The Substance

Episode Transcript
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Speaker 1 (00:00):
On the Bechdel Cast.

Speaker 2 (00:02):
The questions asked if movies have women and them, are
all their discussions just boyfriends and husbands, or do they
have individualism? The patriarchy z Eph and Beast start changing with.

Speaker 1 (00:14):
The Bechdel Cast. Jamie, there is no you and me.

Speaker 2 (00:20):
We are one who popped out of Who's bad? That's up?

Speaker 1 (00:26):
Yeah? Who's the matrix and who's the other self?

Speaker 2 (00:30):
Depends on the day listeners, depends.

Speaker 1 (00:32):
On sound off in the comments. Well, it's the Substance episode.

Speaker 2 (00:39):
It is true. I'm very excited. Here we are the
movie that launched a thousand takes, and here's ours.

Speaker 1 (00:47):
Here's I like it.

Speaker 2 (00:49):
It's fun My propose intro is going to be ah
the French hmmm like the orson Ball's commercial member.

Speaker 1 (00:58):
Oh no, I don't remember that.

Speaker 2 (01:01):
Okay, well I swear sound off in the comments if
you remember that and thought it was funny. Anyways, Yes,
we are covering the Substance. This is the Bechdel Cast.
We are lining this up to come up right around
the Oscars.

Speaker 1 (01:15):
H Yes, However, we are recording it in early February.
The episode will come out like a month later after
the Oscars. So we're not sure.

Speaker 2 (01:26):
Yeah, so we don't know how they did. We don't
know how they did. We just know how we feel.

Speaker 1 (01:31):
We know how we feel. But it is nominated for
Academy Awards for Best Picture, Best Director, Best Original Screenplay,
Best Actress for Demi Moore, and Best Makeup and Hairstyling.

Speaker 2 (01:42):
So I'm thrilled about this. It all makes sense. I
am just like, I'm so happy that weird movies are
being nominated for Oscars in recent years. I feel like
you have your kind of typical I'm gonna just throw
a random person under the butt. I guess like most
people who for biopics to be perfectly honest, like, that's
an Oscar Baby performance if you do a good job

(02:05):
and you're of note and of especially if you look
a little weird and I mean a little weird or
just not conventionally attractive. But that is simply not what
Demi Moore is. I mean, it's what she's doing to
such an extreme that I feel like this is not
an Oscar bait. This is about as far from an
Oscar Baby performance as you could get, because this movie
could have been so bad. True, I feel like in

(02:28):
the wrong hands or really just like a male director.
This movie could have been like comically bad, and I
think bad for to me Moore's career. I'm glad that
that's not the way it went. Anyways, I love this movie.

Speaker 1 (02:42):
Yeah, so, Jamie, what's your relationship with it? Did you
see it in theater?

Speaker 2 (02:46):
Google the Bechdels test, Google the Bexxels test.

Speaker 1 (02:48):
Oh yeah, I forgot about that part of the show.

Speaker 2 (02:51):
If you don't know what the Bechdel test is, you
have no business listening to our takes on the Substance,
Like fair, go back to second grade. Okay, I saw
The Substance in theaters twice. I rewatched it with a
Bechda lens, which is, I want to say, a very
different I guess it is a very different experience, but
not in a way that made me feel less enthusiastic

(03:15):
about the movie, I guess, But I was just like,
looking at different aspects of it and looking into the
production is really interesting. But yeah, I was thinking about
the first time I saw this movie in theaters was
the night it came out, because I really enjoyed Cora
Lee Farsia's first movie, Revenge, which is I think it's
a French language film, that came out I think in

(03:36):
twenty seventeen. That sounds right, And I watched it with
my friend Sarah when we were high on mushrooms in
a hotel room in Montreal. So we were like, let's
watch something French, and we watched Revenge and it is like,
it's a very different movie from the substance, And I
want to talk about how the ways I feel like
those movies are in conversation with each other, because Revenge is,

(03:59):
you know, the revenge genre I think is like very
fraught with being more interested in rape than revenge. That's
not an original observation, but Revenge is literally just I mean,
it's that is what the revenge is in response to.
But the movie is ninety nine point nine percent revenge.

Speaker 1 (04:19):
Okay, sounds like something that we should cover for Revenge
bur on the Matreon.

Speaker 2 (04:24):
We really should. Yeah, it's a good contribution to that genre.
And I feel like it's sort of saying something about
like external violence towards women and then this movie is
more like self inflicted violence. Anyways, I really enjoyed this movie.
The thing I wanted to say was the first time

(04:44):
I saw it was the night it came out, and
I know a lot of people who've seen this movie,
especially early. I think you did too, Like had the
experience of just like it was a wild theatrical experience
because no one knew what was going to happen. Everyone
was like, oh my god, like and there's lot of laughter, yeah,
because it's a funny movie. But I will say that

(05:05):
I went with my boyfriend now fiance, and my fiance
I did it all the time. Now yes he is, yes,
and as my wife in practiced if not yet, Yeah,
he's always saying that is that he says.

Speaker 1 (05:24):
That to you every day and I'm always like the
aggressive guy.

Speaker 2 (05:29):
No, So we saw it together. The audience, I will say,
was more men than not. And there were fun aspects
of it, like the movie is so gross, which I
love because I am squeamish, but I love gross movies.
There was a guy, you know, I think, like a
stereotypically like masculine looking like muscular guy who got up
and left three different times but kept coming back. And

(05:50):
where he he left during the shrimp scene.

Speaker 1 (05:53):
Truly one of the grossest scenes in the movie.

Speaker 2 (05:55):
I think that was like a submovie. I was really
enjoyed because he like clearly I really wanted to finish
the movie, but the movie does not let up in
getting grosser, and he was just he was struggling. I
get it. But when we were talking about the movie afterwards,
I was trying to like articulate a feeling I was
having about, like I loved the movie. I get this.

(06:16):
I mean, it's like you, I don't know, everyone gets
this way about movies. It's maybe a little immature, but
sometimes I'm like I understood it and those guys did it.
But I did feel like there were moments that elicited
laughter in the movie that really felt bad and frustrating
to me, especially when it's I felt like this movie,
to me, you're like laughing almost with the characters because

(06:40):
you can somehow relate to even though this is not
something you would or could do to yourself. It feels
like a nightmare you would have about your sort of
worst intentions towards yourself. But I feel like there was
a portion of that audience that was laughing at her
and not with her. And I don't know, like I
can't describe quite how, but I do wonder if there's
listeners you.

Speaker 1 (06:59):
Just know you know when someone's laughing for the wrong reason.

Speaker 2 (07:03):
And you know when a guy says they liked the
substance for the wrong reason, you could just feel it.
And I was trying to articulate this to Grant and
like he mostly got it. But it's also like men
don't really need to contend with that feeling very much.
Because I love body horror, and I love body horror
movies made by women. This is no exception. But it
just felt like there were a lot of people who

(07:23):
left that movie and they're, like, I love that, but
they were laughing at her more often than empathizing with her,
and I don't necessarily I mean, I know you could argue, well,
that's the director's fault. I don't think so. I think
I think a lot of the negative takes about this
movie is people expecting too much of one movie. Like, sorry,

(07:44):
I'm already babbling. What was your experienceive seeing.

Speaker 1 (07:47):
I too saw it in theaters twice early on. I
don't know if I saw it opening night. I truly
don't have a memory.

Speaker 2 (07:54):
And an opening weekend at least.

Speaker 1 (07:56):
Yes, we talked about it shortly after right the first
movie going experience with it was a raucous good time.

Speaker 2 (08:05):
I mean it is really fun.

Speaker 1 (08:06):
But I was also in a theater where I was like,
some of these people and some of these men, they're
not laughing for the right reasons. They're not laughing at
the right parts or you know. But I didn't let
that deter me from having a great time. I loved it.

Speaker 2 (08:24):
Nor should it.

Speaker 1 (08:25):
Nor should it? And then I saw it again, maybe
like a month later it was in theaters for It's
still kind of I was back in theaters.

Speaker 2 (08:31):
Oh yeah, after the nominations.

Speaker 1 (08:34):
So I saw it like a month or a month
and a half later. I dressed up as Elizabeth for Halloween.
I saw it a third time during a horror movie
marathon in October. So like, I've seen it a few
times now, and each time I've watched it, I've had

(08:54):
a slightly different viewing experience. I haven't had really different
feelings on it. I feel like my my takes and
thoughts are still processing, I will say, and I think
I'll maybe feel differently about this movie in a year
and five years.

Speaker 2 (09:08):
Right, which is why we don't usually cover movies right
when they come up. But this movie is so begging
to be covered on this show that it's like, no, well,
we can recover it later if our feelings changed.

Speaker 1 (09:17):
You know, not true. Yeah, give us five years. We
might hate our original take and we'll just redo it.
But yeah, I very much enjoyed this movie. It was probably,
if not my favorite movie of twenty twenty four, in
the top three. I had a great time, and I'm
excited to discuss me too.

Speaker 2 (09:38):
Oh, I'm excited for you to see Revenge too. I'm
curious what you think.

Speaker 1 (09:41):
Yeah, it's on my list. Let's just do a revenge
bur in, I don't know, March.

Speaker 2 (09:47):
Whenever we feel like it. Really, that's the beauty. That's
our revenge, is our blatant disregard for months exactly.

Speaker 1 (09:56):
Let's take a quick break and then we'll come back
for the recap.

Speaker 2 (09:59):
Yeah, and we're back, all right.

Speaker 1 (10:13):
Here is the recap of the substance.

Speaker 2 (10:16):
Oh, I wonder if this is weirdly quick recap.

Speaker 1 (10:19):
It is actually kind of long because it's a long
same movie. It's two hours and twenty minutes. That is
my one complain about the movie. If it's a bit
longer than I think it needs to be.

Speaker 2 (10:29):
Yeah, I'm like, but I wouldn't. I don't know what
I would cut necessarily anyways, I.

Speaker 1 (10:33):
Wouldn't cut scenes, like whole scenes or anything like that.
I would just like shave some of the stuff down.

