The Goonies with Sarah Marshall

On this episode recorded live in Portland at Curious Comedy Theater in February, Caitlin, Jamie, and special guest Sarah Marshall chat about The Goonies! Bechdels never say die! Just a reminder that you can grab 'on-demand' tickets to access the stream of this live show at linktr.ee/bechdelcast 

(This episode contains spoilers)

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Follow @Remember_Sarah on Twitter. While you're there, you should also follow @BechdelCast, @caitlindurante, and @jamieloftusHELP

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Episode Transcript

Speaker 1 (00:01):
Hello Bechdel Cast listeners.

Speaker 2 (00:04):
And us again, the hosts of the Bechdel Cast.

Speaker 1 (00:07):
Ever heard of us?

Speaker 2 (00:10):
This is?

Speaker 3 (00:10):
Oh well, I guess let's say our names. Yeah, sure,
my name is Jamie Loftis.

Speaker 1 (00:14):
My name is Caitlin Derante. And we recorded a live
show in Portland a few months back that we are
now releasing. It's on the Goonies with Sarah Marshall.

Speaker 2 (00:26):
I ever heard of her? She's the best.

Speaker 3 (00:28):
Yeah, she's next door to me right now, which sounds scary.
It sounds like I'm holding her prisoner, but it's just
the truth. Yeah, you're on tour together.

Speaker 2 (00:36):
We're on tour together, the Babe Beautiful.

Speaker 1 (00:38):
And so this is one of the shows that we
live streamed recorded it Curious Comedy Theater in Portland or
ever heard of that?

Speaker 2 (00:49):
And if you haven't, you should go.

Speaker 4 (00:50):
It's fun.

Speaker 1 (00:51):
It is very fun. Point is we live stream the
show and the recording also exists as like something that
you can buy on demand. So basically if.

Speaker 2 (01:01):
You go back to video tree.

Speaker 1 (01:03):
Yes, So if you want to see, for example, us
eating a hot dog on stage.

Speaker 3 (01:11):
See our cute little outfits. No spoilers, but we're wearing
some cute little outfits.

Speaker 1 (01:16):
If you want to see the special segment that we
did at the end with Sarah that you won't hear
in the audio version.

Speaker 3 (01:25):
Trivia Treasure Hunt. It's very goofy, it's super fun and
if you're a big fan of the show and you're
a big fan of Sarah Marshall, I bet you'll like it.
But yeah, we have that linked in our lee tree.

Speaker 2 (01:37):
But we're about to hear is our audio version of
the live episode on the Goonies.

Speaker 3 (01:43):
We also did this in Seattle, but you're hearing the
Portland version.

Speaker 2 (01:47):
Little inside Baseball there.

Speaker 3 (01:49):
And there is still one more Portland live episode we
will be releasing in the future that you can also
buy on demand to watch right now if you so choose.
It is the Hannah Montana movie with Rob Evans, and
really what more could you ask for in terms of
a dissonant pairing. So but we're very thrilled to present

(02:10):
to you now The Goonies with Sarah Marshall.

Speaker 2 (02:17):
Welcome everybody, your curious comedy theater. Make some noise for
the Bechdel cast. Please keep that going for Jamie and Caitlin.
They Land Patriarch Zach start changing it.

Speaker 1 (02:42):
Hi Welcome to the Bechdel Cast. Hello, thank you so
much for coming.

Speaker 2 (02:48):
How are you Portland, Oregon? The superior Portland? Wow?

Speaker 1 (02:53):
Wow, shots fired against Maine.

Speaker 3 (02:55):
Everyone has mad, just passed out and they have no
idea why. Welcome, Thank you for coming. Give it up
for yourselves. My name is Jamie Loftus, my.

Speaker 1 (03:10):
Name is Caitlin Dronte, and this is the Bechdel Cast. Yay,
I don't know why. I was like, I'm gonna pause
so that everyone collapse again.

Speaker 2 (03:21):
No, we're so excited to be back.

Speaker 3 (03:22):
We haven't gotten to go on tour for about three
years for no particular reason really, the kind of didn't
feel like it. But we're so pumped to be back,
and back in Portland specifically because this is I think
this is my favorite city to tour too.

Speaker 2 (03:38):
It truly is, and which I don't say. I did
not say that. In San Francisco. I got pretty volatile.
I was like, what's wrong with it here? It's depressing?
Why is your mayor in all of the movies? Anyways?
I don't feel like that. I feel great here? Should we?

Speaker 1 (04:04):
Well?

Speaker 2 (04:04):
Actually, has anyone been to a Bechdelcast live show before?

Speaker 3 (04:08):
Oh?

Speaker 1 (04:08):
My god, so who has never been to a Bechdel
cast live show before.

Speaker 2 (04:11):
I run apod Wow, okay, second graders, let's do it.

Speaker 1 (04:18):
Also. Okay, wait, hang on, we're live streaming the show,
so we should say, yeah, the people in.

Speaker 2 (04:25):
San Francisco aren't like, what the fuck? I totally forgot
that other people could hear me.

Speaker 3 (04:32):
Hi, hi, Hi, we love San Francisco. That was a
technical error, and I'm a deep face. I think everyone
can agree that was a deep fake.

Speaker 1 (04:45):
And that's anything.

Speaker 2 (04:48):
Is the pro of evil tech things going on? Is
that anytime I say something I regret like that was
clearly a deep fake.

Speaker 3 (04:57):
Why would I say that I love San Francisco Go
bridges are awesome?

Speaker 1 (05:03):
Last night I mistook the This is not important, but
I mistook the Golden Gate Bridge for the Bay Bridge.

Speaker 2 (05:10):
And everything one threw a tomato.

Speaker 1 (05:14):
I got egged at the show.

Speaker 2 (05:17):
You also said the hard finger. Okay, wait, quick story.

Speaker 3 (05:24):
So last night we did an episode on George of
the Jungle in San Francisco where it takes place in
first of the Jungle and then San Francisco.

Speaker 2 (05:33):
But there was a.

Speaker 3 (05:34):
Moment where well you were talking about George getting horny. Yeah,
and what was the phrase you were trying to say.

Speaker 1 (05:40):
I was trying to say that he starts to figure
out how to like seduce a woman, but that's not
what they said at all. I said that he starts
to finger out and everyone laughed at me.

Speaker 2 (05:57):
But you didn't know that you said it. You just
kept going in and you're like, why is everyone laughing?
It was really it was.

Speaker 3 (06:05):
It felt like a nightmare that was happening to us,
but it was exciting. It was awesome, and that's the
joy of live comedy. So thank you for coming.

Speaker 2 (06:13):
We should tell people what the show is. For those
watching on the live stream, this is the Bechdel Cast.

Speaker 3 (06:19):
It's a show where we take an intersectional feminist look
at your favorite movies.

Speaker 1 (06:25):
We sure do.

Speaker 2 (06:25):
But Caitlin, what the hell is the Bechdel Test, I'll
tell you.

Speaker 1 (06:28):
It's a media metric created by queer cartoonist Alison Bechdel,
sometimes called the wu to Alison Bechdel exactly, sometimes called
the Bechdel Wallace Test. There are many versions of the test,
but the one that we use that we've cultivated over
the years is that two people of a marginalized gender
have to have names they must speak to each other,

(06:49):
and their conversation has to be about something other than
a man, ideally some like narratively substantial conversation, right, And
then there's.

Speaker 3 (06:59):
Just movies about a group of young boys falling in
a lot of water. And so there was sort of
like a spectrum of the kinds of media available to people,
and we celebrate that, we do.

Speaker 1 (07:11):
We do.

Speaker 3 (07:12):
So tonight we are covering uh or Agony and classic
the Goonies?

Speaker 1 (07:20):
Who here has seen the Goonies?

Speaker 2 (07:24):
Okay? And who here? Who are the brave people who
have not seen the Goonies?

Speaker 1 (07:29):
Yes?

Speaker 3 (07:30):
Yes, me two days ago? Oh my gosh, okay. So
we're really excited to talk about this movie.

Speaker 2 (07:38):
And about the movies of Oregon in general.

Speaker 3 (07:41):
Were thrilled to be here. Really quickly before we bring
our guests out, I know that there's someone here that
has a hot time for me.

Speaker 2 (07:49):
And I want I would like it.

Speaker 4 (07:54):
Come on, thank you?

Speaker 2 (07:57):
Wait? What's your what's your This is heavy? What's your name?
I'm Carly? Hi Carly? So well do you mind weave
a second?

Speaker 3 (08:09):
Right?

Speaker 2 (08:09):
Yeah, okay, I just want to open it. Where'd you
get this? I got it at Donnie Vegas. It's a
bond me hot dog. Oh my god, wait chic holy shit.

Speaker 3 (08:22):
Another another count against San Francisco. I asked San Franciscans
to bring me their hot dog, and someone brought one
from Paris Baguette and they were like, we're we do
burritos more here, and I was like.

Speaker 2 (08:34):
Get out of my sight. Wait, this looks amazing. Thank
you so much giving it for Carly. Do you want
to bite?

Speaker 1 (08:44):
I would love a bite. Yeah.

Speaker 2 (08:45):
Can I feed it to you?

Speaker 3 (08:48):
I mean yeah, we got Sorry, we're just demonstrating that
what the Bechdel test can do.

