amazon Studios was pushed out of
his position. It's interesting because it's like, we have people
like Woody On, like Johnny Depp whose names are very
(42:52):
recognizable to us, and then there are people whose names
we don't know because they're manipulating behind the scenes, whose
names are coming out as well. It's a lot. It's
a ton screen Dunkies. I don't know exactly who, but
someone affiliated with Screen Drinkies several allegations brought against him.
It's everywhere, it's everywhere. It's encouraging that women are coming
(43:14):
forward and action is being taken against many of these people,
Harvey Weinstein being fired, people losing their jobs and not
being allowed to work in Hollywood anymore. Um, and there's
a lot of work left to do, and it's painful
to have to read these accounts, but feels, you know, important.
We hope everyone's looking out for yourself, taken care of
(43:36):
yourself through all this, and we you know, obviously applaud
all the victims who are coming forward because it is
so hard to do, so hard to do, and all
the writers who have been able to get those stories
out because that's also so hard to do. And not
to say that, you know, there I'm sure plenty of
victims who are not ready. Things have happened, they're not
(43:58):
ready to come forward about it, and so it's not
to say that they're not brave, you know, they're like
and then it drives me nuts just the emotional labor
that any victims have to go through to be like,
this thing happened to me, and I you know, I'm
revealing it and I'm I'm coming public with it, and
then just the burden shouldn't be on victims to come
(44:19):
like the burden should be on sexual predators to not
fucking be sexual predators, right, But that's never that's never
going to have happened. And so it falls upon the
people who are these just awful things are happening to
them to also then be the ones to have to
relive it over and over and over in order for
any consequence to happen, Which brings me to just some
(44:43):
food for that, because I feel like for years and
years and years since the Wady Allen allegation, service, since
the Bill Cosby allegation surfaces, there's always a lot of
talk of like, how can we separate the art from
the artists? Can I still enjoy Bill Cosby's stand up?
Can I still joy this movie about Woody Allen? Fucking kid? Honestly?
(45:04):
And I have heard a lot of mostly men, some women,
mostly men, explain to me their views on why they
think that, you know, but I I personally am at
a point where I think separating art from artists at
this point it's just like a dangerous precedent to set.
It allows predators to continue making art without consequence. We
(45:26):
are not at a lack for artists in the world.
There are a lot of artists with a lot of
important things to say, and I think that saying that,
you know, if you're an artist and a predator, you
can't you can't. There are a lot of voices that
need to be heard that will gladly occupy that space
who aren't sexual predators or not predators. There should be
(45:50):
consequences for everyone. There's no way Woody Allen should be
allowed to be making movies. Uh, there's no way that
Bill Cosby should be on any stage at any time
unless that stage as a court and he's being sent
to Yale. Don't see Louis Kan's new movie, which is
the clearest homage to Manhattan that you will find just bad, bad,
bad bad, Hey, Caitlin, Yes, does Manhattan pass the back
(46:13):
to Manhattan does pass the bad? But it passes in
the most disturbing exchange from All Tide. So the scene
it's Mary, Isaac, Yale, and Tracy all walking down the street.
Mary and Tracy when they meet, they say like hi, Hello,
(46:36):
That barely comes as a conversation, and later on, later on,
Mary says, what do you do Tracy? Tracy says, I
go to high school? He really? So, you know, three
adults and then one teenager are just hanging out and
(46:56):
Mary's like, hey, what do you do for a living?
Tracy's like I study for my English sucking exams? Yeah,
that what a pass? Good for you? Oh well, we
hope you enjoyed this bonus I would call I would
(47:18):
say this is an emergency bonus. Yeah, this is an
emergency episode of the Beck Dol Cast. Thanks for listening
if you If you want a regular bonus episode, you
can sign up for Patreon at patreon dot com slash
back Doel Cast, where we do to bonus episodes a
month that are you know, they may be as painful
(47:39):
as this one. They may not be You'll have to
probably not sign out. They'll probably be a little less
us screaming. But also if you don't like that, why
are you listening to this show? Grow up bitch retire?
So yeah, check us out. You can go to our website.
You can pledge a five dollars a month on Patreon
(48:01):
to get exclusive content and that helps us out with
our production costs and all of that. You can follow
us on Twitter and Instagram and Facebook. Funk Off Willy Allen,
funk Off, Willy and funk Off, Harveerty Weinstein and funk
off any sexual predator in Hollywood and everywhere. If you're
a man, be fucking helpful. Help everyone else. Keep your
(48:24):
head up, listen and believe women and value women. Love you,
Bye bye,
On the pick Doll Cast, the questions asked if movies
have women in them, are all their discussions just boyfriends
and husbands, or do they have individualism the patriarchy? Zef
In best start changing it with the beck del cast. Hi,
welcome to the backdel cast. Already sounds so excited. I
guess this isn't really so uh bonus episode alert. Yeah,
(00:24):
we're doing an episode that's and it's a bonus, but
it's it's grim. It's a grim. It's a grim bonus.
