Materialists (2025)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey, oh well, Casey, where are you? I don't see
you at all? Why is your camera off right now?

Speaker 2 (00:07):
I'm just I'm keeping my camera off for this episode.

Speaker 1 (00:12):
Why what happened? Are you? Did you get punched in
the face or something? What happened?

Speaker 2 (00:18):
I I just had a uh just very very minor,
very slight procedure done this past week, and I thought
it best that you do not see me just right
now in my current iteration.

Speaker 1 (00:33):
Oh my god, what did you get? Like a face
lift or something like?

Speaker 3 (00:36):
What?

Speaker 2 (00:38):
Really?

Speaker 1 (00:38):
No?

Speaker 2 (00:39):
No, nothing quite like that. Okay, Well, I guess you
know how famously I'm five to seven?

Speaker 1 (00:51):
Are you actually five seven?

Speaker 2 (00:53):
Yeah? I'm five seven and a half. Really I must
be I must be very short. I think I am
actually really short.

Speaker 1 (01:00):
I can't believe it because I thought you looked way
taller than me. I'm five to four.

Speaker 2 (01:05):
Oh well that's fine for you know, a woman. Uh
but yeah, like I said, I was, I was five seven.

Speaker 1 (01:17):
What do you mean you was? You were five seven?
What happened?

Speaker 2 (01:22):
Well? I didn't want to god, okay, I didn't want
to get into it on the podcast. But have you
ever heard of limb lengthening surgery? Lemley what I'm sorry?
Can you lamb lengthening surgery? Millie? Have you ever heard
of that? Uh?

Speaker 1 (01:41):
No, I haven't, And as a short person, I feel
like I should have. Like what does that entail.

Speaker 2 (01:46):
It's a procedure where you can have your legs lengthened
to add height to your overall stature. And I had
it done this last week.

Speaker 1 (01:58):
So you're telling me that you went under the knife
to get longer legs.

Speaker 2 (02:03):
And now how tall are you? How tall are you now?
So you know, I thought it'd be great to be
six feet. Oh, it would be great to be over
six feet. And the max you know, I thought that
you could do, uh was six inches, which would put
me up to six to one.

Speaker 1 (02:21):
Wow.

Speaker 2 (02:21):
You know, but I there was I think there was
some miscommunication.

Speaker 1 (02:27):
So so your camera's off because what happened now you're
you're all jangled angly.

Speaker 2 (02:36):
I just think they misheard me and they added sixteen inches.

Speaker 1 (02:39):
Wa. What hold on?

Speaker 2 (02:44):
I'm six foot eleven, Millie, So.

Speaker 1 (02:47):
What are you saying that you're like Victor Wembanyama.

Speaker 2 (02:49):
That's the worst part. I'm I'm still shorter than Victor Wembanyama,
and I don't have the wingspan. You know, now I
need to get arm lengthening surgery. So I look, it's
just a mess million, I'm embarrassed.

Speaker 1 (03:03):
Okay, well, okay, dude, I mean, I don't know what
to tell you. I I feel like you can your
worth is only getting better by being freakishly.

Speaker 2 (03:15):
See that's what That's what I feel. But I've I've
actually it's I've gone over I've overshot it now and
now I'm a I'm basically like a slender man. Yeah,
and it's just a disaster.

Speaker 1 (03:29):
Well, you're gonna have to be in a niche market,
a niche dating market, because you know you're.

Speaker 2 (03:33):
Well, I am married with a child and they're not
happy about it, certainly, so I'm not dating anybody.

Speaker 1 (03:40):
Well, having said that, we have an amazing episode this
week that is about one of the newest movies about
modern dating. Wuldn't you say?

Speaker 2 (03:50):
Oh, I would definitely say it's one of the newest
movies about modern dating. Surgery. Be damned, we're talking about
this movie on the podcast. We're talking about Materialists Selene's
songs follow up to Past Lives, and you and I
both saw this in the theaters and I don't know
how you feel about it, so I'm very intrigued to
hear your reaction.