Speaker 2 (08:53):
Caitlin, do you mind if I uh feed you this
hot dog?

Speaker 1 (08:58):
Uh?

Speaker 2 (08:59):
Just don't bring up.

Speaker 3 (09:09):
Oh wow, thrilling. I'm gonna take a bite from the
other side. Actually, I'm gonna save it the other side
for our guests.

Speaker 2 (09:16):
That's polite.

Speaker 1 (09:24):
Did people get pictures of that or ever? What?

Speaker 4 (09:28):
Or was it all for?

Speaker 3 (09:29):
Not?

Speaker 2 (09:35):
This is calling a really good so far Donnie Vegas
huh wow, I'm really wow. Okay wow, okay.

Speaker 3 (09:45):
So this is a nightmare for people with me as
a phonia there I get so many emails from people
that are like, what what are you eating? I'm like
putting like hot dogs, chips, Mike's hard lemonade like whatever
kind of whatever's around.

Speaker 1 (10:01):
I'm a savenger. Did anyone else bring a hot dog?
I just don't want to make sure our basic covered?

Speaker 2 (10:07):
Okay, fuck you, guys, what the really interesting? You ask?
You ask, you ask? Carly provides give it.

Speaker 3 (10:18):
The rest of you may be flopping a bit, but
we can make up for that. I'm just gonna leave
this hot dog detritas here as a memory.

Speaker 1 (10:25):
Say you've got someone on your face as well?

Speaker 2 (10:27):
Oh no, I don't think I do.

Speaker 3 (10:31):
Should we? Oh? I'm so excited for tonight's guest, one
of the one of the greats and one of the
Portland greats.

Speaker 1 (10:41):
A Portland local host of Your wrong About and You
are a good podcasts. You know her, you love her.
It's Sarah Marshall.

Speaker 2 (10:57):
Welcome, Chunk has arrived.

Speaker 3 (11:02):
Yeah, we were doing some light chunk costplay. This kind
of like the Disney bounding version of Chunky.

Speaker 2 (11:09):
Yeah, it's subtle. It's a suggestion of fans.

Speaker 1 (11:14):
Do you want some hot Doug? Yeah?

Speaker 3 (11:16):
Okay, I saved you. The I saved you the other side.
It's a fresh bite. Yeah, you're welcome.

Speaker 1 (11:23):
Oh yeah, you didn't feed it to her.

Speaker 3 (11:25):
That's oh, sorry, I'm supposed to do you want a
second vibe? Yeah, a rogue cucumber appears. That was very
feral of all of you to say feeder, and you'll

(11:46):
notice I obeyed. Sorry, they asked, we had to do it. Well,
this is an unfortunate time to be like, so, Sarah,
what's your experience with the Goonies?

Speaker 2 (11:59):
But you know we can wait.

Speaker 1 (12:01):
No, I'm gutting there. Take your time, so when you're ready.
So when you're ready to answer the question, tell us
what is your history with the Goonies?

Speaker 4 (12:21):
Okay, I've actually never told anyone this story, but when
I was like six, I used to go to this
house where like it was one of those like home
daycare places, and there I just remember being pandemonium. There
were just kids crawling around everywhere, and so there was
this like baby toddling around and some girls were like,
we're helping her walk and I was like, oh, I

(12:42):
can get in on that. And then somebody was like,
come watch the Goonies and I was like, yeah, I'm
doing that, and then.

Speaker 2 (12:46):
I apparently dropped the baby.

Speaker 1 (12:51):
Wow.

Speaker 2 (12:52):
I mean not, you know, not the sloth kind of a.

Speaker 3 (12:56):
Way I was.

Speaker 2 (12:59):
Leading with leading with the bottom leading with the bottom.

Speaker 1 (13:04):
Supposed to go down.

Speaker 4 (13:04):
But yeah, The Goonies originally was a movie that I
saw a bit of and felt an overpowering sense of
shame whenever it came up for years. And then I
watched it like ten years ago, and it's like charming
enough that it overtook my overpowering self lothing, which is
always huge. That's powerful, if only for a moment.

Speaker 2 (13:28):
Yeah, do you know what became of that baby or
did you leave that out on for.

Speaker 4 (13:37):
I think she's she recovered from that trauma. I think
she's doing okay. I haven't if anyone knows about the
fate of that baby, please.

Speaker 1 (13:45):
Come up to me. Is that baby here tonight?

Speaker 3 (13:49):
What if we were doing a Maury style like, well,
guess what, she's here and she's pissed hot dogs?

Speaker 4 (13:58):
Yeah, she wersimply Carly.

Speaker 2 (14:04):
And she's fucking furious. Oh my god, how I die?
It's okay, I don't remember dry. I'm sure that.

Speaker 3 (14:12):
I mean, I had like a million cousins. I'm sure
that I dropped one of them at some point. I
remember my dad once being like, well, everyone drops their
kid a couple times.

Speaker 2 (14:20):
It's just it's all about angles, You're like, It's true.
I do have a mysterious lump on my head. I
don't know.

Speaker 4 (14:28):
That's why we have curly hair.

Speaker 2 (14:30):
You know exactly. I don't have to worry about it
at okay, Kitlyn. What's your history with the Guineas I
saw it?

Speaker 1 (14:38):
I think once as a kid, once again in college,
and not really at all. Aside from that, it wasn't
a movie I grew up with. I was too busy.
It was too busy watching Indiana Jones because that was
for adults and I didn't like kids stuff. That's not
even true. But uh, I don't know. Yeah, I don't know.

(15:00):
It just for some reason. It wasn't one of the
VHS's we had growing up. So yeah, I don't know.
I don't have much of a history with it, but
I always I enjoyed the idea of it, I think
more than the actual movie, because there's some fucked up
shit in the movie and that we'll talk about. Yes,

(15:20):
what's your history with it?

Speaker 2 (15:22):
I yeah, I hadn't seen it until two days ago.

Speaker 3 (15:25):
I feel like there was such a wealth of movies
about a group of young boys on bikes that would
swear at each other during this era that like you
just sort of see like you could you could watch it.
You can watch et, you can watch the Goony. Like
there's like so many ragtag groups of boys that would
each get to say shit one time. Yeah, So I

(15:48):
thought I had maybe seen this movie because I was like, oh,
it's it's boys on bikes the movie, but I.

Speaker 2 (15:53):
Hadn't seen it. And yeah, I'm interested to talk about it.
There's a lot to love about it, and then some
stuff that you're like, oh no, which is our favorite
kind of movie to cover on this show.

Speaker 1 (16:05):
It's true.

Speaker 2 (16:06):
I wish I had dropped a baby to this movie.
That's a great story.

Speaker 4 (16:12):
It's also like and then my memory of the movie
is like of the smell of that like home daycare place,
which like you know, they never smell good.

Speaker 2 (16:22):
That takes a while to get over. Yeah, I mean
my mom ran home daycare and our house was stinky.

Speaker 1 (16:30):
But it is what it is.

Speaker 3 (16:33):
We're being dropped and Mama for Telly says, kids suck.
Mama for Telly is the most complicated character in the movie.

Speaker 1 (16:44):
Truly.

Speaker 3 (16:45):
It's truly she I was never not shocked at like
and I say, this is an extreme positive. But how
many times in the Goonies the kids flip from being
in mortal danger to like fucking with each other again
is like a space of point five seconds where it's like,
Mama for Telly is about to cut Corey Feldman's tongue out,
and then two seconds later he's like, makes a peepee joke.

Speaker 2 (17:12):
It's the best. Those boys are on bikes all right,
mentally and physically.

Speaker 1 (17:17):
It's true. Should I do the recap?

Speaker 2 (17:20):
Let's do the recap?

Speaker 1 (17:22):
Okay, thank you for that tepid applause. Uh okay. So
we open on a prison break where a guy named
Jake for Telly played by Robert Davey.

Speaker 2 (17:43):
Is that right?

Speaker 1 (17:44):
He breaks out of County jail with the help of
his mom played by Anne Ramsey, and his brother Francis.
That's joey pants. Okay, Joe Pantaliano. They speed away and
the cops are chasing them, but they escape. Then we
meet a handful of kids who are the Goonies. That's
the name of the movie. It's mouth played by Corey Feldman.

(18:10):
He's like the machievous little stinker.

Speaker 2 (18:13):
Yeah, he's got the hair. You can tell it because
of the way his hair is you're like, oh, this
kid's trouble.

Speaker 1 (18:20):
We've got Data. That's kwan. He's like and Andy.

Speaker 3 (18:26):
Indeed, Data is the best character and if you disagree,
you have to leave the show.

Speaker 2 (18:34):
I was blown away though, Like, how Data?

Speaker 3 (18:36):
If there's ever a character named Data in a media property,
that's gonna be the best character. Because it's also true
of Star Trek. Uh is like Data is the best
character on that iteration of Star Trek and in the
Goony like you can debate me, but you'll lose.

Speaker 1 (18:51):
Yeah, yeah, you'll be wrong.

Speaker 3 (18:53):
Yeah.

Speaker 1 (18:54):
His thing is he's like the gadget kid. He has
all these gadgets. We've got chunk uh. He's played by
Jeff Cohen, And his thing is that a lot of
fat jokes are made at his expense. We'll talk about it.