It's it's still the scariest month of the year, true
and truly the news has been proving it is the
scariest month of the year. So we are doing a
bonus episode. Obviously, if you're cooking on it, you know
(00:45):
what it's about about the nine Woody Allen movie Manhattan,
And why have we chosen to do this movie? I
mean we really dug deep inside. No, we literally woke
up and looked at the screens that we sleep next to,
and it said that, you know, everything is a nightmare,
which we knew Harry Weinstein, Harvey Weinstein, Woody Allen, dozens
(01:07):
of others. Right, it's been it's been, I mean obviously
a deeply traveling a couple of weeks. For all the
allegations that are coming out, it's it's very positive that
they're being brought out to the world. But it's hard, right,
especially because the victims who are coming forward are perceiving
some backlash, especially Woody Allen saying things like, oh, I
(01:32):
don't support what Harvey Weinstein did, but you know, let's
not start a witch hunt, you know, which hunts those
things that men used to do to women for no
reason other than they were threatened by women existing in
the world around them. Right, So we thought it would
(01:57):
be perhaps useful to look back on an example of
a very predatory movie made by an allegedly very predatory
person and talk about it, because it is wild watching
this movie now came out what thirty eight years ago
now is while watching this movie and ever thinking that
(02:20):
this was, like this is amazing, Like this isn't a
hard movie to watch at all. Right. I saw it
for the first time probably in college, probably around ten
years ago, and that was the only time I had
seen it, But I didn't remember even what it was about.
I didn't remember that a forty two year old man
was in a relationship with a seventeen year old girl.
(02:42):
I just didn't remember that that's what the story was
because ten years ago, you know, I guess I just wasn't.
I mean, I probably was like, oh, that's that's weird,
and then I just forgot about it. Whereas today, well,
and I think that a lot of work is done
by the movie itself to really glaze over any problems
that are there where I mean, we'll get into that too,
(03:03):
where no one at the movie really raises a stink
other than a passing joke at the fact that their
crimes happening in front of them. So I think that
the world Woody Allen creates, and I mean, we weren't
alive for it, but it seems like the general society
at that time did not point stuff like this out,
and so the movie doesn't point it out, and that's bad.
(03:25):
I first saw this movie in college as well, but
it did bother me quite a bit because I saw
this movie. This would have been the Lateen, which is
when allegations about Woody Allen were first starting to surface,
like really exploded in early but late there was rumblings
and I had to take a class to graduate school
(03:47):
and so I ended up having to take this class
about Charlie Kaufman, Woody Allen, and Billy Wilder films. So
we had to watch a lot of Woody Allen films,
and I recall not liking them, not doing well in
the class, and getting in trouble for specifically being like,
this is gross. Why is he fucking a kid? Like
(04:08):
that in particularly got me in trouble at that class. See.
I So I took a directing class because you know,
I did go to film school twice, and I was
given like the script to a scene in Manhattan to
be like, Okay, let's see how you would direct this.
And it's the scene between Woody Allen's character and Tracy's character,
(04:30):
the seventeen year old girl kidding, the one we're they're
in bed and he has just moved into his new
apartment and he was talking about like the water being
brown and the noises from the his neighbors and stuff
like that, and like at the time, I was just like, oh,
I'll just direct this scene. Like it didn't really occur
to me, like how gross and problematic, And that was
(04:53):
a school assignment, Like that's great. Yeah, I mean I
was like, yeah, I what was my professor thinking. I
had literally had no choic but to watch these money
or I couldn't graduate. Like it's just great. And also
I I not to say this was a benefit in
any way, but I was armed with a lot of
a lot more information in latee of like this guy
(05:14):
was basically being I mean not that there was no
way to tell, as he had already married his daughter,
but there there were serious allegations coming out, and it
just felt wrong to be idolizing this work in anyway,
especially when it's just like he he it's why he
really is just laying it out in front of you
of like I'm a predator. I fun kids, I did,
(05:37):
like you're just like he's unapologetic about it, and it's nuts.
Not even unapologetically he's victimizing himself about like it's just okay.
So let's talk about the movie. Manhattan comes out in
nineteen seventy nine after Annie Hall, after he's sort of
said that I guess we're doing this now, you know,
(05:59):
or watching way Allen do the same fucking things. Great, Yeah,
I'll do the recap. Manhattan is about a Woody Allen
type character about one Allen. His character though, is named Isaac,
and he is in a relationship with a seventeen year
old funny and everyone's like, wow, she's beautiful, and he's like,
(06:23):
she's seventeen in public, she's in high school, she's seventeen.
Isn't this funny? Isn't this weird? And the characters responded
by saying, yeah, that is weird, that is funny, where
it's just like, you know, we weren't there in ninety nine.
But I find it very hard to believe that there's
two characters responding, oh, that is so weird, like it's
(06:45):
just because it was a crime. Towards the end, she's like,
I turned eighteen, so I'm legal now, acknowledging that the
sex they were having before was not legal, which it wasn't,
and no one gave any shit about it. So not
even the movie that, not even not even the characters
in the movie who won And another straight white guy
(07:06):
whose name eludes me at this it's Yale. No, like
the co writer for the movie Marshall Brickman. Marshall Brickman,
So they write this movie together. They're writing all these
female characters, meaning they're directing, you know, like Diane Keaton's
character who on paper and then I think several parts
of the movie is a good character I would agree
(07:27):
to given a background. And it's like, man, I hate
that there's a good female character in this movie. But
I mean, she has, she is armed with all the information,
she is intelligent, she is she's very outspoken, very outspoken,
doesn't seem to care, doesn't seem to care, And it's like,
how fucking convenient that you're very empowered female character just
(07:48):
also doesn't seem to notice that you're fucking a kid.