Speaker 1 (04:10):
Oh, I'm intrigued to hear your reaction because obviously it
drove you to.

Speaker 2 (04:17):
Surgical heights if you will. Well, this was on the
books for many months. It happens that it's mentioned occasionally
in this movie.

Speaker 1 (04:25):
Yes, I see well, well, And like I want to say,
preface all of that by saying to you this, we're
doing a very brand new movie. We don't do this often.
It's like a movie that's in movie theaters right now,
So there's going to be spoilers perhaps, And if you
don't want to hear anything about this movie whatsoever, then
you might want to not listen this week. But we

(04:46):
would love it though, if you want to get in
there and chop it up with us.

Speaker 2 (04:51):
Well. Not on top of that, we're going to be
talking about some more film regrets. Actually, we're gonna be
reading people's letters that wrote in about their film regrets
because a lot of people responded to that, so be
kind of fun to revisit that. Maybe we have some
new regrets I don't know might come up, but we'll see.

Speaker 1 (05:04):
I know I'm loving the the enthusiasm around the regrets.
But yeah, stay tuned, it's gonna be an interesting episode.
You're listening to Dear Movies. I love you. Dear, I
love you, and I've got to know you love me to.

Speaker 4 (05:27):
Check the box.

Speaker 1 (05:35):
Well, hello, you are listening to dear Movies, I Love you.
This is a podcast for those who are in a
relationship with film. My name is Melie to Cherico.

Speaker 2 (05:46):
My name is Katy O'Brien. I had my procedure reverse,
but I'm back to normal.

Speaker 1 (05:52):
A god. I actually want I've always wanted to be
super tall. But I tell you about the whole h
I have had two inches stricken from my record by
my doctor.

Speaker 2 (06:04):
Oh it's like an astronaut coming back from space. You shrunk.

Speaker 1 (06:07):
Yeah, Oh yeah.

Speaker 4 (06:08):
No.

Speaker 1 (06:08):
I was always I always thought I was five six,
Like I will say, from like my early twenties until
about five years ago, I was going around the world
telling people I was five to six.

Speaker 5 (06:21):
Yeah.

Speaker 1 (06:21):
I felt very comfortable at five six, and then my
doctor was like, oh, no, you're like five four.

Speaker 2 (06:27):
And I'm like, man, there is a difference, isn't there.

Speaker 1 (06:30):
Yes for me because I come from like a line
of shorties. My mom is like.

Speaker 2 (06:37):
Five nothing, five to one.

Speaker 1 (06:40):
Yeah, so my dad's of average height, I would say,
I mean he's but he's you know, I wanted to
be really tall, Like I wanted to be like five
ten five eleven.

Speaker 2 (06:53):
I used to really wish I was taller. Yeah, it
really like.

Speaker 6 (07:00):
Me.

Speaker 2 (07:00):
And it wasn't so much in dating because he had
no problems there. But it's just more about like commanding
respect and like men treat you differently as a little
short guy, you know, like in high school and college
or even in bars, Like I feel like people are
maybe more likely to start want to start a fight

(07:22):
with you if you're littler. That's why I've had that up. Yeah,
you know, I've had a lot of I've had a
lot of grown men grab me by the collar.

Speaker 1 (07:30):
Are you fucking Are you serious?

Speaker 3 (07:33):
No?

Speaker 2 (07:33):
Oh yeah, I'm serious. God, what's wrong with you guys?
I know it's horrible. I agree. And so I was like,
I was like, if I thuldt it was bigger that
men wouldn't do that to me.