Speaker 3 (19:09):
You know. The element of his personality that they introduced
that is not deeply offensive is that he's a serial liar,
and I wish they had leaned into that more because
all of his lines are so funny. The first line
is reference is that Janet Jackson.

Speaker 2 (19:25):
Pete at his house once he's coming up with stier lies.

Speaker 1 (19:31):
Like he's really good.

Speaker 2 (19:32):
Just stick to that that's creative.

Speaker 1 (19:34):
Yeah, We've got Mikey. That's Sean Aston and he's like
our hero. He's kind of like the straight man. And
then Mikey's older brother is Brand played by Josh Brolin,
and he's tough.

Speaker 3 (19:47):
Did people a lot of people are like, okay, someone's
were in the back snapping a fan of SLO.

Speaker 2 (19:57):
All right, all right?

Speaker 1 (19:59):
He he works out and that's his thing. He has
a workout equipment. What's it called exercise equipment?

Speaker 3 (20:07):
Okay, he's got like he's got springs. I was like, yeah,
that would make you strong, wouldn't it.

Speaker 1 (20:15):
It's like resistance like eighties resistance bands which were yes, springs.

Speaker 4 (20:21):
Okay, don't understand his mom thinks he ties himself up
to work out. I mean that was his excuse before.

Speaker 2 (20:31):
Their their mom uh Brandon.

Speaker 3 (20:33):
Mike's mom is barely in the movie, but every time
she's on screen, she is just in the trenches. She
enters in an arm sling, and we don't know why,
Like she like walks in she's got an arm sling.
She's like, well, my house is getting knocked down tomorrow.
And then her kids just are like fuck you. They
break her shit, and.

Speaker 2 (20:53):
Then yeah, she's just having a bad day. She has
us that statue penis, and they took that away from her.
It's my favorite.

Speaker 1 (21:03):
She's horny. I guess, I don't know. Okay, So the
Goony is their best friends and it's their last weekend
together before they all have to move away because where
they live, which is the goon Docks of Astoria, Oregon,
I believe ever heard of it, it is going to

(21:24):
be bought up and turned into a country club, which.

Speaker 2 (21:28):
You pointed out they already have a country club.

Speaker 1 (21:30):
A story that already has a country club, which we
see in the movie, so we're not sure why they
need a second one, but that's what's happening, and their
families don't have enough money to stop this from happening.
All the kids congregate at Mikey and Brand's house and
they go into the attic because Mikey and Brand's dad
have a bunch of like museum stuff up there that

(21:52):
they have yet.

Speaker 3 (21:53):
To move off the premises, even though their house is
being demolished in ten yeah.

Speaker 1 (21:57):
Yes, And they find this map to buried Treasure from
I think like sixteen thirty two. It is treasure that
a pirate named One Eyed Willie had stolen, but then
he got trapped with his treasure. But as legend has it,
he dug a bunch of caves and tunnels and made
a bunch of booby traps for anyone who went looking

(22:18):
for the treasure. We also learn about this guy named
Chester Copperpot who searched for the treasure a few decades back,
but he disappeared and never returned. So Mikey is like, hey,
if we find this treasure, we can keep the goon
docks and we don't have to move. So Mikey, Mouth
Chunk and Data decide to tie Brand up with his

(22:42):
weird Resistance band and run out of the house with
the map and go on this quest for buried treasure.
So it's at this point where you're like, oh, it's
like the Fellowship of the Map because Sean Aston is
right there, but he's kind of more of the Frodo
character than the Sam Wise character.

Speaker 2 (23:02):
Shaun Aston is obsessed with going on a quest. He
loves it, he really does, he loves it.

Speaker 3 (23:09):
It needs to be said that Thanos is tied up
to a Cyndi Lauper b side.

Speaker 1 (23:15):
Yes, yes, And so the kids ride on their bikes
to this place called gold Rock Beach where they see
three rocks. They're also on the map, and they also
have this to bloom that's kind of guiding them, and
they like match things up. Oh there's more hot dog
is eating.

Speaker 2 (23:32):
I see there's free dose in here.

Speaker 1 (23:34):
There are. Yeah. So they're like matching things up with
a to bloom in the map and they figure out
that they're supposed to walk one hundred feet north, which
brings them to this restaurant. Meanwhile, Brand has gotten loose
and is chasing after them on this little bike with
training wheels. Cute, and he encounters this rich bully kid.

(24:01):
He's with two girls, Andy played by Kerry Green and
Steph and that's Martha Plimpton.

Speaker 2 (24:07):
I like the Troy.

Speaker 3 (24:09):
You can tell he's the rich kid because he's like
wearing a visor. It doesn't say money on it, but
it like basically does. Eighties like rich guys were just
they were just so like clear cut in the way
that they loachd. Now we have like little Elon Musk
looking villains like I'm just when it was just a
guy with bad hair with a visor that said money.

Speaker 2 (24:31):
Nice.

Speaker 1 (24:32):
Yes, Okay, So the goonies reached the restaurant where they
see a few people go inside, so the kids go in,
but oh no, it turns out that they were the
three people from the prison break scene at the beginning
of the movie, the Fortellies who are like, what are
you fucking kids doing here? And the Goonies are scared

(24:52):
and they're pretending to order food and to use the bathroom.
Then Mikey goes into the basement. This is when he
sees a man who is chained up. We will learn
that his name is Sloth, played by former NFL player
John Mastusik. Did I say that right? Right? Are you

(25:14):
not a sports crowd?

Speaker 2 (25:15):
What he want? You want to what's the game called?
It's called not it's the super Bowl.

Speaker 3 (25:29):
We're like playing into stereotypes right now. He won two
super Bowls and then he played Sloth. I mean kind
of an iconic run he had.

Speaker 1 (25:40):
Yes, yes, we'll talk more about this character.

Speaker 2 (25:43):
We'll come back to Sloth.

Speaker 1 (25:45):
Then Brand shows up and helps the kids escape from
the restaurant, and then they're trying to figure out what
to do. They run into the two girls from earlier,
Andy and Steph. The Fortellies leave, so they go back
in the restaurant where they find a tunnel in the fireplace.
But that's when the Fortellies show back up, so the
kids have no choice but to escape into the tunnel. Yes,

(26:06):
but Chunk gets separated from them and the other kids
are like go to the police, and he's like, oh okay.

Speaker 2 (26:15):
Chunk is like haunted by this corpse for like multiple scenes. Yeah,
I just love.

Speaker 3 (26:22):
Jeff Cohen's all of his like line reads are so
funny and they it plays just like I don't know it.
He reminds me of so many kids I knew who
were like this kid's speaking natural speaking volume is screaming,
where he like screams all of his lines, and it
makes like it's even better than if someone was like, hey, Jeff,
you don't got it yell like it's it's better that

(26:44):
he does, because kids do that shit all the time.

Speaker 2 (26:46):
Where he's just like Hi, You're like, oh my god,
I love I love I love.

Speaker 1 (26:52):
That kind of kid.

Speaker 3 (26:53):
Those are I like, those are like my closest friends,
because if you're a quiet kid, you need like natural
volume screaming kids around.

Speaker 1 (27:00):
Yes, balance exactly. Yeah. So Chunk is going to try
to find the police and he escapes but the fertellities
catch him right away and bring him back to the
restaurant and start questioning him. Meanwhile, the other goonies start
making their way through the tunnel. There's a scene with
water pipes. That's where you see the other or the

(27:22):
already existing country club.

Speaker 3 (27:24):
Uh.

Speaker 1 (27:25):
They find a skeleton. They discover that it's Chester copper Pot,
the guy who went looking for the treasure like fifty
years earlier, right.

Speaker 2 (27:32):
And so they're like, haha, bitch, we got further. We're
better than they lived.

Speaker 1 (27:38):
They accidentally set off one of one eyed Willies booby traps.
Huge boulders are about to fall on them. They managed
to escape. Then they think for a minute that they
found the treasure, but it turns out it's just like
the interior of a wishing well, and they find Troy
that rich kid is like like above ground at the

(27:58):
opening of the wishing well.

Speaker 2 (28:00):
This part is truly wild to.

Speaker 3 (28:01):
Me because Andy at this point understandably has had it.
She's trapped in hell with kids she doesn't know, and
she gets the opportunity to be brought back to the surface.
But then little sean Aston gives such a powerful monologue
that she agrees to remain in hell forever. Yes, it

(28:25):
is so wild, that's what you cast him for. He's like,
you gotta stay in hell for me, Sean Aston, this
is our hell.

Speaker 1 (28:35):
It's all hell down here.

Speaker 3 (28:37):
Yeah.

Speaker 1 (28:39):
Yes, so they realized. So they realized that they could
escape with Troy's help. But that's yeah. Mikey gives this
impassioned speech where he's like Chester copper Put couldn't even
get this far. He's a loser, and we're winners, We're awesome.
We should keep going. And then Andy is like what
if we die? And Mike He's like, goonies never say die.

Speaker 2 (28:59):
And then then she's like, what are you talking about?

Speaker 3 (29:02):
I don't know you is maybe what I would have
said if I were in that position, like all right, well,
best of luck with whatever the fuck you're talking about.

Speaker 2 (29:12):
Goodbye.

Speaker 1 (29:14):
Yeah? Do they even did they even ever tell those
girls like what they're doing or what they're looking for?