And if she mentions it, mentions it as like so
weird that this is going on. At one point, so
there's a character named Yale, which is what EN's character's
best friend, and he's married to Emily. At one point,
Emily says, oh no, I don't think seventeen is too young.
That's like in the first fifteen roots of the movie.
And I know, and to tell you you flame and
(08:11):
hot trolls out there who were like the women in
the movie. Yeah, but that the women in the movie,
those words weren't put there by a woman. They were
put there by two men. So it's like these relatively
realized female characters spouting nonsense like it's just yeah, sorry,
I love how it worked up. We are It is
(08:31):
infuriating movie watch at times, deeply uncomfortable. We laughed at
two different parts and that was upsetting too. Were like,
I hate that, I found that funny. I hate the chuckle.
I hated it. It's just oh god, okay, anyway, so okay.
So Isaac is dating a seventeen year old woman. His
friend Yale is married, but he starts seeing this woman,
(08:54):
Mary played by Dan Dane Keaton. Woody Allen meets Mary
and he's like, oh, I actually, I like there's another
thing in here where it's It's like, oh, Wh're gonna
forgive him for these hanous crimes he's committing because he's awkward. Again,
the use of an awkward personality as an excuse to
do fucking insane things. I'm gonna go ahead and coin
(09:18):
the term stutter corps. This is a stutter corp movie.
All Woody Allen movies are stutter corps, and which just
is you can shave fifteen minutes off the top of
the movie. Right. So he meets Mary and they get
off to a rocky start, but then he starts to
like Mary, and Mary starts to like him, so he's conflicted, Oh,
(09:40):
do I stay with this seventeen year old girl or
do I hang out with Mary even though she's also
dating my friend Yale. There's like kind of all this
back and forth. He's writing a book, he's writing a book,
he quits his job and is a writer. He's an artist,
which comes into play later. He surrounds himself with affluent, white,
fucking pretend just people, which is dumb, which I know,
(10:03):
but it's very intentional what Woody Allen chooses to satirize
in this movie and what he does not just satirize
in this movie, because I think he is satirizing bullshit
intellectualism quite a bit by being like, look at these people.
They're so smart, threat museums and observatories and planetariums all
the time, but they don't have it together. Like it's
(10:26):
you know, he's commenting on that. The things he is
not commenting on are just as glaring, such as he
is sucking a kid. This is barely commented on, and
and and in the way it's commented on. Tracy Mariel,
Hemingway's character is being developed at the expense of the protagonist,
which is like another continued I mean, I'm almost done.
(10:50):
I don't really know what else happens. It's not an
exciting movie. So at some point he breaks up with Tracy,
the seventeen year old girl. He starts to go in
sort of full force with Mary in their relationship, and
then Mary meanwhile it's like, actually I think I still
love Yale. So she and Yale kind of get back
(11:12):
to together, and then Woody Allen's character is like, well,
I'm lonely, so I better go back the girl to
the child. But here's a twist. She's not a child now.
She's she's crazy having gas let her throughout the entire
movie because she's like, why might want to go and
(11:33):
study in London and he's like, yeah, you should. Actually
we probably shouldn't be together you're young, but like not
to any point where he's going to really do anything
about it. And then at the end she's like, Okay,
I'm gonna go to London like you said I should,
and he's like, actually, no, not on, I don't have
anyone to validate me. And then she you know, but
(11:55):
what a six month matter if we're in love, which
is you know, a very eight, your old thing to say,
and it ends with him like smiling, and we're like,
oh yeah, maybe there's no there's never even the looming
threat of a consequence for treating this situation where he does,
(12:15):
for committing a crime over and over and over. It's
openly discussed between the two characters. You can't even call
it an open secret. It's not a secret. He's taking
her out in public. We don't know that much about
her parents or or where, nothing, nothing. I really know
nothing about her character apart from her age and that
she apparently is interested in acting. We're going abroad to
(12:38):
study that, right, and she goes to high school. This
this trope we've talked about before and it applies more
to sci fi characters generally, but it did want to
bring up the born Sexy Yesterday and that with Tracy
and Isaac. It's like this dynamic and what we sort
of are led to believe as a feeling about it
(13:00):
for ISAA because that he's teaching this girl, he's teaching
her intellectually, he's teaching her, teaching her, he's raping her,
but he's teaching her sexually or that's his impression or whatever.
Just the fact that there's there's no point in the
movie where it's brought up as anything but a funny thing.
It is never addressed it as a crime. It's indirectly
(13:24):
addressed as a crime, where it's a joke that she's
legal now, and there's no there's no threat that he
will receive any punishment, and in fact he doesn't and
he still has it. So great for Woody Allen funk Off.
I was at a bar last night and I was like, yeah,
brag and I was like, oh, sorry, I'm late. I
(13:46):
had to watch Manhattan. We're doing it tomorrow on my podcast,
and my friends were like, what why, And I'm like, well,
what better way to introduce all the fucking problematic ship
that's happening in Hollywood right now and that has always
been happening. Then a widely regarded movie where a major
(14:06):
platfoint is repeated. Rape. Amazing there for anyone who is like,
but wait, okay, let's think top of the Dome cinematography. Sure, great,
there's a seed in the planetarium where lights are used.
George Gershwood very talented man, also deeply problematic. You can
go into that Google hole yourself. New York a city
(14:30):
that exists. The technical merits of this movie is not
what we're here to discuss. So if that's where you're
coming from in terms of like, but the rapes look
so good, uh no, funk off enjoy your life. Also,
I don't like this movie, Like it's not it's I
(14:51):
hate I hate it, say I haven't. I have a
deep mistrust for anyone who's like, yeah, Manhattan's a great film.