Speaker 1 (07:42):
Well, I'll tell you. Like, guys are disgusting for so
many reasons. Besides they pick on their own kind for
being shorter, They pick on women for being old and
fat and ugly, like this is this movie. By the way,
we're going to talk about materialists. I think you we've

(08:03):
already teased that in the intro. There will be many
discussions about modern dating, because this movie is really an
examination of modern dating, but just also it's so blunt
in the ways that it talks about modern dating to
the point where it kind of unmoored me a little bit. Yeah,

(08:25):
you know, and then it really brings up like a
lot of personal feelings about dating and about like these
little qualifications and all the uncomfortableness about height and weight
and money, income, education, all of these things we feel
so weird about all the time. So hopefully you'll you'll

(08:47):
be able to talk about it. Because I was like, damn,
I don't.

Speaker 2 (08:52):
Think you're short.

Speaker 1 (08:53):
That's the thing. I'm shorter than you, and I always
thought I when we were hanging on in person, I
thought you were tall. So it's all right.

Speaker 2 (09:00):
When we were hanging out in person, I thought you
were tall, Millie. I did not think you were short.

Speaker 1 (09:05):
I swear god, I thought you were like six foot.

Speaker 2 (09:07):
I'm not joke casing that is wild.

Speaker 1 (09:09):
I even told Danielle that I was like oh, he's
taller than you know.

Speaker 2 (09:12):
Do you think I would be a podcast producer? If
I was six feet tall, I'd be living in a
penthouse in Manhattan. I'm talking on a damn podcast in
my basement. That's real, though, that's real. You think a
six foot tall man would be doing this? Listen?

Speaker 1 (09:30):
If I was Elizabeth Berkley and Showgirls, I think you
know I wouldn't be here either. This podcast wouldn't exist
if we were.

Speaker 2 (09:40):
These were the hands, we were Delt's Millie. But before
we get into all that Millie, we must open up
the film diary, the ancient film text.

Speaker 1 (09:56):
This is getting heavier by the days.

Speaker 2 (09:59):
Each each which inscription make adds to its weight. And also,
you have you just scrap booking too. You're making this
to a scrap book, this film diary. Yes, you've got
your little high school logo stickers all over it. Shit
every every popcorn bag and bucket I flatten and tape
into the pages of the book.

Speaker 1 (10:22):
Let me ask you this. Do you want to go
first this week?

Speaker 2 (10:24):
Oh? Sure, yes, happy to Okay, cool? So it was
just not to timestamp this too much. But this past
week was fourth of July and Trisha was like, I
want to watch like American patriotic movie. I was like, wow, culture,
and she was like, let's watch The Fugitive. And I
was like, have you seen the Fugitive. That's not a

(10:45):
patriotic movie. And she was like, oh, it's not. I
thought it was like a I thought it was like
a political thriller. And I was like, no, it's not
at all, but let's watch it. It's great. So we
watched The Fugitive, which is like a very winter movie too,
which is kind of fun to watch during the summer.
Fugitive is great man Fugitive from nineteen ninety three, Harrison
Ford looking good. Have you seen The Fugitive?

Speaker 1 (11:07):
I think I did see it, but I'm gonna get
confused with Air Force One because I won one of
the movies I saw in a movie theater and it
might have been.

Speaker 2 (11:15):
I think The Fugitive is much better than Air Force One,
like Tommy Lee Jones won an Oscar for sure. Okay, okay, anyways,
did you so much that Tricia joy it? Yeah, she
really loved it. I think she gave it four and
a half stars.

Speaker 1 (11:29):
Wow.

Speaker 2 (11:31):
I also gave it four and a half stars and
Letterbox and then I'm doing a little bit of research
this week. So I watched Jurassic Park three from two
thousand and one. This is the goofiest, one of the
goofiest Jurassic parks I've seen. It was fine, it was minor.
It felt to me the stakes felt lower, It's much smaller.

(11:52):
I thought it was just okay, okay. But then I
watched Jurassic World Dominion from twenty twenty two, and that's
the Jurassic Park that came out right before the latest one,
which is Jurassic World Rebirth and Jurassic World Dominion. I

(12:13):
thought was very disappointing and it made me question. I
was like, what exactly is a Jurassic Park movie at
this point? Because Jurassic World Dominion is very like Mission Impossible.
It also had like it also reminded me of the
movie Commando with Arnold Schwarzenegger, where like a daughter is

(12:34):
kidnapped and they're going after somebody like kidnapped. Yeah, it
was a lot of I don't know, so a little
bit of a miss in my opinion.