Speaker 2 (10:38):
We see like repetitive.

Speaker 1 (10:39):
Information that I think we could just like trim a bit.

Speaker 2 (10:42):
Sure.

Speaker 1 (10:43):
Anyway, we open on an egg that is injected with
a Dare I say Shrek colored liquid?

Speaker 2 (10:53):
It is Shrekian and I, which leads to the question,
has Coraley Fresh I've seen Shrek and.

Speaker 1 (10:59):
On I bet she has.

Speaker 2 (11:02):
I wonder, I wonder if she. I don't know. I've
watched a lot of interviews with her, and maybe it's
just because I find French people hard to read.

Speaker 1 (11:12):
They're mysterious, Yes they are.

Speaker 2 (11:14):
And I mean listen, Julia do Carno and Courley Fresh
like two of my absolute favorites. I'm just like, would
they watch Shrek? I don't know. We gotta go to
a Q and A and really disrespect the artist by
acting an unrelated.

Speaker 1 (11:30):
Have you seen Shrek? I think we should just have
Coraley on the podcast and ask her there. She's so cool. Yeah, well,
she's our biggest fan probably, so it shouldn't be that hard.
And I read in an interview with her that she
grew up on a diet of American movies. So I
think it is very possible that she has seen Shrek.

Speaker 2 (11:51):
Oh my god, I hope she saw it in theaters anyway, Sorry.

Speaker 1 (11:56):
Anyways, So there is this lime green subs the titular
substance that is injected into the yolk of an egg,
and then the yolk multiplies and becomes two yolks. I
said that word really weird.

Speaker 2 (12:13):
Yolks. You hit the L.

Speaker 1 (12:14):
I mean there is an L in it. Yeah, anyway,
I thought you did great, so thank you so much.
Then we see a star on the Hollywood Walk of
Fame in Hollywood, California. Ever heard of it? It's being
made for Elizabeth Sparkle. She is a popular star at

(12:35):
the beginning of her career, but as the years pass,
we see excitement about her dwindle. Then we finally meet
Elizabeth Sparkle on screen. She's, of course, played by Demi Moore.
She currently hosts a kind of like nineties style fitness
slash aerobics TV show.

Speaker 2 (12:55):
It reminds me a lot of like as someone who
did the Jane Fonda workout Old day of Lockdown. I
think that was yeah, like the eighties, nineties kind of vibe.

Speaker 1 (13:04):
Yeah. So the show's called Sparkle Your Life. And after
the show, she goes into the restroom where she overhears
her head of the network boss Harvey, played by Dennis Quaid,
who I.

Speaker 2 (13:17):
Was just like, what are we doing? And also like
why does he do a good job? Is it because
he's so familiar with being diabolical? But I didn't want
to say. I found out in an interview. I don't
know if you saw this, that the part was originally
going to be for Ray Liota Lioda and then he died,
so that I was like, all right, as long as
he wasn't the first pick.

Speaker 1 (13:36):
I guess. Yeah. But Dennis Quaid, despite him being a
person with a very bad politics, does a really great
job as this character.

Speaker 2 (13:46):
He's a really great despicable piece of shit, right, and
that's just his performance in Reagan, Am I right, lady?

Speaker 1 (13:56):
Anyway, So he's a very loud, obnoxious misogyny and Elizabeth
overhears him saying that he is canceling Elizabeth's show and
replacing her with someone younger. Elizabeth is obviously very upset
about this. There's also the scene where Harvey's eating shrimp
very grotesquely.

Speaker 2 (14:17):
And like the fish eye lens that they use it.
It's so yucky. I love it. I also really liked
I don't know, just like watching it again and looking
at the way that he talks to her, like, well,
you knew this was going to happen. I don't know,
I just I appreciated like that choice of like, well,
I'm not you know, first of all, he doesn't care
how she feels, but also I think he does believe

(14:39):
that she assumed this was going.

Speaker 1 (14:41):
To happen to her, right, because he says something like
after fifty, it just stops, meaning like, once you turn
fifty years old as a woman.

Speaker 2 (14:50):
My ability to give a shit about you.

Speaker 1 (14:53):
Because she's like, what stops and he cannot articulate at
all what he means it.

Speaker 2 (15:00):
Yeah, I mean it's great.

Speaker 1 (15:02):
Yeah. So she learns that she's getting fired. On her
way home, Elizabeth gets into a car accident, so she
goes to the doctor, and there a young physician examines
her and says that she's a good candidate for what
we wonder. Turns out he had slipped something in her pocket,

(15:23):
a flash drive labeled the substance.

Speaker 2 (15:26):
And he says it changed.

Speaker 1 (15:28):
No, Yeah, there's a little note. Then a man named
Fred like jump Scare approaches her on the sidewalk. This
is someone she knew from high school, and he's like,
oh my gosh, you're the most beautiful woman in the
world and you're still beautiful. We should go out for
a drink sometime.

Speaker 2 (15:49):
And she's like, this does capture a jump Scare person
from high school? Feeling very well.

Speaker 1 (15:56):
Yes, but anyway, She's like, m yeah, no, thank you,
and then she goes home to see what's on the
flash drive. It's basically a commercial for the substance, something
that will make you younger and more beautiful and more perfect.

Speaker 2 (16:13):
But there's just one rule. You must respect the balance.

Speaker 1 (16:18):
Respect the balance.

Speaker 2 (16:19):
Seven days mean more, seven days mark requality.

Speaker 1 (16:23):
It's like the Ring seven days.

Speaker 2 (16:25):
I thought that too. I was like opening scene of
scary gross movie that it warns you that you'll die
in seven days if you fuck around.

Speaker 1 (16:35):
So the way this works is the substance takes your
DNA and creates a new and quote unquote better version
of yourself where you live life as your original self,
which they call the matrix for one week, and then
you swap with your younger other self and live as

(16:58):
them for a week, and you keep going back and
forth week after week. But the important thing to remember
is that you are not separate people. There is no
her and me. You are one I thought.

Speaker 2 (17:10):
Of as interesting, and this isn't a criticism because this
movie doesn't work unless you operate on kind of like
symbolic dream logic. But that they could not like even
though they are technically one person, they don't share memories
like they have to piece together what the other did.

Speaker 1 (17:29):
So I to this day am not clear on that exactly,
because the movie, it is easy for the audience to
forget that they are the same person, partly because we
see them as two different people on screen, like two
different actors. They're visibly different, but also they routinely forget
that they are the same person because the substance hotline

(17:51):
guy has to always remind them there's no her and you.

Speaker 2 (17:54):
That little meddling sicko right at substance HQ.

Speaker 1 (18:00):
So I think there's definitely a read where they don't
share memories and they have to like figure out what
the other one has been up to. But I think
there's also a read where they are sharing memories, and
it's just that they're resenting each other's choices so much
that it just seems like they're Oh yeah, that was

(18:23):
my read of it.

Speaker 2 (18:23):
At least that's the true I guess I viewed it
as like, because these are two different parts of Elizabeth,
that she is so out of touch with herself and
so uncomfortable in herself that like she can't get these
like two parts of her to communicate because of that disagreement.
Either way, it explains away this problem, right right. I

(18:45):
don't think even think it's a problem. It feels intentional.

Speaker 1 (18:48):
Mm hmm.

Speaker 2 (18:49):
Yeah.

Speaker 1 (18:49):
I mean, I agree that they're so out of sync,
but that's why it seems like they don't share memories, sure,
but that they actually do. I don't know. Again, you
could read it I think both.

Speaker 2 (19:01):
Ways, but I think both both definitely work. I had
like all of these alternate pitches of like what if
the substance was like this in the version where the
substance is like a very gentle, sweet story of love
and friendship, they would be like writing each other these
beautiful letters for the other to read, like a letter
to my younger sheff bye, And then she'd be like

(19:24):
it would be kind of like I haven't seen My
Old Ass, but it feels like that.

Speaker 1 (19:27):
Oh sure, I did see My Old Ass. It is
kind of like that. Although they're on screen together interacting
throughout that movie, right, but if they're writing letters to
each other, that's kind of like the movie The lake House.

Speaker 2 (19:39):
I loved the movie The lake House. I did. Yeah,
it's like mother daughter lake House or like younger self,
Older Self lake House. Obviously this is not that movie.
I also was like, I had a theory that I
posted to letterbox dot com. Give me a follow over there,
Jamie alert is my username.

Speaker 1 (19:56):
And while you're at it, give me a follow please.

Speaker 2 (20:00):
Hello, So my theory after watching this of this for
the third time, Okay, I'm just going to read it please.
This movie is a Xanax nightmare that Elizabeth Sparkle has
the day she's fired by Dennis Quaid over shrimp. She
wakes up the next morning and starts applying to masters programs,
asking around about ghostwriters for her memoir, and looking up

(20:20):
the prices of ranches in upstate New York. She lives
another thirty five years and starts a terrible wine brand
and a terrible podcast. She is sort of happy, that
is I think the true ending, because this whole movie
it just is like a nightmare. Or I read in
a review from The White Pube it's she said something like,

(20:42):
it's like a game of the Sims being played by
the most depressed person in the world. Oh wow, for
the spaces are weirdly vacant. There's nowhere to go, there's
no one to talk to, it's weirdly aggressive. There's either
too much food or no food at all. Like, it
just is like a really scary game of the Sims.
And I like that reading.

Speaker 1 (21:00):
I love that reading too. My version of this movie
would be when she's the older Demi Moore version, she
just takes like week long vacations every time. It's like
her turn to exist. Yeah, and then she just like
has a nice time on vacation for a.

Speaker 2 (21:18):
Week at a time, go incognito mode.

Speaker 1 (21:20):
And then her younger self works and like.

Speaker 2 (21:22):
Yeah, brings home the bacon. But Sue that disrespectful tell
me about it. Anyways, we'll get we'll get to Sue,
we'll get there.