Got goodbye. We have to we have to be going.
So we've discussed Tracy is obviously the glaring, major, major,
major issue in this movie. But the other two main
(15:12):
female characters are Mary, Diane Keaton's character and Jill, who
is Woody Allen's second ex wife. Correct, I didn't mention
her in the recap. She's played by Meryl Street and
she's depicted as this like greed true character. So the
plot point there is if, unless I'm mistaken, she is
(15:33):
writing a memoir about her Mary what a shitty partner
Woody Allen was like, I tell all kind of memoir thing.
She is also now living with her girlfriend and raising
Woody Allen's son. That's she has primary custody of Woody
Allen's and her son, and Woody Allen is very uncomfortable
(15:55):
with two women raising his son, which is brought up
as a joke, and sort of there's the scene we
see like one longish scene between Isaac and the Sun
where you mentined he hits his Sun as his son
because his sons trying to get his dad to buy
him like a toy boat, very pointing to the bigger,
(16:18):
more expensive one, and then Woody Allen just like strikes
him in the head. So there's that, And then in
the next cut there at some sort of it's a
rest restaurant and Isaac is saying like, oh we could,
like you know, basically presents his son with like I
know you're being raised by two women, but don't forget
(16:38):
about toxic masculine. It like it's just where he talks
about picking up women as like a joke to his kid. Yeah,
he's like, if you were quicker, we could have picked
those women up, just you know, teaching him just like
fucking creep t he Also, it doesn't take too much
of a leap to say that Woody Allen is kind
of villainizing Jill Meryl Streep's characters sexuality as well. He's
(17:05):
just saying like this shrewish gay woman, and it's also presented,
and I thought this was interesting. I was reading Roger
Ebert went back and watched this movie and had more
come about it. In two thousand and one, he writes
about this character specifically in a way that I think
was weird, where he says Isaac's former wife Meryl Streep
(17:25):
left him the live with a woman and writes the
bestseller ridiculing her marriage and love life. We doubt her
new relationship is sound if it leaves her so obsessed
with the previous one. That is I mean, and I'm
maybe that is how that reads to another straight white man,
but that I mean, and I mean that's also just
pure speculation because you don't see that much of their
(17:47):
relationship on screen. But I think we are led to
believe that. You know, it's like, well, Jill can't get
over it, and she's trying to capitalize on what a
shitty partner he was and now she dates a woman
where I feel almost the implication is Woody Allen was
such a bad husband that he turned her gay. That
was what I took away. That's sort of how he
(18:09):
I think he can character. Yeah, I think that that's
what the movie thinks, you know, regardless of the integrity
of this character, who deserved better. I don't know. I
mean and and that is an individual's read. But I
think the fact that a professional movie critics read was like,
well she was so she's still so hung up on him.
It's like, you can't conflate trauma with being in love,
(18:35):
right and still being hung Like being angry about someone
abusing you does not equal she's still in love with him, Like,
but I think that that is what the movie would
have you believe in that bobble Well, I made a
list of all the things, or not even I probably
didn't even hit all of them, but many of this
you have a comprehensive list, Let's not sure, but I'm
(18:56):
saying that there were so many that I probably missed.
Some says this is such a fucking against stutter core
movie that I can't even not to shame people with stutters.
She was stutter shaming. No stutter shaming here, I'm just
saying that Woody Allen should fall off the edge of
the planet. So I made a list of all the
things that he says either to or about women in
(19:19):
the movie. The first one is he's talking to Tracy.
This is after she's like, I think I'm in love
with you for the first time pretty early on in
the movie, and he says, don't get carried away, you're
a kid. As long as the cops don't burst in,
we're going to break a couple of records. And then
later he's like, get dressed, like I'm going to fund
a kid more than anyone who ever a kid, Jesus Christ.
(19:41):
And then he's like, get dressed because you've got to
get out of here. I don't want you to be
comfortable here. You can't stay here, right does all he
can to make Tracy's character not feel like she is
a permanent fixture in his life totally. That And this
is like sort of the beginning of him gaslighting her
because constantly throughout the movie he's saying, you're too young,
you don't under stand what love is, because she keeps
being like, I love you. She literally says over and over,
(20:04):
take me, seriously, listen to me. But and then he's
just like, you're not old enough, Like you don't know
what love is, You're too young. Yeah, that, but that
criticism has never turned inward of like maybe this is
the wrong thing to be doing, because it ends with
maybe I we'll get to fund this kid again, like okay, sorry, continuous.
Later he says to Jill, his ex wife Meryl Streep,
(20:27):
of the two of us, I was not the immoral, psychotic,
promiscuous one. Oh is that a reference to her sexuality?
I think probably so excellent? Later on to Tracy, and
this is after she's like, oh, you know, maybe people
aren't meant to just like be with one person forever.
It's kind of gone out of date. Again, more gasline,
because he's like, don't you tell me what's gone out
(20:49):
of date. You're seventeen. You were brought up on drugs
television in the pill gas lighting bullettling her experience. He
knows Benner because he has less hair. And then after
this is after he meets Mary, he says about her,
what a creep. She was overbearing, she was terrible, she
was all cerebral. If she said one more thing about Bergmann,
(21:10):
I would have knocked her other contact lens out. So
I don't like that she's smart. I want to hit her. Okay,
I'll just I'll just talk to translate. Please, this is
this is good. Shortly After that, he says about Jill,
I got a divorce because my ex wife left me
for another woman. Mary says, that must have been really demoralizing.