Speaker 1 (12:42):
Well, thanks for telling me all that, because I feel
like I have to go on a similar research dive soon.

Speaker 2 (12:52):
Thanks. Anyways, that's all the movies I watched this last week.

Speaker 1 (12:56):
What about Well, at least she got The Future there
four and a half star.

Speaker 2 (13:01):
Yes, exactly.

Speaker 1 (13:02):
All right, So I actually watch four fucking movies this week, y'all.
Many of them one, two, three, Three of them were
first time watches.

Speaker 2 (13:14):
Wow.

Speaker 1 (13:15):
Okay, one of them is a huge, huge first time watch.
So the first movie I saw this week was Monty
Python and the Holy Grill.

Speaker 2 (13:30):
Wow. I can't believe you've never seen it. But also,
you were never a thirteen year old boy, so it
might make sense why that one didn't cross your path.

Speaker 1 (13:44):
I mean, listen, I am gen X or whatever. I'm
kind of that, like I'm in that zone. Remember bred
Berg talked about it. It's like, yes, we're like not
true gen X, but we're also not millennial because the
millennial starts like in a year or two after we
were born, because we were both born in seventy nine.

Speaker 2 (14:04):
Yeah, brett Berg was talking about how you were like
after the fact, kind of pushed into He was complaining
about this anyway that yeah, he feels like he was
pushed into being gen X many years afterwards.

Speaker 1 (14:17):
Yes, yes, I will say that there were people who
are in the gen X zone who are a little
older than me, that this was their everything, right, and
I respect that.

Speaker 2 (14:27):
I respect it.

Speaker 1 (14:29):
God bless you. It just wasn't on my radar, as
you mentioned, And when I finally sat down and watched it.
First of all, I'm doing a DVR cleanup of all
the stuff that I've recorded off of TV, and a
lot of it was on TCM, so this is why
I watched. I finally just decided to watch this movie.
I gotta tell you this, For me, I felt like

(14:52):
I was watching something way too late, Like I was like, oh,
here's something that I know is culturally significant. I totally
understand why this is popular with a certain age group,
but I understand why people still love it. But for me,
I don't have any childhood reverence for it. So I'm
just watching like kind of a you know, kind of

(15:15):
just like a broad comedy.

Speaker 2 (15:17):
You know. That movie was so hyped. I think I
saw it first when I was like twelve, Yeah, but
before that, it was like hyped up, like this is
the funniest movie of all time, this is like the best,
It's so funny, NonStop joke fest. And then when I
watched it, I remember being disappointed too. I have no
real affinity for this film, Like I don't really like

(15:40):
love it in the way that people like it's the
movie that got them into comedy, right, Like you hear
people say that that it's like that was like a
hugely influential film for them to like be like, oh,
I want to be a comedian after watching that movie.

Speaker 1 (15:53):
Well, and like this is the thing. This is why
I don't want to I'm not like shitting on it ultimately,
because every generation has like the comedy troupe of their
you know, of their generation. For me, it was Kids
in the Hall, So you know, I will always love
anything Kids in the Hall because when I was twelve,
I used to watch The Kids in the Hall and
I thought it was like the funniest thing in the world. Right.

(16:14):
There are people that I know that have never like
who are younger than me, who've never even heard of
the Kids in the Hall. They haven't even heard of
like Mister Show or any of these other things. So
you know, I get that, Like it wasn't part of
my childhood, so I don't feel anything for it necessarily.
The only thing I will say, and I won't say
it was a bad movie, Like, I don't think it

(16:36):
it's bad. It's just, you know, it's like watching like
a broad comedy with a bunch of jokes that you've
kind of heard third, fourth hand or whatever. The only
thought that I really did have the entire time this
is like such a stupid thought was I was like,
what is it about? Like the twelfth century Ish that
is so horny? Doesn't feel like the Camelot Night's era

(16:59):
was just like real.