Speaker 1 (21:33):
Okay. So Elizabeth has watched this commercial about the substance
and she learns about what the deal is and she
is not interested at first, but then she changes her
mind and calls the number on the flash drive. She
places an order for the substance, and she's given an
address In the mail. She receives a key card with

(21:55):
the number five oh three on it. She heads to
the address where there are like lockers. One is labeled
five O three and inside is a starter kit for
the substance. There's an activator fluid which says single use,
discard after use, which is important. There's like stabilizer apparatus

(22:20):
for the quote unquote other self to use. There is
food for both the like original matrix and the other self.
And the idea is that you activate once, you stabilize
every day, and you switch every seven days, and remember
you are one.

Speaker 2 (22:39):
It's the best like Little Monkey Pa situation in the
world because you're like, Okay, this would only work with
someone who had a stable sense of self. But if
you have a stable sense of self, you would never
use the substance. Sell what are you getta do?

Speaker 1 (22:55):
So Elizabeth goes to her bathroom and injects herself with
the Shrek color activator fluid, and then it begins. She collapses,
Her back begins to split open, and she births Margaret Qually.

Speaker 2 (23:12):
The whole Audiees is screaming, let's go, let's go, let's go.

Speaker 1 (23:15):
And this other self she has a cute button nose,
thick wavy locks, taut round buttocks. Yes, that is a
quote from Shrek to thank you so much.

Speaker 2 (23:30):
Well done, well done.

Speaker 1 (23:32):
Well well let's cause did you see that meme going
around where it's comparing Shrek too with the substance No,
let me show you. I'm gonna text, wowk you thank you.

Speaker 2 (23:44):
This is what friendship is all about. I did appreciate.
I didn't know this, but that Margaret quality is like
wearing a lot of prosthetics to be Sue. Like that
is not her body.

Speaker 1 (23:55):
Oh I didn't realize that either.

Speaker 2 (23:56):
Yeah, she's wearing like chicken cutlets. The boom are fake,
the butt is fake. Oh, which I guess was like
a choice by both her and Coralie, where like, I
know she like worked out a lot to be Sue,
but like they physically altered. I think that they made
slight alterations to her face just to like make her
feel like an uncanny version of herself.

Speaker 1 (24:19):
Okay, okay, yeah, okay. So we meet the other self
played by Margaret qually, she sews up the original Matrix
self aka Dememur. She puts the feeding tube in her,
and she has to remember to stabilize, which requires the

(24:41):
other self to extract some kind of body goo from
Demimur's spine and inject it into the other self, or
else she'll get like a bloody nose and she'll get
all dizzy and sick. Once she stabilizes, the Margaret quality

(25:02):
other self heads to a cast and call for the
new Elizabeth Sparkle, and she nails the audition and lands
the part because she is Elizabeth Sparkle. Although she calls
herself Sue. The network executive Harvey loves her because she's young, yep,

(25:24):
and the.

Speaker 2 (25:24):
Way he talks to her is equally disgusting in a
totally different way. For sure, is like baby angel, mommy daughter,
Like it's yeah.

Speaker 1 (25:35):
Sue tells him that she can only tape the show
every other week because she has to take care of
her sick mother, and Harvey's like, no problem, you're young,
so I'll bend over backwards for you.

Speaker 2 (25:47):
Right, and like that was not my experience as a
woman in the workplace, but sure, they're like no work
twice as hard there.

Speaker 1 (25:54):
Yeah, So Sue starts prepping for her fitness show, but
before she knows it, her first week is up and
she has to switch back to Elizabeth, who spends most
of her week watching TV. She does go out though,
at one point, to pick up her refill kit with

(26:14):
more injectable food goo and stabilizer containers. Cut to She's
Sue again, and you can tell that Sue thinks Elizabeth
is kind of pathetic. She builds a secret room in
her bathroom to like Elizabeth the most.

Speaker 2 (26:34):
I love that. That is like the somehow the most
unrealistic thing that happens in the movie is that Sue
Elizabeth both know how to build like a secret like
panic room. It's great, Yeah, I'm on board.

Speaker 1 (26:49):
Where did those skills come from? But it's part of
just like the you know, very heightened reality thing.

Speaker 2 (26:56):
I really like, this whole movie is just a bad dream.
Like it's it makes sense.

Speaker 1 (27:00):
Yes. Then it's the first taping of the new fitness
show of Sue's called Pump It Up. And oh, the
booties are shaking, the hips are thrusting.

Speaker 2 (27:16):
But it is basically just hornier Elizabeth Sparkle because she
is hornier Elizabeth.

Speaker 1 (27:23):
Bark Right, Sue goes out with her hot young friends.
She brings home a hot young guy, but oh no,
it's time to switch back to Elizabeth. But rather than
doing so when the time runs out, Sue extracts some
extra stabilizer goo from Elizabeth to give herself a little

(27:45):
bit of extra time so she can smooch this hot man.

Speaker 2 (27:50):
And she's on the cover of Vogue.

Speaker 1 (27:52):
And she's on the cover of Vogue. When they do
switch back and Elizabeth wakes up, she notices that one
of her fas is different. It's like gnarled, and it
looks much older.

Speaker 2 (28:06):
It's like a snow white witch finger.

Speaker 1 (28:08):
Yes exactly. She panics and calls the Substance Hotline to
see if it can be reversed, but it cannot, so
Elizabeth blames Sue. But the guy, the Substance hotline guy,
is like, remember, there is no her and you. You
are one, respect the balance.

Speaker 2 (28:30):
The more you say that, the more I'm like, you
are right. They must share each other's memories.

Speaker 1 (28:36):
I think they share consciousness, they share memories. They just
like really resent the hell out of each other.

Speaker 2 (28:41):
Right, They just hate each other so much that they
are like blind to each other's intentions or something, or
even at the end where you know, Demi Moore is like, nah,
I can't kill you because I hate myself and you're like, oh, yeah,
it's true. But the guy on the other side of
the substance hotline, he cracks me up. But he's such
a little asshole. Where she's like, well, she's using too

(29:05):
much of her time, and he's like respect it. Click,
You're like, damn, okay.

Speaker 1 (29:09):
He's a bitch. Yeah, voiced by an actor named jan Bean.

Speaker 2 (29:15):
Well, he did great.

Speaker 1 (29:16):
He did a great job anyway, So he's like respect
the balance. So Elizabeth is furious. She's clearly starting to
resent Sue. She goes to pick up another refill kit
and bumps into an old man who she realizes is
the older version of the young doctor who had told

(29:36):
her about the substance originally. He kind of reminds her
that the older versions of themselves still deserve to exist,
that they still matter. But she's very shaken up about
this whole interaction.

Speaker 2 (29:51):
I mean, it is very scary.

Speaker 1 (29:53):
It's alarming. Yeah, And she goes home and she calls
that guy Fred, the one she knew from high school
who said you're the most beautiful woman in the whole
wide world. And she asks if he wants to go
out with her, and they plan a date for that night.
But as Elizabeth is getting ready, she's clearly feeling very insecure.

(30:17):
She's applying more and more makeup, she's fussing with her hair,
maybe trying to look younger. Perhaps there's a billboard of
Sue that's very prominently displayed right outside her window.

Speaker 2 (30:31):
I love that. I also because this VIVIEO is shot
in like mostly France, that's all like a painting, Yeah,
which is cool.

Speaker 1 (30:40):
I mean, so many of the technical things about this
movie are really awesome, like the production design, the sound design, yeah,
the cinematography, all that stuff is like just so incredible. Anyway,
so this billboard is like taunting Elizabeth and she ends
up having a breakdown and she bails on the date

(31:01):
and stays home, and like binge eats cut to Sue
at a taping of her fitness show, and something weird happens.
There's a big bulge that like temporarily pops out of
her butt cheek.

Speaker 2 (31:17):
This scene is it was really fun to watch it
in audience. But also like again, just like the nightmare
quality of how they're like, wait a sec, like it
moves so slow, but I don't know. Obviously, Sue is
not the more empathetic or sympathetic of the characters, but
I felt so bad for her. Where they're like, oh,
something looks weird, let's put it up so everyone can see,

(31:41):
and they're like, let's make it really slow.

Speaker 1 (31:44):
Frame she's panicking, nightmare. She goes to her dressing room
and pulls a chicken drumstick out of her belly button. Awesome, horrifying.
I have a belly button thing, any fetish, No, I'm
so grossed out by belly button things, like the scene

(32:05):
from The Matrix when they pull the bug out of
his belly button. I cannot watch it to this day.
It grosses me out so much. Anyway, so that was
a horrifying moment in the movie for me. Sue is
again very frustrated with Elizabeth and she thinks she's about
to be fired from her show, but it turns out

(32:28):
that Sue is actually so popular that they're having her
host the network's New Year's Eve show. This is a
huge opportunity, which again.

Speaker 2 (32:38):
It's just like right, the New Year's Eve show that
we all love exactly.

Speaker 1 (32:44):
She's basically Ryan Seacrest question Mark.

Speaker 2 (32:47):
Except Ryan Seacrest hosts something. It's like, it doesn't it's
so unclear what is supposed to happen at this show
where they're like there's dancers and there's Margaret Qualley and
you're like, oh, then that's all we know and that's
all we need to know.

Speaker 1 (33:03):
I never even thought about that.

Speaker 2 (33:05):
Oh, I couldn't stop thinking about it. Also, it's such
a small audience, Like it really did feel I know
that you're not a David lynchhead, but that it just
reminded me of like all of like the vacant theaters
that scary scenes and David Lynch movies take place in,
where you're like, why is this space so small? She's
the most famous person in the world. What is the show? What? Like,

(33:25):
why are people so excited about her when she can't?
I mean whatever, it's all like hyper stylized it, but
like it's just it's just funny.

Speaker 1 (33:33):
They built that entire set, so that's not a real theater.
They built the theater set because they knew they were
gonna spray over five thousand gallons of fake blood.