(21:31):
Isaac says, I tried to run them both over with
a car. Mary says, that's incredible sexual humiliation. And I
think that's enough to turn you off of women, which
I found to be a very bizarre scene because Mary
has been set up and later on the movie continues
to be the smartest and most rational in her thinking
(21:51):
and all of that. But because this character was written
by two men, she's just reinforcing what what he Alan
actually thinks, which was, Yeah, for me to have been
left by a woman for another woman, how humiliating. Well,
I think I think that this is sort of something
that comes up in a lot of Woody Allen's movies
(22:13):
where I wish I had a snappier title for it.
But a feminist character written by a man, So not
really a feminist character, but one that in appearance and behavior,
in profession, there's enough there that you're just like, oh,
you know, like you you would trust Diane Keaton's character,
(22:33):
but she's still being written by a villain basically, and
so when she glosses over the fact that when Allen's kid,
when she glosses over villainizing queer people. As an audience member,
you know, if you're not you know, you're sort of
being told don't think about it. The character you trust
(22:53):
thinks that, you know, queer people's lives don't matter either,
and and stupid people with no critical thing skills would
just be like, yeah, great, right, or people who have
not encountered alternate ways of thinking. Because Woody Allens, all
of his work is, We're told, is so intellectual and
so smart that it's like, where are you supposed to
(23:15):
be questioning? Where you not supposed to be questioning? He
directs your focus in very deliberate ways and also directs
your focus away. Okay, translation, I tried to kill gay
people who hurt my feelings. Response. That sucks for you,
and I can understand why you would have done that.
I get it, would have done the same thing myself.
(23:38):
Fuck that. Moving on later on, he says to Mary, well,
first Mary is talking about Tracy and she's like sixteen
years old, no possible threat at all. Isaac says, she's seventeen.
You know, sometimes you have a losing personality Mary, what
do you want. I'm honest, I say what's on my mind,
and if you can't take it, then funk off. I
(24:00):
I like the way you express yourself too. It's pithy
yet degenerate. You get many dates, I don't think so.
A very witty exchange in which women being smart is
stupid and people calling Woody Allen out on his bullshit
is stupid. Yeah, there's more. Don't worry. This is about Jill.
(24:21):
He's talking to Mary. He says, my son is being
raised by two women. Mary says, I've read studies you
don't need a man to Mothers are absolutely fine. Isaac says,
I feel very few people survive one mother. Uh, this
is what Allen saying. Probably something happened to me a
very long time ago that was emasculating, and now for
(24:41):
the next sixty plus years, I will take it out
on any woman I come into contact. Yes, and then
again about his mother. Later on, Isaac says, I wrote
a short story about my mother, the castrating Zionist. This
is what he Allen saying. I'm trying to make this
seem like a fun Jewish caricature, but what it actually
(25:05):
is is I hate every woman I've ever met. All
these exchanges, by the way, happened in the first half
hour of the movie. Yeah, and then this, So this
is when I got very frustrated and maybe stopped paying
as close attention. But there's a few more later to jail.
He is gaslighting her and saying I did not try
to run you and your lover over with my car,
(25:28):
even though he's exactly and she's like, well, what were
you doing by the cabin anyway? And he's like, I
was flying on you. Uh, there's no there's no words.
I think he just he just really hit the nail
on the head on that one. Yeah, yeah, yeah, no
translation needed. We talked about this one. We talked about
that one. Yeah, that was the one where he's next
(25:50):
to two women in the restaurant and he's explaining to
his son how they should have picked them up and
fletched them. You know, his son a six year old boy,
and and like and honestly again hate hers. It is
written as a joke, but I would argue that that
is just as much of a problem that he's like, hey,
here's a terrible way to think about women, and then like, well,
(26:12):
winky to the audience. Like this is funny. He's never
going to learn, like is that funny? And then later
on to Jill, this is after her book has come
out about their relationship. He opens the door and says,
I came here to strangle you. Well, sure, very funny,
(26:33):
great joke. Um. So the three main characters, Tracy is
just told like, you're you're right. I didn't even realize
how little we know about her other than she and
she sometimes has exams which we which we are to believe,
you know, probably Willy Alan's character doesn't know a lot
(26:53):
about her either because they don't discuss parts of her
life very often, or like he's never asked. Um. Then
we have Diane Keaton's character, who is just maybe the
most troubling of all because she's just a bunch of
smoke and mirrors in terms of a fully realized female character.
We're all, you know, all the all the elements are there,
(27:15):
but it's hollow and rings, totally hollow and and it
just sucks. Yeah. There are a few moments where I'm like, Okay,
I'm glad that she did this thing or says this thing. Yeah,
let's talk about that. Well, she there's a moment where
she's talking to a director friend of hers, and he's
talking about this movie he's directing about a man who's
(27:36):
such a sexual dynamo. Anytime he brings a woman to orgasm,
she dies. And she's just like, this is horrid. So
she calls him out. She calls out Yale for saying like, oh,
does your love for me always need to express itself sexually?
Because he's all like, let's go to do a how
talent fuck and well to be fair, really, and he
(27:57):
says make love. Oh, He's sorry love anyways, And then
she's just like, what about other values like warmth and
spiritual contact? So she's like, value me in other way
besides you being able to have sex with me make love?