Speaker 3 (29:20):
Well, no, I was gonna try to fact and logic
by way, the answer is I think no, yeah, which
I think is best expressed through Martha Plimpton, who the
whole time is like I hate it.

Speaker 4 (29:33):
I hate it, like I'm getting bathe, I'm babysitting, but
I'm not getting paid exact. Yeah, but your options are
this are being sexually harassed in a car.

Speaker 2 (29:40):
So I guess it's this.

Speaker 4 (29:42):
I guess what the eighties were like.

Speaker 2 (29:44):
I guess framed that way, I would also agree to
stay in hell.

Speaker 1 (29:50):
Okay. Meanwhile, the Fertellies tie up Chunk with Sloth in
the same room, and then they go into the tunnel
after the Goonies, but Sloth breaks loose from his chains
and then he and Chunk head into the tunnel as well.
The Goonies set off another booby trap. Data falls through
the floor into another room. Everyone follows him down there,

(30:14):
and then there's a scene where Andy kisses Mikey thinking
he's brand.

Speaker 3 (30:21):
The fact that they have time for this in the
middle of being in Hell is just like, but don't like,
isn't it so relatable?

Speaker 4 (30:28):
Like when you want to have your first kiss with
someone you're interested in, You're like, I'm gonna call you
from several rooms away. I'm gonna stand here with my
eyes closed, and I'm just gonna see what happens.

Speaker 2 (30:42):
And I'm gonna trust that my friend.

Speaker 3 (30:44):
If the wrong person shows up, my best friend would
definitely tell.

Speaker 2 (30:48):
Me, he'll definitely tell me. Why would she not tell me? Oh,
if my best friend definitely doesn't secretly hate me.

Speaker 3 (30:56):
And want me to make out with a twelve year old.
It is just a really bizarre sequence. Andy's a really
bizarre character. We'll come back to her.

Speaker 1 (31:07):
Yes, this is also in the middle of them all
like taking a piss break. They're like, we got a pee,
but also let's kiss in the middle of our pea break.

Speaker 3 (31:17):
Kayling, you brought up when we were watching this together,
you're just like getting progressively more and more frustrated because
of how wet the kids were getting on.

Speaker 2 (31:29):
We're just like, how are they gonna keep the map together?

Speaker 1 (31:36):
During the wishing Well scene, Sean Aston just stands under
a fountain for like five minutes.

Speaker 3 (31:43):
And then there's one line where like, for seemingly no reason,
Corey Fellman's character is like standing, completes his line of
dialogue and then just flops down into the water apropos
of nothing. And I just I think that it's just like,
if you're directing, you know, like a five hundred eleven
year olds, they're just gonna do that, and you're just like, well,

(32:03):
I guess that's the take we have. He unfortunately flopped
down at the end, but he completed the line.

Speaker 1 (32:14):
Yeah, they were very there's too much water, okay, metal
these kids off. Yeah, it's a problem the state has.

Speaker 2 (32:21):
Generally, we just have too much water around. We just
have to work with it. With that Ragonian representation, I
imagine it.

Speaker 1 (32:29):
Was really cold too, because we know it's not summer,
because they're like, this is a summer restaurant and it's
only open during the summer. But it's not summer right now,
so why are people going in there? So it's like
fall maybe winter, and they're still just like they're.

Speaker 4 (32:43):
So for the whole movie. And also most deaths from
hypothermia happen when it's in the forties, So very stressful.

Speaker 1 (32:54):
I was stressed.

Speaker 3 (32:55):
I do respect Richard Donner because it's like the only
thing that sounds harder than directing a movie that only
has twelve year old in it is wet twelve year old.

Speaker 2 (33:04):
It just sounds like the hardest task possible.

Speaker 1 (33:08):
Horrible. Okay, So the Fertellies are right behind the Goonies,
and the Goonies are like rushing to get away from them.
There's this piano related obstacle.

Speaker 2 (33:19):
Uh, that's the great feminist moment too. They're like, wait,
woman play piano badly?

Speaker 1 (33:29):
Wow, yeah, but it's allowed. Yeah. And then they finally
make it into the main cavern and find one Eyed
Willy's pirate ship and all of his treasure. So they
start loading their pockets with the treasure, but uh oh,
the Forertellies show up. They take the treasure away. They're
about to kill the children, but then Chunk and Sloth

(33:50):
show up to save the day. There's, you know, a battle,
and the goonies escape back to the surface. Their parents
show up up, as do the rich people who are
trying to displace them for this second country club, and
Mikey's dad is about to sign over their land, but

(34:10):
then it's revealed that they smuggled some jewels, at least
one of which is the Heart of the Ocean from Titanic, and.

Speaker 3 (34:20):
The close up shot of those jewels are so funny
because they're so visibly from like.

Speaker 2 (34:24):
I party that they're like, we have it, the treasure,
and you're like, oh, buddy, But it's enough.

Speaker 1 (34:33):
Money that they don't have to turn over their land
and so they live happily ever after. Chunk is like
Sloth you can live with me and my family and
everyone has like a nice reunion with their parents. The end.

Speaker 4 (34:49):
Good recap.

Speaker 3 (34:49):
Caitlin, Well, before we get started talking about the characters, Sarah,
I'm curious as an Oregonian you how does this fare?

(35:09):
You mentioned that there's a lot of movies that take
place in Astoria specifically, I'm not aware there's a lot
of movies.

Speaker 4 (35:15):
That like take place and or are filmed there and so,
and my favorite is Free Willie because there's like, right, oh,
if there's endless scenes where they're like we're in Portland
under a bridge, we're in a Storia, We're in Pioneer Square,
We're in Astoria, and it's like, yes, we all want
a story to be five minutes away, and yet it
isn't and we all have to live with that. And

(35:37):
then kindergarten copping, short circuit or the other to me,
the biggest story of movie. So if you're like an
eighties movie buff, you can or eighties to early nineties,
I guess you can knock out for biggies there and
also a green room, which we were.

Speaker 2 (35:50):
Just talking about. Yeah, the opening was filmed there, and I.

Speaker 4 (35:54):
Feel like it's just because like it's a very or
a story is a very picturesque city, so I feel
like it makes sense is a place that you would film.
But I one of the things I love about this
as an Oregon movie is that I do feel like
it depicts our weather well, because like a lot of
movies that are set in organ either it'll be like
totally sunny and bone dry, like stand by Me, which

(36:17):
is great, we are bone dry in the summer. Love that.

Speaker 2 (36:20):
But then when they're like it is Oregon and raining,
it'll be like a Blade Runner downpour.

Speaker 4 (36:27):
And I love that.

Speaker 2 (36:28):
The Goonies is like, no, everyone's just like moist and
you feel like shit.

Speaker 3 (36:32):
And that's the whole thing, which I guess is why
the kids are so unfazed to be constantly introduced into
new levels.

Speaker 1 (36:41):
Yeah, maybe I don't.

Speaker 4 (36:43):
Care kids just actually we don't actually sexually reproduce here.
Babies just like grow on fallen logs like mushrooms and.

Speaker 1 (36:52):
You just harm them.

Speaker 2 (36:54):
Wow, that's like a whole job industry. It's a whole industry.

Speaker 3 (36:59):
Yeah, that's why, because if you said the job named
baby harvester to me, that's just like not where my
mind would have gone. But maybe that's a me issue.
It's all about how you harvest the babies, right, there
is ethical about sustainability.

Speaker 2 (37:18):
That's so cool.

Speaker 3 (37:19):
This is like, I mean, it is always really cool
to feel a very specific sense of place with movies
like these. There is a big moment for my hometown
this year when the Anya Taylor Joy character in the
Menu That's right ended up being from my hometown and
they said it as not a net negative, right, and
it was like people were just thrilled to think that
someone who's like as hot as Anya Taylor Joy could

(37:42):
come from where we live.

Speaker 2 (37:45):
It was pretty thrilling.

Speaker 1 (37:46):
Uh So today is Groundhog Day. Happy Groundhog Day, everybody,
and Punk Satani. Pennsylvania is like a twenty minute drive
from my hometown, so that's kind of my home towns
claim to fame movie wise, But have.

Speaker 2 (38:03):
You ever been to the the unsche thing of the.

Speaker 3 (38:12):
They don't they don't kill the crown Dog, right, I'm
confusing it with like when for some reason, the American
president like it like meets the turkey that he'll be
eating later in the day and it like for forgives it.

Speaker 2 (38:29):
I don't know what happens. Apologize this forgids.

Speaker 4 (38:33):
I don't think it's the turkey. Pardon you, pardon the turkey. Yeah,
and then you know, you also have the option to
like chase the turkey across Paris for twenty years. Oh
wowt to like stop law breaking. You can do either one.

Speaker 3 (38:48):
I think that that that should be something that's introduced
for every major holiday. The American president should have to
do that. For Santa Claus, oh my god, the Easter Bunny,
the Easter Bunny. Honestly, yes, I think so. I mean

(39:10):
for Easter, you could also bring out Jesus.

Speaker 1 (39:12):
I guess.

Speaker 3 (39:13):
I mean he's gonna get it anyway. I guess it
doesn't matter if the president needs him.

Speaker 2 (39:28):
Just an idea for.

Speaker 1 (39:31):
Well, to answer your question, No, they don't kill the groundhog.