Speaker 2 (33:43):
And Corly Frejo is holding the blood gun the whole time.
She's like wearing that that like POV shot is like
wearing the helmet and this we can link it in.
There's like a half hour making of featurette that's on
YouTube that you can see so many most of the
POV shots that's our Coraley Frego with a helmet, Camon
Oh my gosh, like including the body horror shot where

(34:06):
Margaret Qualley is in the elevator like that's Coralate Like
it's just uh, it's so cool.

Speaker 1 (34:11):
Hell yeah. Anyway, So the point is, Sue is given
this opportunity to host the huge New Year's Eve show
that the network does, and Sue is not gonna let
Elizabeth screw it up, and she basically starts living as Sue,
well past her allotted seven days. Sue does finally let

(34:37):
them switch and let Elizabeth live for a while, but
all of that extra time has taken a big toll
on Elizabeth, where basically half of her body is this
like just old looking haggish for lack of a better term, aesthetic.

Speaker 2 (34:56):
Yeah, I mean it is like definitely pulling from like
hag horror AESTHETICI.

Speaker 1 (35:00):
Right, And there's lots to talk about there, we'll get there.
But she doesn't like the way she looks, and she
calls the substance hotline and the guy is like, well,
do you want to stop? You can go back to
being just you, although there's no reversing any of the
effects that this experience has had. So because she can't
reverse anything, she decides to keep going on with it.

(35:24):
Elizabeth takes out the French cookbook that Harvey had given
her as a parting gift when she got fired, and
she starts cooking up a storm.

Speaker 2 (35:32):
We get a hot dog moment, blood sausage.

Speaker 1 (35:36):
Oh right, because like, this is the grossest version of
French cooking that you've ever seen on screen. This is
no Julie and Julia. This is no the taste of things.

Speaker 2 (35:46):
It's like, what if all French cooking was mayonnaise and
rotisserie chicken. Whatever it is.

Speaker 1 (35:52):
It looks nasty as hell, but on purpose, like it
purposefully is like part of the horror and grotesqueness of
the movie. Yeah. This cooking scene is intercut with Sue
guesting on a late night talk show and she's being
asked about Elizabeth Sparkle and she's like I barely know
who that is. Her show is so old fashioned. Oh

(36:13):
me and my beauty secret. Definitely, it's not the substance
or anything like that.

Speaker 2 (36:18):
Being myself.

Speaker 1 (36:20):
It was like, I just try to be my authentic self.

Speaker 2 (36:22):
That really did hit because many such cases of that,
I mean, that's like what the yeah, like what the
whole beauty industry is predicated on. Is it's like, oh,
it's just be yourself and give us money for this thing,
or like celebrities who have had other enhancements pretending that
they just use this tube that you can get for

(36:44):
fifty dollars at CBS.

Speaker 1 (36:46):
Yeah, exactly. Yeah, So we cut back to Sue. She
decides that she's going to stay Sue for a very
long time, and she extracts a shitload of stabilizer goo
from Elizabeth's very infected spine.

Speaker 2 (37:04):
Ugh ugh.

Speaker 1 (37:05):
And this is the part where she lives as Sue
for three full months.

Speaker 2 (37:10):
Yeah, she has like she's in a long term relationship
with time.

Speaker 1 (37:14):
Yeah. Yes, and she's on top of the world and
the big New Year's Eve show is the next day.
But when she goes to take out more stabilizer fluid
from Elizabeth, it's all discolored and rotten, and she has
no choice but to switch back to Elizabeth to generate
more of this stabilizer fluid. When they switch, and when

(37:36):
Elizabeth wakes up, oh boy, she's like full hag mode again.
I don't know how health to say it, but she's bold.
She's very like hunched over.

Speaker 2 (37:50):
Yeah, it's like a again, like a hyper stylized aging
for sure, yes, which is like I'm interested to talk
about that with you because I'm like, that's one thing
where I'm like, I I don't know how to feel about.

Speaker 1 (38:01):
And we'll talk to the same we'll get there. But
she calls the substance hotline once again, and she says
she wants to stop the experience, so she is sent
a termination kit and she kills or attempts to kill
Sue with a lethal injection. But then she remembers all
of her hopes and dreams of being a star and

(38:24):
of being adored by fans, and she changes her mind
and she wants to bring Sue back because she knows
that she needs her to live out these dreams. So
Elizabeth initiates the switch between them, which does bring Sue back,
but now they're both awake at the same time, which

(38:44):
is the first time this has happened in the movie.
Sue realizes that Elizabeth tried to terminate her, so she
attacks Elizabeth. They scuffle for a while, and Sue really
beats and bloodies the hell out of Elizabeth.

Speaker 2 (39:00):
Yeah, just I guess to sell you on revenge. Revenge
is like that scene for an hour and a half. WHOA, Okay,
it's extremely violent. Yeah yeah, but it's mostly the young
woman kicking the shit out of her oppressors.

Speaker 1 (39:17):
Yes, that sounds cathartic. This was not cathartic to watch,
very troubling and difficult because it's so violent and Sue
is like trying to kill Elizabeth, but she realizes she
can't because they are one. And she realizes she has
to get ready for the New Year's Eve show, so
she goes to the studio, but Sue isn't feeling too great.

(39:42):
Her teeth a falling out, her ear falls off, and
she gets the idea, what if she substances herself because
she now needs a newer and quote unquote better and
more beautiful version of herself. So she goes back home
and injects herself with the leftover activator fluid, you know,

(40:05):
the stuff that you were only supposed to use once
and throw away.

Speaker 2 (40:09):
I thought the first time I saw this movie that
that would kill her and that would be it. I
thought that that was how it was gonna end.

Speaker 1 (40:18):
Got it? But that's not That is not what happens.

Speaker 2 (40:21):
No, it's actually just the end of act two, which
I did not see coming. Right.

Speaker 1 (40:27):
So she injects herself with this fluid. She collapses, her
back splits open, and she gives birth to a grotesque
body horror combination of Elizabeth and Sue, with like body
parts all over the place. There are multiple faces and

(40:48):
teeth and breasts.

Speaker 2 (40:50):
Called monstro Eliza, Sue.

Speaker 1 (40:53):
Yes. She puts her dress back on the one that
she's gonna wear for the show. She makes a little
mask for herself, and she goes back to the TV
studio and she steps on stage and everyone is like,
oh my gosh, what is that? And then she gives

(41:14):
birth to a breast from a vagina that's on her head,
and that's feminism.

Speaker 2 (41:21):
And they're flashing back to like all of these like
cruel things that men have said to her and Sue
throughout the movie, where it's like now everything's in the
right place.

Speaker 1 (41:33):
Yes, I wasn't expecting that to like pay off really
in any way, but.

Speaker 2 (41:38):
I was like, oh, yeah, she's playing five D chests. Yeah.

Speaker 1 (41:42):
Then you watch a titty fallout of a face pussy
and you're like whooo, yep, yep. People start freaking out
and they're screaming freak and monster, and then monstro Eliza
Sue starts to come apart, like literally that she's spraying
blood all over the audience. This is the like five

(42:04):
thousand gallons of fake blood.

Speaker 2 (42:06):
It's like Carrie times a million.

Speaker 1 (42:09):
Is Eventually, Eliza Sue makes her way out of the
studio and onto the street, where she kind of explodes.
Although Elizabeth's face is still sort of intact and it's
surrounded by like flesh and guts and it's able to
sort of drag her face onto her Hollywood Walk of

(42:34):
Fame star. Yeah, and then she kind of like imagines
slash fantasizes about people cheering and praising her.

Speaker 2 (42:44):
It reminded me a little bit of well, there is
like a few sections of this movie that reminded me
a little bit of the ending of Black Swan as well. HM,
where it's like, you know, I mean, even though in
Black Swan, unfortunately the main character has a little bit
happier of an ending, you could argue because she does

(43:04):
this you know, impossible accomplishment and it kills her. Elizabeth
doesn't get what she wants and it kills her. But
if like just that whole like gazing up at the
sky and like, you know, thinking it, it just felt
like an eye was perfect kind of moment.

Speaker 1 (43:18):
True. Wow, I was reminded, and I have not seen
the thing in a very long time, but there's a
similar creature that's just like a bunch of body parts,
just like a hunk of various body parts in different places,
and it kind of reminded me of that creature. Interesting

(43:38):
just from like a visual standpoint anyway. So Elizabeth's face
drags itself onto her Walk of Fame star and then
she melts. Yeah, and then the next day the like
blood and goo is cleaned off, and that is the

(43:58):
end of the movie. So let's take another quick break
and we'll come back to discuss.

Speaker 2 (44:13):
And we're back. Where should we start? I mean, there's
so much to talk about yea here. I mean, I've
read a couple of them, because this is a movie
that launched a bajillion takes, there would be no way
to consume them all. But I did enjoy it, you know,
like particularly seeing women whose work and brains I admire

(44:37):
trying to figure out why they either did or didn't
like this movie, even when I disagreed. But I guess
my curiosity because there were elements of this movie that
like I. As I was watching it the first time,
I was like, there is a clear, I think like
ablest read of this movie in certain moments, and I wasn't.

(44:57):
I wasn't able to find an essay or anything other
been just like an observation about ableism. So I can't
really speak to that. I'm also not the right person
to speak to that, but I wanted to mention that
I guess, like, I've saw a lot of takes that
were like, the movie is agist, and I guess I
just like don't agree with that, and I think it's interesting.

(45:20):
And I'm not like calling anyone specific person out, but
most of the critics I saw calling this movie out
as asist were younger women, which I found interesting because
I think that there is elements of this movie that
I think if I saw this movie ten years ago,
I would have loved it, and I probably would have
thought it's a little agist, But after like especially listening

(45:40):
to interviews with Cora Lea Fresio, like she is trying
to and I think successfully, like processing her own feelings
about aging on screen, and like in most interviews with her,
because she's in her early fifties I believe now, and
she didn't start directing until she was well into forties,
and she talked about, you know, the insecurities that came

(46:03):
around that and just the feeling that she was just
getting started. But soon she kept using the term of
like I just felt like, even though it was irrational,
I felt like when I turned fifty, I would be erased.
And that is like what this movie is about is
that Elizabeth is being slowly erased. And I don't know,
like I guess, yeah, what is your take on that.