Speaker 2 (17:00):
Horny, very horny, at least be.

Speaker 1 (17:04):
Like films.

Speaker 2 (17:07):
I remember we watched some movie in English class my
senior year. Maybe it was like Excalibur. It was some
nineteen seventies medieval King Arthur movie and there's like a
really long sex graphic sex scene in it, and my
teacher got up during it and like held a notebook

(17:27):
in front of it and fast forwarded and felt like
she was fast forwarding forever.

Speaker 3 (17:32):
So yeah, anyway, So I watched that for the fineteen
seventy fives, Monty Python and the Holy Grills, First time watch,
What's next?

Speaker 1 (17:43):
Then I watched this movie that I was a first
time watch for me, even though and it's insane that
it's a first time watch because I'm such a fan
of the main actor in this film. So I watched
this movie called The Fool Killer from nineteen sixty five.
It was actually programmed on TCM by Joe Dante. He

(18:03):
was like the guest programmer for the night, and he's
the one that I.

Speaker 2 (18:05):
Loved it too.

Speaker 1 (18:07):
So he picked this movie, which I think is great
because it I don't think it's ever aired on TCM before.
This would be something that i'd play on underground, to
be quite honest. It's basically this like weird Anthony Perkins
movie from like the mid sixties where he's like he's
kind of like dressed like Davy Crockett, and he's like
befriends the suck young boy and they have kind of

(18:31):
this like pure kind of like Huckleberry Finn Tom Sawyer
kind of relationship. But then he's a he's like a
murderer or serial killer. Anthony Perkins is not the child.
It's very strange. There's also like this part about like
where like a preacher comes on and starts like preaching

(18:54):
really loudly and crazily. I don't know. It was kind
of like a product of its time, meets like a
weird psychotronic movie. I don't know, it was. It was
very strange, but I was ultimately I was glad that
he picked it because I was like, Wow, I've never
even heard of this movie, So.

Speaker 2 (19:11):
I'm surprised Anthony Perkins wanted to do that movie be
a serial Killer after Psycho.

Speaker 1 (19:16):
I mean, he did Psycho's two, three, and four twos,
so I don't know. Maybe he was like, this is me.
I'm just gonna be this guy forerever. But but it
was kind of like an art of like one of
these like kind of interesting artifact type of films that
I'm just ultimately glad I saw. Sure, And then I
watched two movies that were part of the TCM Pride

(19:38):
programming month in June that I just had on the DVR.
I watched my first time watched was Go Fish. The
movie Go Fish.

Speaker 2 (19:46):
I've never seen Go Fish.

Speaker 1 (19:47):
It was good. It's so it got I mean talk
about like I remember when this movie was out in
the nineties. This was like a movie that got referenced
a lot when we talked about you know, like American
independent nineties films. This was like one of the staples, right, Yeah,
And for some reason, I just had never seen it.

(20:09):
Even though I have seen and watched many times The
Watermelon Woman who starts one of your returner. She actually
wrote GoFish.

Speaker 2 (20:19):
She also wrote American Psycho.

Speaker 1 (20:21):
Oh right, cool, Yeah, so she's she's idiot, And I
don't know. I thought it was great. It was a
it's a great like little independent movie, kind of like
a bunch of friends hanging out black and white. It's
really cool.

Speaker 2 (20:38):
And then from nineteen ninety four, yeah, yeah.

Speaker 1 (20:42):
And then the last movie I saw, which played pretty
much immediately after GoFish is and this is I've seen
this movie before is uh Sanchra Bernheart's Without You I'm
Nothing from nineteen ninety.

Speaker 2 (20:55):
On my watch list. I have not seen it. Alonzo
Dralda of the Maximum Film podcast recommended this movie to me,
and I still have not seen it.