But again, I I feel these like which I agree
(28:19):
that like, her character is right in all of these issues.
But even though she sees the more aggressive behavior of
men as something she doesn't want to deal with, the
world totally writes out any of the predatory behaviors with
the person that she. You know, with Woody Allen's character
where okay, so this character is written to see very
(28:41):
aggressive masculinity, you know where it's like when I fuck
a woman, she comes so hard. She dies great, but
but there's a total blind spot set up for that
same character of someone she's close to fucking a kid.
You know, Like it's just and that, and that's what
traveling to be about it is with this, and I
(29:03):
think it extends to a lot of like Woody Allen's
female characters, even the very well written ones are the
ones that are hailed as well written. He directs your
focus in such a specific way, and I feel like
these moments of like, oh, she's smart, she knows what
she's talking about, they're put there very deliberately for for
the sake of the story in the movie, but also
(29:25):
so that you notice less when she's ignoring things. And
that and her whole pursuit. I mean, she's working on
things professionally, she's a journalist. We know what she does
for a living. That's good. She's writing things, she's working
on different projects, but her seems like her main pursuit
throughout the whole movie is landing a man that she wants.
(29:47):
You know, it's between Yale and Woody Allen's character, and
she just keeps like going back and forth, and she
keeps saying, like I saw better, but like she's trying
to stand up for herself, but like, really she's insecure.
But it blows down to like her pursuit in this movie.
If you're just like looking at her character and her
character's goals and what she's trying to achieve, it's romance.
(30:09):
It's a romantic relationship, and it's I mean, sure, this
is like a romantic movie where I mean with every
character in this movie, every main character is bouncing between
two people at least, But I think her character is
is a little different in that the two male characters
(30:31):
to Isaac and then Yale, which like, God, hit me up,
we get it, he's smart, they both spend a lot
of their movie trying to break up with women, where
the women spend a lot of time in the movie
trying to convince the man that they are worth staying with.
That was what was more of an issue for me,
because everyone it is going between multiple people, and I
(30:52):
think that in theory, that's a part of the point
of like, oh love is a cloak. But there are scenes.
There's a scene between Yale and Mary where Mary is
basically just like, no, this is fine, I'm totally fine,
it's great, and then we sort of see her try
to convince him that she's worth staying with, and in
the end he does end up staying with her well,
and then as soon as they break up, she bounces
(31:14):
right back to right where they are each other's second
choice pretty pretty decisively, which is whatever plot point, but
that there's two different scenes where Wody on I mean
Woody is trying to break up with Mariel Hemingway pretty
much every single scene, and then she especially is constantly
trying to convince listen to me, I these are the
(31:36):
reasons that you should stay with me, and he's constantly
trying to leave her. So even though it's like every
character here's bouncing between multiple interests, there's never a pressure
on the man to prove to the woman what his
worth is. It's assumed that they have value, where the
female characters are kind of constantly trying to prove themselves,
(31:56):
which is not all surprising from a movie that is like,
I mean, Woody Allen is the king of like self
indulgent on the writer, director, actor, hero of my own
stories every single time, and he makes a point to
say like several times, and I'm sure you could argue
that these are like these are the jokes. But he's like, look,
how could I am fucking His character says it in
(32:19):
this movie, and I'd imagine I think it's a joke.
If Ryan Gosling says it, it's not a joke literally,
like you know, not as stereotypically alpha male is constantly
like it just doesn't read, especially if you're writing those
lines for yourself, like it's a joke if someone writes
that line for Woody Allen maybe, And there's also a
(32:39):
few different There's like that scene with Mary where she's like,
you have a pretty good sense of humor. He's like, well,
you don't have to tell me that. I know that, right.
He's like, I make a living off it. You dumb, right, right,
And it was like but yeah, so anyways doing a
faul like there's just like I'm great fun too. Yeah.
There's no pressure on the male characters to prove themselves
really any regard excellent point, and there's no consequences presented
(33:04):
to them except that they won't get fucked. Those are
the only consequences, right, There's no well there's a joke
about going into jail, but that's never never a present threat.
Another female character, I wanted to talk about who doesn't
get much screen time at all, but Emily yells wife
basically every time she's on screen, she's like, how about
(33:26):
we have kids? So our whole little whole thing is like,
once that kids, I want to have kids, which it's
all women can think about. I mean, if a woman
wants to have children, so much power to her. But
when you write a female character that that is apparently
the only thing on her mind and we know virtually
nothing else about that character, and is also presented as
(33:49):
this is why I want to leave this lady because
he's cheating on his wife. With Diane Keaton's character, Yeah,
she's like, nad kids, kids, kids, and he's like, how
about I going fuck other women instead? Number one sexist?
Number two bad writing, which is how you could really
characterize this whole movie if you wanted to. It's sexist
(34:12):
and it is bad writing. Do we have anything else
to say about the movie? Another thing I wanted to
talk about is how Manhattan and I would guess a
lot of Woody Allen movies based on the ones I've seen,
are extremely white. Yeah, Woody Allen's characters always seem to
be friends with only white people. There are no people
(34:32):
of color with any you know, significant screen time or
story beats or lines of dialogue in this movie. I
think you only see two people of color in the
entire movie who are helping him move into his new apartment,
but they don't have any lines or anything like that.