(46:25):
I understand the read of it. I just that's not
how I see it.

Speaker 1 (46:29):
So corale Farja is forty eight, Okay at the time
of this recording, she would have been in her mid
forties when she was making this movie, because I think
they started shooting in twenty twenty two. I believe my
take on this, like does the movie do the thing
that we have talked about a lot before on the podcast,
where the horror and grotesqueness that is coming from the

(46:53):
horror movie is at the expense of the body of
an old woman, and we generally do not like that
because of its ageist implications. Yes, the movie is doing that. However,
this time it's coming from the like writer, director of
perspective of a woman, so it is happening on her terms.

(47:16):
You could maybe still argue that her examining all this
is coming from like internalized agism, But I.

Speaker 2 (47:25):
Think exploring internalized agism is like, I think it's a
valid thing to do in a movie because, especially because
she's pretty explicit that, like, this movie was developed out
of like feelings of anxiety and insecurity she had about herself, right,
And I know that I've certainly been guilty of this
over the years of just like expecting the movie to

(47:47):
provide a comforting solution to this problem that has existed
forever and is not going to be, you know, solved
by a single movie. And that's not the purpose of
the movie. It's not a movie for cybe, it's not
a movie for children, Like you know, it's it's a
movie that is like exploring anxiety. But I feel like

(48:08):
there's sometimes a feeling that a movie that explores in
anxiety also has to resolve it, and that's not how
most anxiety works.

Speaker 1 (48:17):
I don't know right for sure. What I'll say is
that at the very least, the like old woman grotesqueness,
at least it's not coming from a like cis Man
director who's simply just like, old women's bodies are so gross, right,
It's not that this time it's a woman exploring what

(48:40):
it is to have a female body in the context
of a world that covets and fetishizes but also hates
female bodies.

Speaker 2 (48:52):
So like this movie is only exploring CIS women for sure.

Speaker 1 (48:56):
Yes, yeah, worth noting that definitely. There's an interview I
read in Offscreen Central with Corale Farjah with interviewer Kenzie Vanenu.
In this interview, Coraly says about the kind of body
horror aspect of the movie, quote, I think living with

(49:19):
our body from the start is a really hard experience.
The reality of our body, of the flesh, bone and
the blood of everything, is something that I think truly
shapes and defines our relationship to ourselves to the world,
and that is almost not taken into account. They're super taboo,
like the pain during the period the menopause. We're supposed

(49:42):
to hide all of this, it's supposed to not exist.
And so for me, body horror was something that I
naturally resonate so much with what we experience very much
in our everyday life, and it's a perfect symbol of
the violence of all the fears that we can project.
Society ask our bodies not to change, for it to

(50:02):
stay the same, to stay perfect, to stay sexy. Of course,
it's terrifying when your body is changing, because all day
long we hear that it shouldn't change, that it should
still be the same. That's the only way that you're
going to be appreciated or valued. So when the body
actually lives its life of a normal body, it's totally

(50:24):
terrifying because we are not taught that it's just normal.

Speaker 2 (50:29):
I think that's like a very clear statement of.

Speaker 1 (50:32):
Intent, right and maybe down the line societally, if we
ever get there where culturally we just accept aging bodies
and particularly aging women's bodies, and like people aren't conditioned
to be horrified by that. Like a story like this

(50:55):
won't need to exist or that won't be something that
like an artist would be inclined to explore. But yeah,
considering just like the cultural context of of how society
disproportionately values a woman's youth, Yeah, we do need stories
that like examine the effects that that has on people,

(51:16):
and not just older people, like people of all ages.
Like it'll manifest as internalized agism maybe for older people.
It also affects younger people because they're afraid of getting
old and like, hey.

Speaker 2 (51:29):
I mean it's like there's so I mean, and I've
seen takes of like this is very timely and like
this is the worst possible movie that can come out
at this time for young women whatever. I will say that,
like this is the kind of movie that, especially if
you are a woman, will will probably resonate with you
because that is how you're perceived. And I was like, embarrassingly,

(51:52):
like when I left the movie, one of the things
was like, why don't I have boobs like that? It's
because they don't exist, U, It's because they made them up.
And of course, like you bring all your own insecurities
right to a movie that is explicitly about insecurity. However,
flawed but an observation I thought was interesting that I
think was actually from Maya. I watched a couple of

(52:15):
different videos and red essays it was all blending together.
I think it was may Ea because I think that
you know, the reasons this movie doesn't resonate with women
is also a totally valid read. But we've never been
wrong before, no kidding, o, no. But Maya made a
really good point in saying that something that frustrated her
with regard to this movie was that she couldn't think

(52:37):
of a movie that showed an older or elderly woman's
naked body that wasn't a horror movie. I think that
is a really valid point. I just don't think that
that is a fault of the substance necessarily. I do
think that that's a cultural thing, is that we're trained
to see an elderly woman's body as a site of horror,

(53:00):
and you can argue that the substance does that. But
I agree with you, Caitlin, that that is I don't know.
I can see like if I was very old and
saw that depiction, especially because it's a younger actor in
elderly prosthetics, which we see in movies like Pearl, which
we see it like it is a fairly common thing. Like,

(53:20):
I think that that is a valid point to make
that this movie isn't really changing that. But I also
I am like, if the alternative is casting an older
actor and treating them as a side of horror, I
don't like that better. I don't really know what the
solution is there.

Speaker 1 (53:36):
Counterpoint sort of, So Elizabeth Sparkle, the character is supposed
to be fifty, like we see her on her fiftieth
birthday at the start of the movie, right, although to
me Moore she's currently sixty two. She was sixty when
the movie started filming, So you know, she's an older
woman whose naked body at first is not shown to

(53:58):
be grotesque and horror.

Speaker 2 (54:01):
No, it's just what you see is that she is
not happy with her body the main takeaway. And yeah,
I felt like some people being like, well you do
see Demi Moore's gross body a little bit at the beginning.
I'm like, well, that's a you problem that you forget
if you think that's gross.

Speaker 1 (54:16):
Also like, okay, yes, she's sixty and she has a
beautiful body.

Speaker 2 (54:22):
She's famously hot.

Speaker 1 (54:23):
Demi Moore is famously hot, especially by you know, Western
beauty standards, but her sixty year old body is I mean,
she has access as a like rich and famous celebrity,
she has access to you know, the best like fitness
training and food that helps maintain a certain physique. And

(54:47):
I have no idea how many or if any cosmetic
procedures she has had, but like many many actors and
celebrities and stuff, do no judgment about that. But like
the whole thing about the entertainment industry is that you're
expected to look a certain way. And so Demi Moore's

(55:07):
six year old body compared to like an average person's
sixty year old body is quite different. So there's that
that you have to take into account.

Speaker 2 (55:18):
Right, I agree with you absolutely. I guess another criticism
I was chafing with is like criticisms that I feel
like that's kind of the point. Like if it wasn't
the point, then Elizabeth Sparkle wouldn't be a famous media personality, right,
it wouldn't be, like I mean, and not to say
that there aren't actors who naturally age, that's absolutely true,

(55:42):
and it's like tricky to have this conversation, but I
think that this movie has it pretty effectively where realistically
because of the expectations. And I can think of, you know,
five actors over fifty off the top of my head,
who are women who are working high up in Hollywood,
and they've all had to do some thing to maintain
a look of youth. And that is not a criticism

(56:04):
of them. I think that that is like, unfortunately, the
uncanny moment that we're in that if you want to
still be a leading lady and not a character actor,
you are not able to age naturally. And I do believe,
like I think that sometimes we get this messaging of like,
isn't it amazing that like women over fifty can be

(56:27):
a movies now? And you're like, yes, because these women
are unbelievably talented, They've worked for it, and like as
their career goes on, they can produce their own projects,
they can have more creative say they deserve that, but
it would be dishonest and this is again not a
criticism of these women, but it would be dishonest to
say that there isn't an exchange for that. Like there

(56:48):
I can't think of an actor who's a woman over
fifty in main roles except maybe Francis McDormand, and even
those are like indies generally, who is the leading actor
in a movie and has aged completely naturally, It's just
not something that is permitted. And I think and that's
part of what the movie is commenting on. And it

(57:09):
feels like really important to Elizabeth's character of like she
has done everything quote unquote right, she has maintained her
body and whatever. We don't know, you know, because we
don't know a lot about Elizabeth, which I also feel
like is kind of intentional because she is just this
like Cipher. But yeah, like she's done everything right, but

(57:29):
it's not good enough, and so she gets drunk, similar
to like Jeff Goldblum in The Fly, she gets drunk,
makes a dumb decision and it ruins her life. You know.
That's a lot of body orr and especially with Demi
more specifically, I was thinking about and others have made
this observation as well, but how Demi Moore is like

(57:51):
such an interesting choice for this part because her age
has been the subject of discussion for decades, like when
she was dating Ashton that it was like she was
like the quote unquote cougarla. Her age has been a
subject of discussion since she was like forty and there
was you know, in the last couple of years, like

(58:13):
this sort of round of mockery that happens when any woman,
but particularly an older woman who's quote unquote, you know,
not what she used to be, and the way that
people talk about women who are aging and then try
to quote unquote fix the problem by getting an alteration,
and then they're mocked for it if it doesn't look
completely natural. And yeah, another thing I was watching is

(58:34):
there's a really good Mina let video. I'm a big
fan of hers. Yeah, her and my Ya I just
they're the best. But Mina was making the point that,
you know how there's a lot of you know, especially
with like really young girls right now, there's a lot
of fixation on like twelve step skincare routines for twelve

(58:54):
year olds. There's a beauty trend where you tape your
mouth shut at night to avoid wrinkling, and teenagers are
literally taping their mouths shut at night. It's wild, and
it's like, I think that this movie does effectively illustrate that,
like it might help you in the short term, but
it's not gonna save you, and it's not gonna make
you happy, because this whole movie is about how Elizabeth

(59:17):
Sparkle has been conditioned and grown to really, really really
hate herself and it's horrible to watch.