Speaker 1 (21:04):
I actually think that he collaborated on the Pride programming
with my friend Ben Chieves who works at TCM.

Speaker 2 (21:09):
No, he might have, because he just had he recently
had a book released by TCM, The Pride.

Speaker 1 (21:16):
Yes. I think that was probably a promotional stunt for
him to come on to talk about. So anyway, it
was I actually played this movie in Underground many years
ago and it was hard. It was hard to see
for a very long time. It might still be actually,
but yeah, it's kind of like a one woman show

(21:37):
and it's on. It's like in film form. It's cool.

Speaker 2 (21:41):
So I love Sandra Bernhard. She's so cool.

Speaker 1 (21:44):
Yeah, she is really cool. That's it awesome.

Speaker 4 (21:48):
Yep, close it up, God, I close it.

Speaker 2 (22:11):
Okay, time to do our main discussion, which is on
twenty twenty five's Materialists, written and directed by Selene Song. Now,
Millie and I both saw this in the theaters, not
together but separately. I'm glad you didn't see it in
my theater because the air conditioning wasn't working.

Speaker 1 (22:28):
Oh real hot in there.

Speaker 2 (22:30):
So Millie, I don't have any idea how you feel
about it. So maybe you and I can each give
our three word review to maybe give some insight on
how we felt about this movie. And this isn't a
review podcast, you know, but it's good to say how
we felt about it because a lot of people are

(22:52):
talking about this movie saying it's bad, saying it's good.

Speaker 1 (22:55):
Yeah, well, I'm like to your point just now. Part
of the reason I pitched it was because I had
friends who were texting me being like have you seen materialists?
Like I got into your take. I got into your take,
and I'm like, you know what, we should just do
an episode about it because I feel like you and
I did you like Past Lives? Silly and songs? Per

(23:15):
previous film came.

Speaker 2 (23:17):
Out in twenty twenty three. I loved Past Lives and
me too? I was a puddle me too afterwards. Didn't
you have to be like airlifted out of the theater?
Am I thinking about that?

Speaker 1 (23:31):
Yeah? Of course I did. It was it was awful.
I was with other people and people that I wasn't
like super tight friends with, and I was such a
disaster that I like ran to the bathroom after the
credits started rolling and I like didn't come out for
a while because I was like, oh, I'm like, my
eyes are puffy.

Speaker 2 (23:47):
Yeah, like thick guys, you want to get some pizza?

Speaker 1 (23:49):
I know they probably go around now being like God,
that million to Cherco woman is insane. She like completely like,
you know, bald her eyes out at this movie now.

Speaker 2 (23:59):
But I loved it. I thought it was so it
was her first movie, but it just felt like so masterful.
And it was in the New York Times. Stap one
hundred movies of the twenty first I should have been
on there. So yeah, but I love I loved passline.

Speaker 1 (24:15):
Yeah, so well now so now we're moving, you know,
like to my friends. So to my friends who were like,
what do you what do you think? This is how
I think? In three words, right, m hmm, okay, three words,
I will say, weird as fuck? What about you?

Speaker 2 (24:34):
Weird as fuck? Let's see, I would say, mine's going
to be a question tonally, where are we?

Speaker 1 (24:44):
That's four words, right, I'll give you that extra word.

Speaker 2 (24:48):
Where are we? But just where are We're?

Speaker 1 (24:52):
Okay? That's your okay, totally is just your kicker?

Speaker 2 (24:56):
Wow? Okay, wow, Yeah, I mean it. The thing is,
I see what she's trying to do. But this is
ostensibly a romantic comedy, and it is. To me it
was not funny. I think that's kind of a key
problem is that I didn't find it very funny. Sure, sure,

(25:18):
and so it was hard to know the tone of
it and it could but it also felt very sincere
in the way that Past Lives is. Yes, but it's
a different movie than Past Lives. It's a different genre,
and it sort of has the bones of a romantic comedy,
but I don't know. This just really did not work

(25:43):
for me.