And Woody Allen is Jewish, so he's not you know,
(34:53):
your waspy, Protestant Anglo Saxon type of white. And I
want to acknowledge the persecution and prejudice that Jewish people
have faced throughout history and also today, but the fact
remains that Woody Allen has a habit of populating his
movies with only white people, and it's especially crazy for
this movie called Manhattan, set in Manhattan, New York City,
(35:19):
where are all the people of color. The other thing
I wanted to bring up is the age gap that
exists in this movie and then all cross most Hollywood movie.
I mean, this one is egregious, But then I think
is almost the only pro that we could say for
the massive age gap between Tracy and Isaac is that
(35:39):
at least it is pointed out, where in most movies,
I don't think it's even pointed out. You're yeah, absolutely right.
So I'm taking some stats from an article from Vulture
in I'm sure things have gotten better since the better
The title of the article is leading men age, but
(35:59):
their love interests don't pointing out that, Like you know,
Hollywood stars who are men get older because that's how
time works. But they're female kind of parts. The love
interests of their characters pretty much the same age, which
tends to be late twenties, early to mid thirties. Um,
(36:20):
Harrison Ford, he just started that new movie play runner
for nine. Uh and there, Yeah, I mean it's just
all the sorry it took me a second, was like
what you said. And he's still allowed to start in movies.
(36:40):
Get Harrison FOURD out of movies. He is not allowed anymore.
Give out, I retire, bitch, Harrison Ford, bitch retire. I'm
fine with Harrison Ford. Harrison for bitch retire. But he
is listed in this article as someone who has love
and test that do not get much older, and then
(37:02):
he usually has a pretty huge age gap, with the
closest one, it seems, was when he was in Writers
of the Lost Arc he was thirty eight, his love
interest Karen Allen was twenty nine. Harrison Ford bitch retired.
Crazy age difference was when he was in Six Days,
Seven Nights, and and hait was twenty nine and he
(37:23):
was fifty five, so he got older. His love interest
was still in her late twenties. Other examples, So Johnny
Depp is a heinous piece of shit. But yeah, Johnny
Depp bitch retired. Yeah, that one literally gonna Joel. However,
he is one of my favorite movies, Shock a lot.
He is thirty seven. I hate that Alfred Willina had
(37:45):
to even meet him. I don't know if they have
any do they have scenes together? Maybe they don't, I
don't remember, let me watch it. But he is thirty
seven in that character in his love interest, Juliet Banosh,
she's thirty six, So there's only one year age difference,
which is that you don't get a trophy for that. No, No,
because in Transcendence he's forty nine and Rebecca Hall is thirty.
(38:09):
So that's you know, full on, we're we're at daddy's
status at that point. Totally. It's Tom Cruise also bade
George pretty bad Old Brother. We aren't though, another one
of my favorite movies. He's thirty nine and his wife
played by Holly Hunter in that movie is forty two,
so she's three years older than him. Amazing. Richard Gear
(38:30):
is another one. Richard Gear dribble butt theory, look it up,
Brad Pitt, Liam Neeson, Tom Hanks. Actually they point out
that he tends to be with age appropriate women in
his movies. Well there's that, there's one there, Woody Allen.
I mean, yeah, there's no way you can spend that
(38:53):
the relationship between he and Mariel Hemingley's character to make
it good. But the age difference is acknowledged, and we're
in those movies. It's not even it's it's an assumed thing, right,
It's just like, of course, this handsome older man would
have a young twenty or more years younger than him
(39:14):
love interests. And then I think that in movies very commonly,
if if the inverse does occur, it is immediately acknowledged
and made as a point of like this is like,
why would a young, handsome young man want to be
involved with an older woman. I rewatched Nightcrawler. I haven't
seen that. It is very good. It's in reeks of
(39:34):
toxic masculinity, but it's it's it's I like it a lot.
So Jake gillen Hall's character, who we're supposed to think
is in his late twenties early thirties, is interested in
Rene Russa's character, who's I think supposed to be in
her forties or fifties, and he pursues her, and it's
constantly their age difference is constantly brought up because she's like,
(39:55):
why would you want to be with me, I'm too old,
and he's like, I'm I'm secure enough to be with
an older woman, where that's never the issue in the inverse,
like a younger woman never has to say I'm secure
enough with myself to be with an older man. It's
just assumed that that it's gonna happen. Well, so okay, Cupid.
You know they do all their like analytics of dating patterns,
(40:18):
thoughts and feelings, and they compiled a graph it's like, oh,
a woman's age versus the age of the men she's
attracted to, and it's basically they tend to be attracted
to men very close to their same age. That's generally, like,
I mean, a direct correlation. Men are gross I think
not true because as the and this of course is
(40:41):
you know, very hetero. This is, you know, for hetero relationships,
but a man's age versus the women he's attracted to
is no matter how old he is, we don't crack.
We did not crack all the way up to fifty
because they ask what age of women are you most
attracted to? And no matter how old a man is,
(41:02):
they only much always say either between twenty and twenty
three pretty much fucking kids, which I can't I guess
I'm not allowed to say so just and it makes
so I wonder, is this because men are conditioned to
seeing depictions of older men in media with a younger
(41:24):
women and also kind of a complete omission of any
woman their age, right of course, Yeah, this is the
thing we talked about a lot on the podcast, where
rarely do we see women on the screen who are
you know, forties, fifties, sixties. So often, you know, women
in movies are super young. The implication we can draw
(41:46):
from that is no one wants to see an older
woman on the screen, no one cares about their stories,
And of course that's not true, but we're conditioned to
think that because we see so much, we consume so
much media where women of a certain age are ignored ignored.