Speaker 1 (59:24):
Right, which is a very interesting arc where, yes, she
has been conditioned to think that she is worthless because
she's aging. She doesn't have the same respect and adoration
she once had from fans. She is fired literally for
being quote unquote too old and is going to be
replaced by someone much younger, and obviously that takes a

(59:48):
toll on her, and it prompts her to do the
substance so that she can live as a younger version
of herself. At least part of the time. She sees
the stark contrast in how much more valued her younger
self is, and that takes an even greater toll on her,
to the point where when she's living as Elizabeth, she

(01:00:13):
doesn't live her life. She stays inside, She watches TV,
she engages in disordered eating. You know, she's binge eating.
You see her like waiting for and longing for the
moment that she can switch back over to being you know,
her younger self, to being Sue. But then that flips

(01:00:34):
at a certain point and it might partly be that
man who says, like, don't forget that you're still worthy,
that you still matter, and then she starts resenting Sue. Meanwhile,
Sue is resenting her older self, thinking that she's pathetic,
and it's like, but they're the same person.

Speaker 2 (01:00:54):
Right, it'sny hard. I mean it's like a like even earlier,
it's like it's hard to remember that there really is
ten years ago us would be like women are always
turned against each other. Movie, it's like this is one
woman's battle with fifty years of being taught that you
should fucking hate yourself and that it's somehow your faults. Yeah,
and it's a tragedy, like it's really it's really sad

(01:01:16):
and that you know, she can't get herself to leave
until she's so far gone, and it's just it's really sad.

Speaker 1 (01:01:25):
Yeah. I was curious what you thought about like the
moral of the story or like what the takeaway might be,
because I was like, is it something like don't try
to cheat changing because you'll turn into a monstral ali
is as Sue and explode into blood on Hollywood Boulevard.

(01:01:45):
And it's more complicated than that, but like for.

Speaker 2 (01:01:48):
Me, it comes down to like, it's not offering a
clean moral or solution, but to me, it's like, weirdly again,
this is a very different movie from Black Swan, but
it feels like the pursuit of perfection and the pursuit
of a form of neglecting yourself and completely being reliant

(01:02:09):
on the approval of others is a relentless and destructive force,
and that like is unavoidable to some extent. But it's like,
if everyone loves you and you hate yourself, it doesn't
make a difference. And that I think, in like the
case of Elizabeth, that the odds are stacked against you,

(01:02:31):
and that like giving a shit about yourself is hard
in a world where the older you get, the less
others will care.

Speaker 1 (01:02:39):
Right, you can't even blame people for having internalized agism
when society all around you conditions you to devalue yourself
and that you are not as worthy as you were
when you were younger.

Speaker 2 (01:02:56):
So it yeah, it's broad, but it's like it's supposed
to be. I mean, it's so funny because like we
were talking about, there's all of these things that we
have repeatedly been like ugh, this again, but it just
works for me. In this movie because there has never
been a more patriarchy the guy than this Dennis Quaide character. Right,
Like he literally is like smile, smile, or my god,

(01:03:16):
I did laugh when he was like feathers, feathers, feathers.
You're like, what the fuck? I hate that he's evil,
but he did slay this, and like, I don't know,
two things need to be true for a second, but yeah,
I mean, he's a patriarchy the guy character. But I
guess it's like you'll either kind of like this or not.
But like all of the characters we see are kind
of broad types. We see different types of guys, you know,

(01:03:40):
none of them are narratively specific. We don't know very
much about Elizabeth. We don't know. Something I actually really appreciated,
and I'll go back to, like the murkier stuff that
I feel like is likely tied to Corey as a
person is that there is not a lot made of
I think that a lesser version of this movie would

(01:04:02):
be defined by regret for like the right things she
didn't do, like get married and have kids. That is
not a fixation of this movie. And I think a
lesser movie would have so mommified a cis woman that
they wouldn't be able to help themselves, but because this
is a battle with herself, Like the most important and

(01:04:23):
defining thing in Elizabeth's life was her career, which is
also a toxic thing when your career is conditioned to
dispose of you when you had a certain age. You know.
Other things that we criticize all the time that this
movie does is Elizabeth doesn't have any friends. She doesn't
have friends or a support system. But if that changes,
it's a different movie. And again it's like, I feel

(01:04:45):
like this movie is just showing how she feels versus
what the world really is, because everyone, like the men
in this movie are awful, and men can be that awful,
but there is like the fish eye lens, like it's
like a heightened version of that awful and being in
Elizabeth's position would likely be lonely. It probably wouldn't be

(01:05:09):
that lonely, but it's all like turned up and it
just kind of I don't know, like I even though
this movies doing a lot of things that I've criticized
a million times, it just makes sense in this world
to me.

Speaker 1 (01:05:19):
Because it is a very heightened reality, even though it's
reflective of patriarchy and agism and different things that very
much exist systemically in the world. This is still a
very like heightened story. Of course, if Elizabeth did have friends,
she probably wouldn't have sought out the substance because they

(01:05:41):
would just like get together for like brunches and wine nights,
and they could have been like ha ha, aging is
it's hard, but we're getting through it, you know, Like
they would have had each other to like bounce off
of and support each other and like validate each other
and value each other.

Speaker 2 (01:06:00):
But she lacks that supports us, and it's like it's sad.
And even though it's like that is not again, it's
like Elizabeth Sparkle is not a feminist icon, but that
doesn't make her a bad person or a bad character, right,
It's like she's very much a product of her environment.
There are moments where it's like, I mean, I guess again,
I've seen moments in her character characterized by other critics

(01:06:22):
as like you pity her, But I don't really pity
her because there's like a part of me that really
connects with her where it's just a heightened version. And
this is why I'm sort of like when I was
like exploring, oh, sort of a wide age range of
critics that I feel like most women, even women over thirty,
seem to be like no, I understand how that feels,

(01:06:45):
and the feeling that like you're no longer young enough
to start something or be viewed as valued, or you know,
the whole shedding that I remember, like the first time
I wasn't the youngest person in a writer's room and
it like weirdly me where I was like, I'm cooked,
I'm fucked. You're just like because you're not like the
cool young girl, and like there's a younger girl and

(01:07:09):
the answer is talk to her. She probably needs to
have an ally in this room. And then I come
friends and it's fine, but like that is a complicated,
weird set of emotions to to navigate and it's okay
that she's fucking off.

Speaker 1 (01:07:22):
I don't know right, I mean again, I found myself
very much connecting to Elizabeth and sometimes to Sue, but
mostly Elizabeth, where you know, I'm pushing forty and I'm
always like, oh, why didn't me, as younger person stretch more?

(01:07:44):
Because now I'm so inflexible and I can't touch my
toes and I'm so stiff all the time, and did it?
And why didn't my younger self do this or this
or that? And I just like find myself resenting my
younger self as I get old, and so I relate
to Elizabeth's resentment of Sue. But also I'm just like, well,

(01:08:06):
I could start stretching now, and then that's what I'm
trying to do anyway.

Speaker 2 (01:08:11):
Right, there's yeah, because there's I think I'm like I
was struggling in the first watch of this, but then yeah,
as it becomes clearer that like Sue is a part
of Elizabeth, the memories think like you, you've reformed me.
I need to watch it for a fourth time. But
that like they are a part of each other. So
it's it doesn't We haven't been led to believe that
Elizabeth has a history of being violently hateful of younger women.

(01:08:36):
We don't know much about her, but I feel like
we it would be indicated in the way she's treated
by Dennis Quaid. She's treated by Dennis Quaid as like
a subservient person, like appliable again, which like ties into
the whole characteristic of like she does what she's told,
she works out, she does the thing with her face,
like she does everything she's supposed to do, and then
she becomes literally a kind of like girl joker at

(01:08:59):
the end, like when it's not enough, she joker fies fine,
but it's like the reason that she's taking out violence
on Sue is because Sue is her and I don't know,
I guess a point that I guess couldn't really be
made by the movie because these characters only meet once
and try to kill each other. But it does seem
like it's at least hinted at that, like Sue is

(01:09:22):
valued more, but that doesn't necessarily mean that she feels
more comfortable about it. There's moments of that where stuff
like the chicken belly button moment, or like there's moments
where Sue feels genuinely ill at ease. I think the
move the part of the movie that makes me most uncomfortable,
Like the shrimp scene is brutal, but the scene at
the end where Sue it just felt like a bad

(01:09:45):
like again a bad dream, or like the feeling of
being too drunk in public where everything like her teeth
are falling out and she's like completely freaking out. But
she's like I just need to get out of this
building with everyone thinking I'm normal or yeah, like whatever,
smoking too much weed or like whatever it was like,
and just feeling like you are. You are the most
fucked up person that's ever existed, but you just need

(01:10:08):
this weird random man you don't know to think that
you're normal. I just like, really that really hit for me. Yeah, yeah, I.

Speaker 1 (01:10:16):
Want to go back to talking about the men in
this movie while fainest of me, but while we're on Sue,
something that you very much noticed when you're watching this
movie is all of the like lingering shots of a
woman's butt or breasts or just like you know, disembodied
body parts. That again another thing that we tend to
criticize because that is like generally male gaze cinematography. But

(01:10:42):
the way we see it in this movie, or like
the way it's framed, or I feel like the implications
it has is quite different than what we're used to
seeing when we see this type of imagery because it's
almost exclusively at the beginning of Sue's arc. We see
her and she's new, and she's young, and she's shiny,

(01:11:04):
and she's oozing sex appeal. There's like a part where
she cracks open a can of diet coke and drinks
it and it's shot like a commercial. It's like the
way that like marketing will manipulate people with like sexy
imagery to trick you into buying stuff because it's and
it's all like fake and false. And I think the

(01:11:25):
idea is just like, yeah, we're seeing all this, like
you know, disembodied body parts and butts and titties and everything,
but it's in the context of this woman who is
valued specifically for those things because she's young and has

(01:11:45):
this taut round buttocks again a lah Shrek too. That
it feels different than the like male gay cinematography from
a movie like whatever Transformers. When we're aggling Megan Fox's
body as she's like bending over a car and like

(01:12:05):
basically having sex with the car. It's not the context
isn't the same, the implications aren't the same. I think
you could still maybe criticize the cinematography of this movie, but.