Speaker 1 (25:44):
This is interesting. Well okay, before we get any further, perhaps, yeah,
would you like to give a synopsis of sure?

Speaker 2 (25:55):
Sure? Sure, sure? Okay. So Lucy Mason by Dakota Johnson
is a very successful matchmaker for a high profile matchmaking
service in New York City. She breaks people down to
math equations, you know, height, income, looks on a scale
from one to ten, and she plans on being single

(26:15):
for the rest of her life. That is until she
meets Harry Castillo played by Pedro Pascal at a wedding.
He is a ten out of ten. He's tall, and
he's super rich. But he's unusual according to Lucy, because
he wants to date someone like Lucy rather than a
younger certified ten, which he could easily attain and normally

(26:38):
this type of guy would go for. But also he's
a little bit boring. I don't know. Anyways, they start dating,
but there's an issue because she also runs into her
hot ex boyfriend, John Finch played by Chris Evans at
this same wedding. Now he's poor and he's trying to
be an actor, and he's hot. There's chemistry. There's chemistry

(27:02):
between him and Lucy, and Lucy had broken up with him.
They had been together a long time, but I don't
know how far in the past they broke up, but
she broke up with him because he was broke. But
now she's got this ultra wealthy guy. I don't know,
what's a girl to do?

Speaker 1 (27:20):
Very good? Very good? Wow? Yeah, this sum okay. So
I don't even know how to begin, because I will
say I think first and foremost we need to talk
about what I think. It's kind of like in the
music world, there's that like second album Curse. It's like
the second film Curse, right, Yeah, because Selene's song you

(27:45):
know is an Asian woman. She made this really deeply
emotional and poignant movie first time ago. She wrote and
directed Past Lives right, and it pulls a lot for
her personal life because you know, that situation effectively, from

(28:05):
what I've read online and how she's talked about it
was sort of true to life for her.

Speaker 2 (28:11):
And in Past Lives, basically, she reconnects with an old
flaying who lives who's from Korea, but she's married to someone,
and but she wants to meet this guy in person.
When he visits New York, this guy from Korea, and
she's kind of like openly talking about like I had
feelings for him and I'd like to see him. And

(28:33):
the husband's kind of like, are you gonna like get
with this guy? And she's kind of like, I don't
know what's going to happen when I see this guy.
So it's kind of a Yeah, it's sort of a
love triangle type of movie. Past Lives is.

Speaker 3 (28:48):
Yeah.

Speaker 1 (28:48):
It has this sort of like really beautiful like kind
of through line, which is the kind of invisible thread
of connection that Koreans believe in, where you know, basically
like you're always going to be connected to certain people,
whether or not you're actually like physically with them or whatever.

(29:12):
And it's also like, you know, to me a lot
about you know, being from another country and immigrating to
It's like an immigration story about you know, seeing yourself
as like after you've moved to the West, like being
a more westernized person versus the way you were when

(29:35):
you were living, you know, growing up in Korean. How
you know, what kind of life do you have here
versus the one you would have back home. I mean,
it's just very comple I was very, very moved by it,
So you know, I feel like because of that, it
won a lot of awards, It got a lot of
acclaim There was just I feel like that way, when

(29:57):
you make this incredibly amazing first album, there's just no
way that the second thing is gonna make as much
of an impact. I feel like you're fucked in that way.
So there's this moment where I do feel like she
could have made any movie and it would have been like,
I mean, she could have probably made a Marvel movie
at this point, but like.

Speaker 2 (30:16):
I'm sure there were offers.

Speaker 1 (30:18):
I know, any movie she would have made would have
ultimately been like.

Speaker 2 (30:22):
Well, it's not like this first one totally.