Oh wow, this is deeply and to everyone who's like,
oh well, men are tried to do younger women because
(42:09):
they have a biological imperian because younger women are more
fertile and they want to put babies in them. Fuck,
we have population issues, bitch, retire, grow up. So basically
the point we want to make is the in recent
days weeks, a lot of women have come forward calling
out different men specifically. So I started with Harvey Weinstein
(42:32):
in this most recent sort of news cycle, although at
this point I've honestly lost track. I believe the founder
of Just for Laughs was forced out of his position,
the sitting CEO of Amazon Studios was pushed out of
his position. It's interesting because it's like, we have people
like Woody On, like Johnny Depp whose names are very
(42:52):
recognizable to us, and then there are people whose names
we don't know because they're manipulating behind the scenes, whose
names are coming out as well. It's a lot. It's
a ton screen Dunkies. I don't know exactly who, but
someone affiliated with Screen Drinkies several allegations brought against him.
It's everywhere, it's everywhere. It's encouraging that women are coming
(43:14):
forward and action is being taken against many of these people,
Harvey Weinstein being fired, people losing their jobs and not
being allowed to work in Hollywood anymore. Um, and there's
a lot of work left to do, and it's painful
to have to read these accounts, but feels, you know, important.
We hope everyone's looking out for yourself, taken care of
(43:36):
yourself through all this, and we you know, obviously applaud
all the victims who are coming forward because it is
so hard to do, so hard to do, and all
the writers who have been able to get those stories
out because that's also so hard to do. And not
to say that, you know, there I'm sure plenty of
victims who are not ready. Things have happened, they're not
(43:58):
ready to come forward about it, and so it's not
to say that they're not brave, you know, they're like
and then it drives me nuts just the emotional labor
that any victims have to go through to be like,
this thing happened to me, and I you know, I'm
revealing it and I'm I'm coming public with it, and
then just the burden shouldn't be on victims to come
(44:19):
like the burden should be on sexual predators to not
fucking be sexual predators, right, But that's never that's never
going to have happened. And so it falls upon the
people who are these just awful things are happening to
them to also then be the ones to have to
relive it over and over and over in order for
any consequence to happen, Which brings me to just some
(44:43):
food for that, because I feel like for years and
years and years since the Wady Allen allegation, service, since
the Bill Cosby allegation surfaces, there's always a lot of
talk of like, how can we separate the art from
the artists? Can I still enjoy Bill Cosby's stand up?
Can I still joy this movie about Woody Allen? Fucking kid? Honestly?
(45:04):
And I have heard a lot of mostly men, some women,
mostly men, explain to me their views on why they
think that, you know, but I I personally am at
a point where I think separating art from artists at
this point it's just like a dangerous precedent to set.
It allows predators to continue making art without consequence. We
(45:26):
are not at a lack for artists in the world.
There are a lot of artists with a lot of
important things to say, and I think that saying that,
you know, if you're an artist and a predator, you
can't you can't. There are a lot of voices that
need to be heard that will gladly occupy that space
who aren't sexual predators or not predators. There should be
(45:50):
consequences for everyone. There's no way Woody Allen should be
allowed to be making movies. Uh, there's no way that
Bill Cosby should be on any stage at any time
unless that stage as a court and he's being sent
to Yale. Don't see Louis Kan's new movie, which is
the clearest homage to Manhattan that you will find just bad, bad,
bad bad, Hey, Caitlin, Yes, does Manhattan pass the back
(46:13):
to Manhattan does pass the bad? But it passes in
the most disturbing exchange from All Tide. So the scene
it's Mary, Isaac, Yale, and Tracy all walking down the street.
Mary and Tracy when they meet, they say like hi, Hello,
(46:36):
That barely comes as a conversation, and later on, later on,
Mary says, what do you do Tracy? Tracy says, I
go to high school? He really? So, you know, three
adults and then one teenager are just hanging out and
(46:56):
Mary's like, hey, what do you do for a living?
Tracy's like I study for my English sucking exams? Yeah,
that what a pass? Good for you? Oh well, we
hope you enjoyed this bonus I would call I would
(47:18):
say this is an emergency bonus. Yeah, this is an
emergency episode of the Beck Dol Cast. Thanks for listening
if you If you want a regular bonus episode, you
can sign up for Patreon at patreon dot com slash
back Doel Cast, where we do to bonus episodes a
month that are you know, they may be as painful
(47:39):
as this one. They may not be You'll have to
probably not sign out. They'll probably be a little less
us screaming. But also if you don't like that, why
are you listening to this show? Grow up bitch retire?
So yeah, check us out. You can go to our website.
You can pledge a five dollars a month on Patreon
(48:01):
to get exclusive content and that helps us out with
our production costs and all of that. You can follow
us on Twitter and Instagram and Facebook. Funk Off Willy Allen,
funk Off, Willy and funk Off, Harveerty Weinstein and funk
off any sexual predator in Hollywood and everywhere. If you're
a man, be fucking helpful. Help everyone else. Keep your
(48:24):
head up, listen and believe women and value women. Love you,
Bye bye,
The Bechdel Cast News
Hosts And Creators
Caitlin Durante
Jamie Loftus
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