Speaker 2 (01:12:16):
I understand why this would be up for like why
this would cross a line of like satire into exploitation. Yeah,
like I can see that. I don't it doesn't bug
me as much. I think if I liked the movie less.
I would lean more into that.

Speaker 1 (01:12:31):
Read right, but they're saying something with this type of
cinematography in this movie, what exactly are they saying. I'm
still working on it.

Speaker 2 (01:12:41):
Yeah, I think cinematography is one of the few things
that I could be swayed into being like, Nah, that
wasn't great.

Speaker 1 (01:12:48):
That wasn't necessary. Yeah, I feel like it's trying to
emphasize yeah, like this is what society is conditioning people
to value about young women and their bodies and their sexuality.
But that cinematography goes away as the movie goes on.
I'm still processing it. Listeners are curious what you think

(01:13:10):
about it, but I was just like.

Speaker 2 (01:13:12):
Yeah, I could definitely see different intern I also felt
like so much of this it feels like corally doing
sort of like an inside joke of like because it's
so over the top, because the movie is funny, just
not for a lot of the reasons that the men
in the room thought it was funny, which is why
I have sought out really no men's opinions on this movie.

(01:13:35):
But it does feel like a sort of like a
winky kind of reference to all the ways we've seen
women portrayed over the years. I can see how that
still might not work for some people, but it didn't
bother me. I did think it was interesting that she
says in the production short that she found this is
a male cinematographer, Benjamin Kracken, pretty cool name. She saw

(01:13:59):
his work. He was the cinematographer for Promising Young Women.
Oh yes, yes, a movie that has aged weirdly. I
kind of want to redo that episode. But yeah, it
wasn't my favorite element of the movie by a long shot.
But m hmm. I mean I liked more of the
like experimental fun, like the helmet shots and like the
bloodshot with the metal music.

Speaker 1 (01:14:19):
I'm like, again, technically this movie is great. There's awesome editing, awesome. Yeah,
I'm just like, I think there's probably like strong intentionality
behind these like male gayzy type shots. But what exactly
is it? Going back to the men, Yeah, we do
have a very like patriarchy the guy type in Harvey

(01:14:41):
in a way that feels appropriate because again, this is
so heightened, it.

Speaker 2 (01:14:44):
Just feels intentional enough.

Speaker 1 (01:14:46):
It feels very intenseing, right, But then you have other
guys that are like because in many movies we see
like just the one patriarchy. The guy in this movie,
it's like patriarchy.

Speaker 2 (01:14:56):
All the guys like there's something and they're like different facets, right,
Like for example, the Fred guy, the person she knew
from high school, he says something like.

Speaker 1 (01:15:07):
Well, now that we're reconnected, we can go out for
a drink. Meanwhile, they spent one second talking to each other,
but he thinks that like they've reconnected and that he's
entitled to her time now. And you know, he seems
like a quote unquote nice guy.

Speaker 2 (01:15:21):
But he's what does that mean?

Speaker 1 (01:15:23):
But he's not treating her like a person. He's like
putting her on a pedestal. He is like not acting
as though she's an actual, like equal to him.

Speaker 2 (01:15:31):
And Fred really quickly. Again, that's like it felt like
another like layered decision to have her, because she set
the boundary in the moment she's like okay, you know,
and like she's like give me your card but intentionally
doesn't share her contact info. Yeah, but again, I just
thought it was like a really kind of like sad
but understandable moment where it's like the way that she's

(01:15:53):
been conditioned to feel is like being objectified, is being seen.
So it's almost like, well, it almost like this movie
auberates on the assumption that there could not be a
man who would respect her and see her for her
who she is, which is quite sad, and that she's
like I just need to be like perceived by somebody,
and that's why she reaches out to him versus like

(01:16:13):
this guy's gonna be great for my life. It's just
like I just need to be seen for like fucking
three hours. Right.

Speaker 1 (01:16:19):
I didn't read it as like, oh, this is going
to be a potential romantic partner for her. It was
just that she needed some kind of validation from someone
who wouldn't be outwardly cruel to her.

Speaker 2 (01:16:32):
And that's like, you know, sometimes you need that.

Speaker 1 (01:16:36):
Look, I've done it.

Speaker 2 (01:16:37):
Sometimes you just need to be viewed for a couple
hours and they're awful and then you don't talk to
him anymore.

Speaker 1 (01:16:43):
Hmm. So there's his version of patriarchy. There are, of course,
like the casting agent guys who are only viewing women
as like objects and bodies and not actual people. There's
the neighbor guy, Oliver, who is furious when he thinks

(01:17:08):
that Elizabeth is making noise because she's old and growth,
but when it's a beautiful young woman who will.

Speaker 2 (01:17:15):
Making noise this cool sexy thing that they're all the
kids are. Yeah, that's like they're all a unique flavor
of growth that is recognizable. I guess like if this
was a different movie, and this isn't even a criticism
of this movie, I do think it would would have
been interesting to see women who are complicit in reinforcing

(01:17:37):
these standards. That's something that I actually do think that
promising young woman does relatively well. Was like with the
Dean character being like, yeah, I don't care because that
puts my job at risk if I, you know, take
your rape allegation seriously. And you know, I think there's
certainly room for that, but I don't know, it's just
hard to argue with how effective that Like, it's this

(01:18:00):
is not a movie for nuance. I don't know.

Speaker 1 (01:18:04):
Yeah. The last thing I wanted to do was just
like share a couple more quotes from Corley Farja. I
hope I'm saying her name right, We're saying it different.

Speaker 2 (01:18:14):
I don't know, I don't know, the.

Speaker 1 (01:18:16):
Friends, we don't know, we don't know French names. Just
to share a little bit more about kind of like
where she was and how she was feeling when she
was writing this movie. So that same off screen Central
interview that I quoted earlier, when the interviewer asked her
what inspired her to start writing the screenplay, Coraley said, quote,

(01:18:38):
really what I had felt my whole life about how
I had lived within my body, how I had been
led to constantly judge it in a negative way, how
I had been led to torture it in many ways to
try and make it look perfect with the beauty standards
that were presented to me as being the only valuable option.
And I think at every age I kind of fought

(01:18:59):
with something that I didn't like or that I felt
embarrassed with, until recently, when I passed my forties and
was going towards my fifties, where I started really to
have those violent thoughts like now it's over for me,
Like I'm not gonna be interesting to anyone, I'm not
gonna have an existence again. Like it was like so

(01:19:19):
violent that I decided it was the right time for
me to do something about all this, which I think
has strongly shaped my relationship to the world, and I
believe it's the same for many women. And I wanted
to really free myself from this or at least let
it out, like throw it out somewhere in an undelicate,
no control, not nice, not gentle way, which I think

(01:19:42):
is the kind of opposite of where we are kind
of asked to be unquote. So yeah, this is just
like just how she has felt about herself informing this story.
Why she went with Body Horror is basically an act
of defiance of like, oh, you want me to have
this perfect body and you want me to be delicate

(01:20:02):
and gentle and da da da, Well no, I'm going
to tell this story in a very violent way because
that's the opposite of what society expects of me as
a woman. So I just wanted to share that extra
context because I think, you know, the criticisms people might
have about this movie fair, But I do appreciate, as

(01:20:23):
we've said, that this is a different version of like
quote unquote hag woman as horror, but coming from a
very different perspective, coming from like experiential context, and it
made for a really enjoyable movie for me the end.

Speaker 2 (01:20:43):
I agree. I agree, Yeah, I think that like a
lot of the reads of the movie, and again, it's like,
if you don't like you don't like it. Also, not
everybody likes body horror. But most of the questions that
I had about where the movie is coming from, I mean,
have been pretty cogently answered by the writer director, So

(01:21:04):
I don't really know where you could ask. And if
you don't like you, you'll like it. If you don't
like it, you're wrong. And if you do like it
for the wrong reasons, I really hate you. I like,
really left with a real bone to pick with some
of those fucking neck beers in there, who you know,
don't piss me off.

Speaker 1 (01:21:25):
Is there anything else you wanted to talk about recording
the substance?

Speaker 2 (01:21:30):
No, I mean, I think it's worth mentioning. Although I
know that if you've seen this movie, it's fairly obvious
that while I think this movie has a lot to
say about the standards that are applied to women specifically,
this also appears to be like a pretty somewhat personal
story from Coralie Farsha, and therefore it is not a

(01:21:53):
particularly inclusive story. This is, while there are you know,
over arch expectations of women, this is a story specifically
about an aging white CIS woman, and everyone's version of
this experience is going to be different. If you're listening
to this show, you already know that, but it feels
worth mentioning. But again, that's not even really a criticism

(01:22:15):
of the movie, because one movie can't do everything, and
I really appreciate that, like Coraley is pulling from her
own anxieties about aging to make this. I feel like
it's what makes the movie really good, because she also
clearly has a good sense of humor about how fucked
up this is, which is like just very refreshing and cool.

(01:22:37):
But yeah, I think that was my last thing.

Speaker 1 (01:22:39):
The last thing I wanted to touch on real quick
was a lot of people have pointed out the parallels
between the substance and Death Becomes Her.

Speaker 2 (01:22:48):
Yeah I had not connected that, but totally.

Speaker 1 (01:22:50):
Probably other movies too, but I think that was the
one that people were drawing a lot of comparisons to.
And I find it interesting that the movies have a
similar pres but they take on a very different tone
where Death Becomes Her is like silly can't be fun vibes.
I had a similar thought, and I want to see

(01:23:10):
if this trend continues. But when I watched Anora, I
was like, oh, this is this is similar in premise
to for example, Pretty Woman.