Speaker 2 (39:36):
I can get to know they do.

Speaker 1 (39:38):
They take him out of his tunnel where I imagine
he's down there looking for buried treasure, and they're like they, hey, punks,
a tiny phil do you see your shadow? And he's
always like, yes, I do. And so there's always six
more weeks of winter.

Speaker 3 (39:52):
And damn holiday. They should kill him. That would really
raise the steaks. I think you get more people out there. Yeah,
all right, they well, we wanted to desert by by
talking about the character of Sloth, because I mean, there's

(40:15):
I think been sort of a wide variety of discussion
about the character of Sloth over the years. He's certainly
coded as having a disability and has been thoroughly like
rejected and abused by his own family as a result
of being disabled. I don't believe that we get any

(40:35):
specificity outside of the like the joke that Mama Frittelli
dropped him at least two times.

Speaker 2 (40:44):
And then he rightfully.

Speaker 3 (40:49):
And she's fine, and then Sloth rightfully tosses Mama Frutellia overboard.

Speaker 4 (40:57):
Throw Mama from the Pirate Chefs swish. That was a
good joke if it was nineteen eighty eight, which it is.

Speaker 1 (41:06):
Right. So, we've talked a lot a on the show
about disabilities being ascribed to villains in media as a
way to other them and further villainize them.

Speaker 3 (41:18):
Interestingly, sometimes in the case of like pirate characters, where
there's kind of like an overlap there.

Speaker 1 (41:23):
True true, and this obviously has like horrible ablest implications.
But even though Sloth is associated with the villains because
he's a part of the family, he ends up being
one of the heroes. He rejects his family for having
rejected him, like you said, they're wildly abusive to him,

(41:43):
and so there's this kind of subversion of that trope.
It doesn't mean, though, that the representation is great, obviously.
It's so the actor playing Sloth is not a disabled actor,
and they used a lot of like makeup and prosthetics

(42:05):
to turn John Mestusick into Sloth.

Speaker 3 (42:09):
I felt like there were there were a lot of
tropes commonly associated with disabled characters kind of like all
kind of amalgamated into this one character where he has
like he's portrayed as like worthy of pity, he's ostracized
from his community. I do think it's like good that
he and Chunk connect as the misfits of their respective

(42:32):
groups and then like form a super alliance and save
the day. Like that is like is the coolest fucking
thing in the world. But the way he's initially presented
is like and also he has like super strength. They're
just like all of these sort of it feels like
random broad stereotypes kind of like thrown into his character.

Speaker 2 (42:53):
But the character is a.

Speaker 1 (42:55):
Hero, right, so and then well, it also means that
like the most physically othered character in the movie is
the most mistreated. And while there is a historical precedent
for people with like atypical physical traits or people with
disabilities to be mistreated, it doesn't mean that we need
to see that happening all the time, especially in a

(43:17):
kid's movie, because like, drawing attention to a character's disability
in that way is the opposite of normalizing disability, which
is what we're aiming for.

Speaker 3 (43:29):
I would be I mean, I would be curious to
hear sort of more more viewers' opinions spit oh no,
specifically disabled listeners of their take, because I've seen sort
of a wide variety, Like I've seen a lot of
reclaiming arguments for Sloth, and like he's certainly like a

(43:50):
character that we're rooting for the entire time, but there's
like it's like his character's so mired in in all.

Speaker 2 (43:56):
Of these stereotypes at the same time. For sure, it's
like a very eighties dilemma.

Speaker 1 (44:00):
Yes, yeah, it's complicated, it is, all right, Well.

Speaker 4 (44:09):
That's the one.

Speaker 2 (44:13):
The bummer portion of the evening.

Speaker 3 (44:16):
No, but I mean, I I think I do think
that Sloth in Chunk's relationship is really sweet and beautiful.

Speaker 2 (44:25):
I mean I I I would say that I don't
think that like.

Speaker 3 (44:27):
Slow's character was written with any intended malice, but that
in the eighties it was just like not well handled,
and that there wasn't a lot of precedent for handling
or even really thinking very much about writing disabled characters,
which is a net negative.

Speaker 1 (44:45):
But yeah, yes, I also wanted to bring up that
Mikey has asthma uh and uses in an inherent oh
my god. I'm also.

Speaker 2 (44:57):
You're looking for the word finger. You're right, yeah, uh.

Speaker 1 (45:05):
He uses an inhaler multiple times, and a respiratory disability
is often ascribed to villains in movies. Think of a
Morton Joe and mad Max Fury Road. You've got Darth
Vader Baine in Batman. Is that an example? I don't
remember that A.

Speaker 2 (45:22):
Milliday very well.

Speaker 3 (45:23):
Whenever anyone says bane, you can just see a flicker
in a bunch of men's eyes of like, I have
an impression for that, and you're like, I'm sure you do,
but I don't need to hear it. The year that
that movie came out was like on par with the
year Boat came out of just like, fourteen year old

(45:45):
boys are gonna have a fucking field day with this,
and I'm never gonna hear the end of it.

Speaker 4 (45:50):
It's also like anyone can do you just do a
Sean Connery with too much spit in your mouth.

Speaker 3 (45:57):
And then just pitch it downways we were talking about.

Speaker 1 (46:01):
Mikey, yes, yes, yes, So just to say that, like,
it's not the case in the Goonies that a character
with like a respiratory illness or disability is one of
the villains, because Mikey is the hero, he's the leader.

Speaker 3 (46:13):
Although at the end he does there is like a
cast offline where he throws away his inhaler as if
this journey has cured him. So it is very thoroughly
the eighties in every single land. This true, But I
deah I noticed that as well. I think the last
element of this movie that's very deeply Eighties and still

(46:35):
discussed pretty frequently is how Chunk's character is treated, both
in his literal nickname and just how the character is,
you know, repeatedly ridiculed for what.

Speaker 2 (46:47):
He looks like and for his body type.

Speaker 3 (46:49):
And that again, it's like there's obviously a huge precedent
for that in society. But it's like, especially with a
movie as successful as The Goonies, to have a fat
actor be repeatedly ridiculed by characters that we like in
a movie intended for children, that's not gonna move the
needle in any meaningful way. It's gonna make it worse right,

(47:10):
because every I would say, every scene he's in, it's
either his friend's fat shaming him and making him do
some kind of like body shaming humiliation type of gag
like the truffle shuffle is an extreme example of this,
or he's just always characterized as being famished.

Speaker 1 (47:30):
He's always thinking about food. He's like putting himself in
danger sometimes to be like, I'm so hungry, I don't
even notice the danger around me.

Speaker 3 (47:38):
Well, I would say that the same thing kind of
happens with Andy's character where she's so horny for thanas.

Speaker 2 (47:45):
I do think it's like a similar thing where it's like, oh.

Speaker 3 (47:48):
Our like our leaning female character is so wildly horny
that she'll almost die constantly, and our only fat character,
it's like it's it just it feels like a similar
kind of move. Yeah, is where I mean, I like
knew what the truffle shuffle was, even though I have
like avoided, not avoided, but I've managed to not see

(48:08):
this movie for three decades, and I still knew what
the truffle shuffle was, again, mostly because of like men's
T shirts that I would see on the drum.

Speaker 2 (48:16):
Was like, why am I looking at this? Who is
this child?

Speaker 3 (48:19):
Yeah, he doesn't seem I wanted to share really quickly
because down the line, I think this is just a
couple of years ago.

Speaker 2 (48:26):
The director of this movie, Richard.

Speaker 3 (48:27):
Donner, who seems very very well loved by the entire cast.
He's passed away since, but he and Jeff Cohen, who
plays Chunk, later did an interview about this scene because
it had becomes so iconic. Jeff Cohen did not act
into adulthood. He's actually now like a really high powered
Hollywood lawyer, and so sometimes people just they're like called Chunk,

(48:51):
I don't know, like or.

Speaker 4 (48:53):
Chunk will call me.

Speaker 2 (48:54):
That's what I want, my chunk will call your chunk.

Speaker 1 (49:00):
Talk to my chunk.

Speaker 3 (49:01):
Yeah, I'm sure that's such a fun thing to happen
to him every single day.

Speaker 1 (49:06):
Oh yeah.

Speaker 3 (49:08):
But I didn't want to just like draw attention to
this interview because it because I do always like that,
you know, when there are scenes and moments and tropes
like this, when people reflect on it later in a
more kind of thoughtful way, because that's really what we
are able to ask of them. Richard Donner said of this,
of that scene, there was no direction. I don't take
any credit for that.

Speaker 2 (49:28):
It was just Jeff.

Speaker 3 (49:29):
He had to stand on that stump and be ridiculed
by his friend so he could come in the house,
and he did it as best as that character could
do it. So much humor comes from pain. Although I'm
sure he was too young to be analytical about it,
but I'm sure that was part of his instincts.

Speaker 2 (49:43):
It was a painful scene to film. And then later
in the interview, this does not make Richard Donner sound
very good.

Speaker 3 (49:52):
After the movie had finished rapping, he said that he
then got Jeff Cohen a gym membership and a tre.

Speaker 2 (50:01):
Quote.

Speaker 3 (50:01):
He lost lots of weight and built this great physique
and became captain of his wrestling team in high school,
captain of his football team and blah blah, blah blah blah,
and I don't know, I mean, I think that fucking sucks.