Speaker 2 (01:23:21):
Right, which is like, that's very intentional.

Speaker 1 (01:23:24):
Right, yes, but it's like you know, from thirty years prior.
And it also takes on a very different tone. And
there was a third movie that I had this thought
about that it came out within the past year or two,
has a very similar premise to a movie from the
eighties or nineties, but takes on a very different tone,
like a darker, more cynical tone. I can't remember what

(01:23:45):
the third movie I'm thinking of is, but I'm just
curious to see if this trend continues where a familiar
premise from the past gets kind of recontextualized and retoned almost, And.

Speaker 2 (01:23:58):
I'm like, I wonder how that's going. It really like
depends on who's doing it, because I've only seen it once.
But I liked Anora. I didn't love Anora, but I
do like that how it's clearly in conversation with that
movie and like a way that is still you know,
not super punishing to watch. Yeah, I guess I didn't
even think with Death Becomes Her. I've watched that movie

(01:24:20):
somewhat recently. I watched it around Halloween because it just
feels right.

Speaker 1 (01:24:26):
But for sure.

Speaker 2 (01:24:27):
Yeah, I watched that movie around Halloween, and I do.
I feel like what is also like implied in Death
Becomes Her is that the central conflict is also sort
of around a man, whereas like around the women's relationship
to each other, but there's also a central conflict around
like who gets the piece of shit guy? And I
appreciate that the substance has no interest in that, and

(01:24:51):
there's just no uh nary a man in sight for
longer than a minute or so.

Speaker 1 (01:24:57):
True.

Speaker 2 (01:24:57):
So yeah, no, that's that's super interesting. I also it's
like two banger movies in completely different ways.

Speaker 1 (01:25:05):
Totally. Yes, just wanted to point that out. Yeah, does
the substance pass the Bechdel test?

Speaker 2 (01:25:13):
Yeah it does, it does.

Speaker 1 (01:25:17):
A lot of the movie is Elizabeth by herself or
Sue by herself. If they're interacting with someone, it is
often a man.

Speaker 2 (01:25:26):
Or like talking to the other one well unconscious, which
unfortunately cannot pass. But I thought that was a funny
almost pass where it's like, well, there are two women
in the room and the communication happening is important. However
one is basically dead right now.

Speaker 1 (01:25:42):
Responding Yeah, the scene where they're fighting each other toward
the end does pass the Bechdel test. I don't even
think they really say much to each other, but I
think them, you know, beating the shit out of each other,
that's interaction, that's communication.

Speaker 2 (01:26:00):
Like, does it pass the Bechtels has if it's two
halves of the same woman talking to.

Speaker 1 (01:26:06):
A yes it does.

Speaker 2 (01:26:07):
And spiritually this movie passes big time. But I agree,
I think that it's like it's so often Elizabeth's talking
to her self or making herself smaller to talk to
a man, which spiritually passes. But it's not as clean
a pass as you'd expect. But again, flawed metric. We've

(01:26:29):
said it a million times. We'll say it again.

Speaker 1 (01:26:31):
You know it's not a flawed metric. Tell me, Caitlin, Well,
it's the Bechtel cast nipple scale. It's perfectly metric that
deserves no criticism whatsoever. No, and we won't be hearing
any of course. It's the scale where we rate the
movie zero two five nipples based on examining it through

(01:26:51):
an intersectional feminist lens who. Okay, I would say that
even though this movie does a lot of the things
that we have criticized on the podcast in the past,
and if those things put you off from the movie
like fair. I understand that totally.

Speaker 2 (01:27:08):
It's not a movie for everyone, and that's.

Speaker 1 (01:27:10):
Fine, and that's fine, but context is very important to consider,
and in this case, the context and perspective narratively is
a woman interrogating her own experience with aging and how
society has made her feel about aging, and the commentary

(01:27:32):
on how society values or does not value women based
on their age. I feel like that is generally effective
commentary that the movie presents. The movie is very funny,
and I'm not even a big body horror person, but like,
I was on board so happy.

Speaker 2 (01:27:50):
When you loved this movie. I was like, that means
it's like good good, Because you're not always super on
board with body war art. That's a I don't like
it when.

Speaker 1 (01:27:57):
It's just there for the sake of being there, But
if it's there with a function and a purpose, I'm
fine with it. And it was to me serving a
very effective function in this story. Yeah, as we mentioned earlier,
I think there are aspects of this movie, especially much
of what happens in the third act, that could be
read as being quite ablest.

Speaker 2 (01:28:19):
And also if that is like a perspective that any
of our listeners have we would we would love to
hear more.

Speaker 1 (01:28:25):
Yeah, I wasn't able to find a whole lot of
writing about that specifically. I saw like a few tweets
to that effect, but not being yeah similar, So yeah,
I'd like to hear other perspectives on it. But I
think you could also maybe argue that there's a lot
of like gratuitous nudity in the movie. But I also
chalked that up to the director being French, and I
was like, French people just aren't as pearl clutchy about

(01:28:48):
nudity as my like prudish American brain.

Speaker 2 (01:28:51):
So and I did feel I mean, maybe this is
me again making an excuse for a movie I like,
which has happened before we've done it. But I agree
that there are moments of gratuitous nudity. I feel like
at least the intention was to comment on how gratuitous
nudity is presented, even though you I think you also
could argue that, like, aren't they just also doing it?

(01:29:13):
And the answer is maybe. But I like this movie so.

Speaker 1 (01:29:16):
So whatever, so I don't care. There were so many
parts though, where I was like, can't they just drape
a blanket over their other version of themselves. Isn't it
really cold and it's comfortable? They're all wild my bathroom floor.

Speaker 2 (01:29:32):
It is literally it awakens so many I have like
such a fear of I mean, it's because it's so common,
like slipping and falling in the back and like hitting
your head on tile. Yeah, which is part of why
that scene and oh my god, that scene in Titan
where she breaks her nose, oh, the like. But dem
and Margaret are like, like, I know that that's probably
just an expression of like the self hatred shared between

(01:29:54):
the two of them. But I know it's like tuck
her in, like at least get like a little like hey,
bail or something like I don't know something, Hey yeah,
exactly hay bail.

Speaker 1 (01:30:07):
I was gonna say, like silk sheets and.

Speaker 2 (01:30:11):
An air mattress, like it's not asking the world no.

Speaker 1 (01:30:16):
But anyway, all this to say, I think I'll give
the movie on the Caitlin's Rompometer scale ten out of ten.
On the Nipple scale, I'm somewhere between like a three
and a half and a four. I think I very
much enjoy the movie. It is not free from criticism,
I think again, various criticisms of this movie are very valid,

(01:30:39):
But again, the commentary that it does provide I think
is both effective and delivered in a really fun, enjoyable way. Yeah,
and like the delivery method of commentary can often determine
how effective it is. And when you're using comedy or

(01:31:00):
satire or body horror, whatever the kind of tone and
genre as a sort of delivery method for commentary, I
think the movie does a really good job with that.
So I'll say three point seventy five and I'll distribute
my nipples among to me more Margaret Qualy, Corale Fargah

(01:31:21):
and the Shrimps.

Speaker 2 (01:31:27):
I'm gonna go for on this, which might be recency bias,
and if so, so be it.

Speaker 1 (01:31:33):
That's life baby, That's life baby.

Speaker 2 (01:31:35):
But I really appreciate this movie. I feel I've and
again this is just my opinion. I feel like this
movie while I agree like there are many valid criticisms
that I think we will continue to hear more about
as time goes on. Yeah, I appreciate, Like I just
especially after listening to interviews with Coral Farghat that like,

(01:31:58):
the intent feels very clear that even if it is
not a message, that is for everybody, and that there.
You know, should be less white movies that are able
to tackle topics like these, and there are, But I
really I just love how it is like both a
broad nightmare and a weirdly personal story that clearly so

(01:32:21):
many people have connected to. And I would also really
be curious to listeners of your in theater experience because
I think that what we were talking about earlier in
the episode of like we were all laughing but we
weren't all laughing at the same thing, is such an
interesting thing to interrogate totally. But yeah, I think this
movie is fantastic. I love body horror, and I love

(01:32:42):
body horror that is very intentional and it's like saying something,
and the performances are amazing. I just think this movie
fucking rocks. Can't wait to see your next one, can't
wait to cover Revenge, And with that, I'm going to
give my nipplesyam and if to do me more when
a markeret quality, I'm gonna give one two Corley farshat

(01:33:06):
and I will give my final one too. Sorry, I'm
not giving it to the shrimp. There I said it.

Speaker 1 (01:33:15):
Wow, I almost thought you were gonna say Shrek Shrek. There,
I guess I'll give my last nipple to Alissa Su
Wow monstro Elissa Su.

Speaker 2 (01:33:28):
Yeah, rooting for her love. Huh. And with that, I
believe that we're sorry you didn't appreciate your experience with
The Buckle Cast. If you want to uh inject yourself
with the thing that makes you die, please do so. Now.
We're sorry you didn't enjoy.

Speaker 1 (01:33:49):
Yes, but if you did enjoy your experience, you can
follow us. You can support us by subscribing to the
Matreon Patreon dot com slash Bechdel Cast, where you get
two bonus episodes every month, plus access to the back
catalog of like somewhere around one hundred and seventy or

(01:34:10):
one hundred and eighty bonus episodes.

Speaker 2 (01:34:12):
Yeah, so an absurd amount of content. Yeah, And as
always the best way to directly support this show. And
with that, let's slither to our shared star in the
Walk of Fame and turn in blue misted.

Speaker 1 (01:34:31):
Let's do it, Bye bye. The Bechdel Cast is a
production of iHeartMedia, hosted by Caitlin Dorante and Jamie loftis
produced by Sophie Lickterman, edited by Mola Board. Our theme
song was composed by Mike Kaplan with vocals by Catherine Vosskrosenski.
Our logo and merch is designed by Jamie Loftis and

(01:34:54):
a special thanks to Aristotle Acevedo. For more information about
the podcast, please visit link Tree slash Bechtel Cast

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