Speaker 2 (50:14):
Yeah, And uh, Jeff Cohen has uh.

Speaker 3 (50:18):
Spoken to this a bit as well and said that, like,
you know, it was like an embarrassing and like shameful
experience to be asked to do that also without direction,
so it's like you're not even being really like protected
by your own director, and that like he was like
having you know, difficulty being teased already and then had

(50:40):
to do the scene on top of it.

Speaker 2 (50:42):
And then the other thing he said that was kind
of funny is he was like, I also had.

Speaker 3 (50:45):
Chicken poxed at the time, Yes, And I read I
didn't want the kids to know I had chicken pox.
I was like, two questions, are you allowed to go
to work with chicken pox?

Speaker 1 (50:57):
Well that he I read that he didn't tell anyone
because he was afraid he would be fired and recast, so.

Speaker 2 (51:03):
He went to my god, yeah, well that is very upsetting.

Speaker 3 (51:08):
I just wanted to I mean, like, I think Jeff
Cohen has since you know, very much moved on and
still has like very positive associations with the movie. But
it was just like interesting to kind of read those reflections.

Speaker 1 (51:20):
Also. It's like if the director's like, yeah, it was
a really uncomfortable scene to film, it's like maybe take
a step back and wonder why, and then don't film
the scene, like right. The other thing I wanted to
say about Chunk is that he's he's characterized as being
like the biggest scaredy cat of the group, in that
he's like not as tough or as brave as the

(51:42):
other kids. He like gives up his friends immediately when
the frtellies are like, what are you doing here? He's like,
we're looking for bury treasure and all my friends are
over there.

Speaker 2 (51:51):
Well, he has to talk like that, he has to
yell it's well, it's not so much.

Speaker 1 (51:57):
The volume is that he didn't even try to lie
about it. And I feel like this is a common
movie trope where especially in kids movie kids movies like
making a fat character the kind of like scared and
quote unquote wimpy kid. And we talked about this, I
think on the Matilda episode, the way that media kind

(52:17):
of feminizes fat men or boys and masculinizes fat women
or girls. Not that that is a bad thing at all,
but the movie wants you to think that that like
a like a female character or a fem a woman
would have like masculine traits. The like movies will be like, ooh, gross,

(52:39):
because movies love binaries.

Speaker 2 (52:43):
Even when it comes to cave bathrooms. It's gotta be
binary as possible.

Speaker 1 (52:52):
But I feel like the movies like, oh, look at
look at this wimpy, fat kid who is not as
brave or tough as his thin friends.

Speaker 3 (53:00):
Which is ridiculous too, because it's like Chunk is consistently
right in a lot of situations where he's the one
that's like, yeah, don't go into the murder house, and
they're like, shut up, Chunk.

Speaker 2 (53:11):
And I was like, Chunk is right, right, He's correct,
you shouldn't go into the murder house. You just shouldn't. Yeah.

Speaker 3 (53:18):
I think that's like there's so much to love about
his character, and like there's so many elements in so
many moments where it's like this kid fucking rules, like
and it's just kind of like burdened with this other.

Speaker 2 (53:30):
Very dated stuff.

Speaker 1 (53:31):
Yeah for sure.

Speaker 4 (53:32):
And also I never noticed this before, but like he's
the only character who's Jewish, and this is referenced many times. Yes, yes, yeah,
we love it. Yeah, I see you, Shana, and you're.

Speaker 2 (53:47):
Like, that's so great that there's a Jewish main character.
And also he's the scaredy cat liar who no one
likes like that sucks.

Speaker 3 (53:58):
Yeah, and it's I mean, I didn't even catch that
on my first viewing because Chunk is already so thoroughly disrespected.
That like that on top of eighties movies just like
make my head hurt. Honestly, it's just it's it's brutal.

Speaker 1 (54:13):
It is.

Speaker 2 (54:14):
Let's talk about the best character. Data Yeah, da no, no,
I love him.

Speaker 4 (54:23):
Oscar for Data ter.

Speaker 3 (54:27):
So cool that Data is gonna win an Oscar, Like
next weeks he is.

Speaker 4 (54:32):
He doesn't win an Oscar, We're gonna some heads will roll.
And that's not metaphorical.

Speaker 2 (54:39):
We'll all get the data punching vests.

Speaker 1 (54:43):
Slippery shoes, like shoes, pictures of peril.

Speaker 2 (54:48):
His inventions are so cool.

Speaker 3 (54:51):
I really, I just think he's like the coolest character ever.
There are some line reads that are just like the
best thing I've ever heard. He falls through things multiple times,
and I think the last time he falls through a surface,
everyone else takes the stairs down.

Speaker 2 (55:04):
He's like, I spent months working on my inventions and
my idea is God, it was just like the greatest
line rate I'd ever heard. It was just like amazing.

Speaker 1 (55:15):
He's the best.

Speaker 3 (55:16):
He's the best, and I did, like, I mean Data,
there's like a number of times in the plot where
Data is the only non white gooney. Yes, and he also,
I mean I felt like, particularly for a movie of
the eighties, he's treated very equitably within the group. And
there's times because he is like the gadget kid that
like he's the only person that can get them out

(55:38):
of certain situations. There's like multiple plot points that couldn't
happen without It's like shoes that come or like whatever
those were. He's like, no, guys, don't worry, I have
cum shoes. You're like, all right, Data, let's see if
this works.

Speaker 2 (55:53):
And it does. It works the shoe.

Speaker 4 (55:56):
It's great because he's been getting up in the morning
and putting on all that gear like every day for years.

Speaker 1 (56:01):
Yeah, and waiting for it to pay waiting and.

Speaker 2 (56:05):
He knew that it would come, and this is the
day and we get to be part of it. Yeah,
and it's all the same day. He has so many belts,
so it's like, how many belts is this kid wearing?

Speaker 4 (56:14):
He's more belt than boy.

Speaker 3 (56:16):
Now.

Speaker 2 (56:19):
I just yeah, I mean, his character is the greatest,
and I feel like at the end of the movie.

Speaker 3 (56:24):
You get to see I think almost every kid's parents
and them reunite with their parents, and Data by far
has like the most memorable, sweetest reunion with his parents
where he sees his dad and his dad's also a
gadget guy, and then like something is weird.

Speaker 2 (56:42):
Invention isn't working. And then his dad says to Data,
you're the greatest invention of all and you're like, oh.

Speaker 3 (56:50):
Wow, sometimes calming is the greatest invention, and I was
reminded of that. I just really yeah, I just think
Data is a perfect character.

Speaker 2 (57:06):
And I love him.

Speaker 1 (57:07):
He's great. Yeah, he's like the token minority friend in
a otherwise like entirely white cast.

Speaker 2 (57:16):
Yes, this movie has Italians in it.

Speaker 4 (57:19):
It's diverse.

Speaker 2 (57:23):
You're right, the diversity of Joey Pan.

Speaker 1 (57:31):
And those characters are treated very respectfully. The Italian snow
notes there.

Speaker 4 (57:39):
Great representation singing opera and doing crimes the whole movie,
the whole spectruming Italian. You take a break from crime
to sing a little opera and then you're right back
to it. Ye yeah, but yeah, Data rocks is the
moral of the story.

Speaker 2 (57:56):
It's true.

Speaker 3 (57:57):
Should we talk about the gals, Yes, let's do it
because there. I mean, I guess that that like brand
kind of like factors into that because Mikey and Brand
I quick mover. I really liked their like brother relationship.
There's like specific scenes in these like Spielberg Ye Boys
on Bikes movies where I just it's so fun where

(58:17):
there's a moment where Thanos puts his arm around Sean Aston.
It just kind of lovingly drags him off of a porch,
which is like definitely something that kids do, but you
never see it.

Speaker 2 (58:28):
Like committed to the movie because you're you're why would
Fanos do that? But I just loved it.

Speaker 3 (58:35):
I was like, oh, yeah, I would have done that
to my brother if you was sad, just been like
I love you and then drag him out.

Speaker 1 (58:42):
Okay, Yeah, I appreciated that that brother relationship dynamic. So
we have the two girls, Andy and Steph. They're not
part of the main Goonies group, at least at first,
they like show up after the boys have already started
the adventure there not even fully informed what they're doing

(59:02):
in this tunnel.

Speaker 3 (59:03):
I don't think, unclear if they know what the Goonies are.
Until she's convinced to not be removed from Hell. She's
like He's like, no, you're one of us now.

Speaker 1 (59:14):
Right, and she's like okay, okay. Andy especially is often
having a meltdown in a way that felt very like
girls be screaming and scared kind of way.

Speaker 3 (59:28):
I mean, to be fair, were I in hell, I
would be screaming and scared. However, yeah, the way that
like she's there's like that. There's like one particular meltdown
where I mean, I guess to contextually where she's coming from.
She like is coming off of a situation where she
had been sexually harassed in a car by the guy
with the money visor. Yes, yeah, and she says that

(59:51):
he like tried to look down her shirt and she
like elbowed.

Speaker 2 (59:54):
Him in the face.

Speaker 4 (59:55):
Was that right?

Speaker 1 (59:55):
Yeah?

Speaker 2 (59:56):
Yeah, and then she immediately went to hell, like she's
just like having the worst day. That's what happens. Yeah, truly,
it's really what if the movie is.

Speaker 4 (01:00:06):
Canonically colonically it is canonically everyone has to say somethinger
filthy accidentally on this tour, But what if it's canonically
like all of her vision after she was trying to
get out of the car with the money visor guy
and this is all kind of a fantasia that she's
dreaming for all of us.

Speaker 2 (01:00:27):
It would give her more to do, But.

Speaker 1 (01:00:31):
Even in her own fantasy, she's still a secondary character.

Speaker 2 (01:00:36):
She doesn't even handled it. That's how it is for me,
you know, in my fantasies, I also don't get to
kiss my crew.

Speaker 3 (01:00:46):
And the wrong person there is, like I don't know,
I think like Andy is she has like good moments.
I feel like generally she is like sort of passed
over and done a disservice.

Speaker 2 (01:00:57):
But I do like that.

Speaker 3 (01:00:58):
You know, normally when you see cheerleader characters, they're not nice,
they're like typed as like quote unquote bitchy mean characters.

Speaker 2 (01:01:06):
Andy's a sweetheart.

Speaker 3 (01:01:07):
I think that she's just often too horny to live
like that kind of is sort of something that happens
to her a lot.

Speaker 1 (01:01:15):
I mean relatable for me, sure.

Speaker 4 (01:01:18):
But did Andy ever say she was a role model?

Speaker 1 (01:01:24):
But why can't there be horny role models? You know
they are. Both of the girls are framed as love
interests for a number of characters because Brand likes Andy.
Mikey also seems to have a crush on her and
is really excited when he kisses her. Accidental. That scene

(01:01:45):
is so weird, and then Steph ends up with Mouth
after they've both nugged each other relentlessly throughout the entire movie.

Speaker 3 (01:01:55):
Yeah, I guess that Martha pp Limpton at one point
got so annoyed at Corey Feldman, who was famous annoying
that she like pushed him and.

Speaker 1 (01:02:03):
Maybe that's why he fell in the water.

Speaker 2 (01:02:06):
That's why he flopped because he was a voice. He's
ducking a bunch. No, I yeah, I Steph.

Speaker 3 (01:02:14):
I thought like, I mean, I'm I feel like I
connected to Steph where it's like she wears glasses and uh,
that's the character. But I guess I was sort of
like of two minds about her, where she is like
very much the voice of reason friend, but she has
like elements of like I think it's kind of fun
that she's diabolical enough to not tell her friend one

(01:02:36):
day because this is the wrong person. Like, there are
a few elements where you're like, well, this is pretty
specific to who this person is. You pointed out that
like Mouth only becomes interested in her after her glasses break,
and you're just like, well great.

Speaker 1 (01:02:49):
Well, because you were like yeah, You're like, oh, it's
it's nice that like the best friend character who wears
glasses gets a love interest because that normally doesn't happen.
And then I was like, but she only becomes love
interest after she loses her glasses, So glasses people don't
deserve love, according.

Speaker 3 (01:03:06):
To movies, said Caitlin Duran, confidently, making eye contact with
someone wearing glasses.

Speaker 2 (01:03:14):
You it's all fine, isn't her love interests?

Speaker 4 (01:03:16):
Like twelve, Yeah, it's like you can find love after
you can't see, and then it's a good thing that
you can't see because you're gonna get hooked up with
a seventh grader.

Speaker 1 (01:03:28):
Also, at the end, when Andy goes to Mikey and
she's like he's a weirdo, She's like, you keep kissing
girls the way you do, you won't have any problems
and the parts of you that don't work will catch
up with the ones that do. I'm like, what does
she mean?

Speaker 2 (01:03:48):
Right in your journal, there's like, I mean.

Speaker 3 (01:03:50):
There's.

Speaker 4 (01:03:53):
We have like I feel like it's in the past
five years that we've stopped making movies for kids. We're
like a twelve year old boy he gets to make
out with a femo character who's like, clearly way too
old for him. Yeah, like if you remember blank check,
that's a whole other conversation that was brutal.

Speaker 1 (01:04:09):
That's like sand lot.

Speaker 2 (01:04:12):
Oh yeah, absolutely, uh it is. It is just an
absolutely uh weird line.

Speaker 3 (01:04:20):
And then everyone's their parents are watching when she says that,
and they're like, yeah, yeah, whatever, that means probably normal.

Speaker 4 (01:04:28):
That was really nice of you to say that to
that boy. That'll means something to him. He'll think of
it every night.

Speaker 2 (01:04:34):
And then she just turns around and starts making out
with Brand again, and Brand is also like does he
know that happened? Like it's so.

Speaker 3 (01:04:43):
Andy is Ultimately I just think kind of a weird character.
The last thing I want to say about her. And
then we have we gotta do our fun activity.

Speaker 1 (01:04:51):
We have an activity.

Speaker 3 (01:04:52):
Yeah, is her first kind of like meltdown, which again
I understand why she's kind of like, you know, like
panics when she's brought to hell, but her reaction is
like she's like, I wouldn't be here if I had
like just let Troy look at my body. I'm gonna
die here and is my body beautiful? And I was like,
again a journal more of a journal thing.

Speaker 4 (01:05:14):
Save it for your one woman show. At the Historia
Playhouse where Clark Gable got his start. It's true, really, yeah,
wild Oregonian, real, real shitty guy. Let's move on. Yeah.

Speaker 3 (01:05:30):
And it's also like, I think that the most important
thing was scenes like that where we were like, oh,
I don't know how to what to make of that.
You just had to picture Chris Columbus at his house
writing it down and you're like, no, that's a weird
line of dialogue. Chris Columbus on a fucking like old
word processor that's like the size of a building, being like,
my body is not beautiful.

Speaker 1 (01:05:50):
Of He's like, this is how girls think, right, I
don't know. I'll never talk to one.

Speaker 2 (01:05:57):
He's like, and print we got another classic and he.

Speaker 4 (01:06:00):
Was right, many opens up another file and he's like,
how do I solve this babysitting movie?

Speaker 2 (01:06:06):
They're forced to sing the blues perfect like it's just
Chris Coloves is an interesting character.

Speaker 1 (01:06:15):
The last thing I want to say about Andy is
I was surprised that she was able to like have
that moment where she contributed a skill and I got
them out of peril. I was not expecting that at all.
I will say though, that the things that the boys
are doing to overcome the obstacles are more like physical
things and hers is more artistic, which feels a little

(01:06:37):
tropy of like boys are tough and they do sporty
they get to swashbuckle, and girls are fragile so they
play piano.

Speaker 2 (01:06:47):
Yeah, but I mean she doesn't do it well. I
make it worse.

Speaker 1 (01:06:54):
And then Brand is like, why couldn't I have a
little sister. I would never be in this mess if
I had a sister. As if don't like to go
on adventures as a sister, as if a sister couldn't
lead you directly to hell.

Speaker 2 (01:07:07):
She knows the way she's feeling in her bones.

Speaker 1 (01:07:10):
I led my siblings straight to hell all the time.

Speaker 2 (01:07:13):
Okay, exactly.

Speaker 1 (01:07:16):
Okay, So this is when we in the live show,
when we went into that special segment where we did
the trivia game with Sarah Marshall again. You can see
that segment if you you know, buy access to the
on demand version of the show on the link tree
is where you can find the tickets to access that.

(01:07:38):
But we wanted to also take this opportunity to add
in a chunk haha, get it, chunk of discussion that
we didn't have time to get to during the live show,
so we are doing it now.

Speaker 3 (01:07:56):
Yes, and you may recall if you attended our Seattle
show that we did talk about it at our Seattle show,
but it just makes more sense to do it in
this way. We wanted to talk about the character of Rosalina,
played by iconic character actor Lupe and Taveros.

Speaker 1 (01:08:14):
Yes, so she is hired by Mikey and Brand's mom
to like help them move. And basically what's happening with
this character is that a number of stereotypes about people
from Latin America are employed with this character. Yes, she

(01:08:36):
cannot speak English. She is present in the story to
service the white characters. She's in a role where she's
like the hired help, and a ton of jokes are
made at her expense because she doesn't know English. And
so what happens is Mouth is asked to translate Mikey's

(01:08:58):
mom's instruction to Rosalita, and.

Speaker 3 (01:09:01):
Then he mistranslates it, and it's like all of the
jokes are probably I mean, I would be interested in
how this was handled internationally, but all of for English
speaking audiences, all of the jokes are in the the
lower thirds are in the subtitles about how he is
misleading her, and it's like the joke is at is

(01:09:23):
both at Rosalita's expense and also just done to like
elevate Mouth's character as like a little stinker. Like it
is just it's reductive in every way that you could
imagine not to like and and and it isn't like
the same amount of like punitive shame is not applied
to Mikey and Brand's mom for not being able to

(01:09:45):
communicate with Rosalita, right, like they are having the same
communication barrier, but it is in a very racist way,
like leveraged at rosal Like she's the one who suffers
for it and is mocked for it.

Speaker 1 (01:09:59):
Yeah. Yeah, And it's his mouth being cruel because it's
him like deliberately mistranslating what Mikey's mom is saying in
order to like freak Rosalita out, because he's saying things like, oh,
this is where they keep the like cocaine stash, and
this is where the sex torture chamber is and stuff
like that. So it's just him being cruel to a character.

(01:10:25):
And just like again, the joke is at the expense
of someone not knowing English.

Speaker 3 (01:10:31):
Right, and then Rosalita does come back at the end
of the movie with those really fake looking jewels that
they find. Yeah, but again it's it's even though that
she's not mocked in that moment. She's very much like
a tool for the scene versus being treated as a character,
because you would think, right, you know, if I'm Rosalita

(01:10:54):
and I've only been treated like shit this entire time,
I'm pocketing these jewels and getting the fuck Maybe if
I'm feeling nice, I'll slip them one. But like, that's
not on the mind of this movie, because this movie
is not considering her in any way, like you would
think she would get at least something, But it's like this,

(01:11:14):
that's just not the consideration that this movie is giving
anyone who is not the main cast. And I think
it's so, I don't know, it's very eighties. I wanted
to We talked about this at the Seattle Show Lupe
and Deavero's like she I think, most famously, at least
to me, played Yolanda in the Selena movie with Jennifer Lopez,

(01:11:40):
but for the most part, her career in Hollywood has
consisted of roles like these, to the point where she
made a documentary about it called Made in America, because
she had played a maid at least one hundred and
fifty times on stage in screen and is a huge
advocate for wanting to see more and better roles available,

(01:12:00):
not that I'm maid is a bad role, but like
a more diverse amount of roles available to Latin actors.
She said, quote, I'm proud to represent those hands that
labor in this country. I've given every maid I've ever
portrayed soul and heart, which is absolutely true and comes
through even when the writing is not giving.

Speaker 2 (01:12:20):
Her what she deserves.

Speaker 3 (01:12:22):
But I just wanted to She's she's a legend, and
it is frustrating to see her have to receive these underthought, underwritten,
very stereotypical and racist roles.

Speaker 2 (01:12:35):
So shout out to Rosalita.

Speaker 1 (01:12:38):
Yeah, I love you.

Speaker 3 (01:12:39):
And then the other thing that we didn't get to
talk about during the live show that we wanted to
touch on really quick was class.

Speaker 1 (01:12:46):
Yeah, because the whole story unfolds because these kids who
are from working class families are being forcibly removed from
their homes in favor of a cuntry club being built,
which is a very eighties premise where it's like there's
a country clubs, there's a shopping but something like that.

Speaker 2 (01:13:09):
It's a yeah, very eighties threats. They're feel quaint now
but still bad.

Speaker 3 (01:13:14):
Right.

Speaker 1 (01:13:14):
The world is on fire. No, but this is like
a legitimate issue. Although I will say that, you know,
people being displaced from their homes and forced to relocate
disproportionately affects people of color and indigenous people, and as
we discuss, these kids are mostly white, with the exception

(01:13:36):
of data, but it's still I think worth mentioning that
class plays a big part in this movie. It's a
major theme that again, these working class kids they have
to go on this journey just so they don't have
to leave their homes and have their lives be uprooted.
And we see them talking at the beginning like they're

(01:13:59):
lamenting that, like this is the last time they're ever
going to see each other and they're gonna have to
go to different schools and be kind of torn apart.

Speaker 3 (01:14:09):
Yeah, and I think that that is one of the
things that I know this isn't the Spielberg movie technically,
but it's very Spielberg codd Its fingerprints are very much
ropes it. Yeah, and I think that that is something
that is pretty consistent throughout this era of Spielberg is that,
like it does generally, the unfortunate part is it always

(01:14:30):
focuses on white boys. But in terms of class representation,
I feel like you do see a lot of working
class or lower middle class like families just getting by,
which is something that I don't think you see in
big Hollywood movies as much these days, and so it's
always kind of nice to see it.

Speaker 1 (01:14:52):
Definitely.

Speaker 2 (01:14:53):
And back to the show, folks, Yeah, all right, wow,
give ever Sarah Marshall one more time, really.

Speaker 1 (01:15:04):
Really well, don.

Speaker 2 (01:15:07):
No.

Speaker 3 (01:15:09):
We just have two questions we answer at the end
of every Bechdel Cast. I feel like I'm gonna choke.

Speaker 1 (01:15:15):
Do you want me to talk?

Speaker 2 (01:15:16):
Does the movie pass that Bechelton?

Speaker 3 (01:15:19):
I don't think it does, right, Like, there's like arguably
a very very small exchange between Steph and Andy that may,
but I think spiritually it really just doesn't. But most importantly,
there's one unquestionable metric that's never been wrong before, and
that's the Bechdel Cast nipple scale.

Speaker 1 (01:15:39):
That's true. Yeah, give it up.

Speaker 2 (01:15:47):
It seems like you were gonna like throw something any better.

Speaker 1 (01:15:51):
Clap for the nipple scale. It is a scale of
zero to five nipples on which we write the movie
looking at it through an intersectional feminist lens. I think
that despite some kind of like reclaimable things from the
movie regarding certain characters, overall it doesn't do very well.

(01:16:11):
It has eighties movie written all over it. And I
think I would only give it like a half nipple,
and I'm gonna give it to Kiqui Kwan, Yeah, because
he's the best.

Speaker 3 (01:16:27):
Yeah, I'm gonna go one nipple because I'm feeling. I'm
feeling so I had a hot dog iment, a good
mood and going to I mean, yeah, I think that there, Yeah,
like you're saying, there, there are reclaimable elements. We didn't
get to talk about the racism applied towards the only
Latin character in the movie. We will talk about that

(01:16:48):
off Mike later or on Mike in a different state, whatever.
But yeah, I think that there is like some diversity
in this movie, but it's like barely any and not
you like, more often than not, not handled particularly well.
And the women are so horny, which is a relatable thing.

(01:17:11):
But like we talked about it, you understand what I'm
saying I do feel like I'm getting like the meat
sweats a little bit right now, and so it's kind
of like freaking me out.

Speaker 2 (01:17:20):
Okay, So I would I would.

Speaker 3 (01:17:23):
Give this movie one nipple, and I'm gonna give it
to Carl who brought me a hot talk, give.

Speaker 2 (01:17:31):
Feminist icon Carly to Sarah.

Speaker 3 (01:17:35):
Hmm, one nipple, way way up. One.

Speaker 4 (01:17:45):
Yeah, because it's I mean, it's like it's so riddled
with the problems of its era. But also I walked
sixteen candles yesterday, and so like within the eighties it
feels I don't know, it's like that there's like a
whole other length long conversation to be had about like
eighties meanness and what do we do with it? But like,
you know, the the sort of like generalized like maliciousness

(01:18:11):
culturally of the decade is so there, but like malice
by characters doesn't feel so pronounced in the way that
it does elsewhere, which is like a terrible scale to
jug John. But yeah, whoo, who would you like to
give your nipple too?

Speaker 2 (01:18:28):
I want to give my nipple to Alfred Molina. Yeah,
who deserves it. Oh he would have been he could
have been, he could have been any part of the part.

Speaker 1 (01:18:38):
Yeah.

Speaker 2 (01:18:39):
Yeah, he could have been Mikey.

Speaker 4 (01:18:43):
He could have been Andy, you know, just like Corny
in a tunnel.

Speaker 1 (01:18:48):
Yeah.

Speaker 3 (01:18:48):
I think it would have been really fun if this
movie was about four twelve year olds and Alfred Molina
playing a twelve year old.

Speaker 2 (01:18:55):
I think it would have been really special. He's kind
of fifteen. With Alfred Molina, you can do it.

Speaker 4 (01:19:00):
He has the ring.

Speaker 2 (01:19:01):
We deserve it, or maybe we're not worthy of it.

Speaker 3 (01:19:05):
None of the rest of us do. Thank you, Oh
my gosh, I thank you so much for being here.
Sarah Marshall, the greatest person ever. Give it up for
yourselves for coming out, not for.

Speaker 1 (01:19:19):
Curious Comedy stop here. So there you have it. That
was the live show that we recorded in February Inland
at the beautiful Curious Comedy Theater.

Speaker 3 (01:19:39):
We have the best time. Thank you again to Sarah Marshall.
If you don't know who Sarah Marshall is, take your
head out of the sand, you gube. Yeah, you can
listen to her podcasts. You're wrong about and you are good.
She's on the road a lot. She's an amazing writer,
just and she's wisely not on social media. You can't

(01:20:00):
even bother her. You can just engage with her amazing
media as you see fit.

Speaker 2 (01:20:06):
She's the best. And here's where you can find.

Speaker 1 (01:20:09):
Us at Bechdel Cast on Twitter and Instagram, on Patreon,
at patreon dot com slash Bechdel Cast, where you can
get all of our Matreon episodes two per month for
five dollars, plus access to the whole back catalog and merch.
At teapublic dot com slash the Bechdel Cast, where you

(01:20:33):
can get all the wonderful merch designed by our very
own Jamie Loftis ever heard of her?

Speaker 2 (01:20:39):
It's me.

Speaker 1 (01:20:44):
And yeah again to Sarah, to everyone who came out
to the shows. Thanks to Curious Comedy Theater for having
us and all the wonderful staff there, and thanks to
you for listening right here and right now, and that
we love you so much.

Speaker 2 (01:21:02):
Make good choices and have a good day.

Speaker 1 (01:21:05):
Bye bye bye.

Speaker 2 (01:21:06):
I'm sorry, I have a fever.