Speaker 1 (30:25):
So I like to give a little grace for that,
I will say, but I also think that as a movie,
I won't say. Yeah, I thought it was. One of
my friends on Letterbox, Scott Yongbauer, who like does a
really great podcast called The Movies That Made Us Gay

(30:46):
with his partner Peter, they said that this movie was
secretly one of the weirdest movies he's ever seen, and
it was perfect because I was, like, I thought it
was kind of weird too. It's weird in the the topic,
the pacing the actors. You know, I don't know. I
thought it was kind of strange and I'm sure I'm

(31:07):
gonna get it.

Speaker 2 (31:08):
Yeah, I mean you feel very unmoored. Yeah, you're kind
of like, what is this movie?

Speaker 1 (31:15):
Yes? Well, and like this is I think one of
the most fascinating little trivia bits about materialists is I
did not know this at all, and how I came
to find this out was in this totally random way
on TikTok, which is where I find all of my

(31:35):
information at this point. So, Selene's song used to be
a professional matchmaker. Did you know that?

Speaker 2 (31:43):
No, not until you sent me the TikTok. Yeah.

Speaker 1 (31:45):
So there was a woman that used to come across
my TikTok feed for months and months and months. Her
name was Lily Womble and she actually hosts a podcast
and she has a very famous TikTok. But she's she
calls herself a feminist dating coach. Right, So she's somebody
that kind of, you know, is a professional matchmaker working
in New York. But is you know, trying to do

(32:05):
something different I suppose. And her insights are really interesting.
I like every time her TikTok comes across, I sit
and listen. But she was the one that I saw
a story right before I saw the movie. That was like,
I used to work with Selene's song at the same
matchmaking company, and pretty much the movie is like word

(32:29):
for word what we experienced together working for this company,
Like a lot of the dialogue of the dates and
stuff like those, like first person kind of perspective sequences
of the Jakota Johnson character talking to these people about
dating was apparently like real, real conversations, like real people

(32:52):
said those things, by the way, which is kind of horrifying.
But I thought that was so interesting because I was like,
I had no idea that she did any of that. This,
I think is a huge, huge theme of the film
and maybe is a little bit of an explanation for

(33:13):
the field itself, maybe a rationalization for the field of matchmaking.
And that's class. That's money, right. I will say, I've
never used a matchmaker, never really thought about it, and
that's a lot A lot of that is because I
don't have money to do these things totally. I would

(33:34):
never I couldn't justify spending the money to hire a
professional matchmaker. On top of that, and this I think
is a huge part of the film.

Speaker 2 (33:44):
Yeah.

Speaker 1 (33:46):
I feel like with this the type of matchmaking that
they're talking about in this film and perhaps maybe the
matchmaking that they were doing in real life as people
who were working in the industry at one point. They're
working primarily with people who have a lot of money.
You know, they have education, they have things. There's like
attributes about them that they feel like they need to

(34:08):
find in other people that they feel like they can't
just find organically, right, they need some kind of person
to come in there and create a filter that will
you know, basically bring them people that are what they want,
what they feel like they match with on a you know, cultural, societal,

(34:30):
financial level, right, Yeah, and this is I think that
that's why I think it's interesting because it's a world
that I just don't know anything about, and I actually
think it's interesting slash horrifying. And I think that's why
I was unmoored by this movie because it was like,

(34:50):
there are many many times in this film where the
realities of what people want in partnership were so fucked
up that I was like, oh, how how does anyone
find anybody? Like, Like, there are moments in the movie

(35:10):
where they're interviewing potential clients or their clients, and these
people have these extremely specific tastes and they have all
of these expectations that all of these you know this
like one person hands them like several sheets of printed
out paper that's like, this is what I wanted a partner,

(35:31):
you know, and they talk about this. It interviews that
I've seen with like the people that worked in this field,
but also with like people involved in the movie about
the racism, the fat phobia, the you know, the sort
of like the misogyny of this world of like the

(35:55):
ways like well you will you know, see it in
the movie where people are like I don't want to
date anybody that has more than a twenty percent BMI,
which is insane, like to even say it, to even
say it is insane, or they don't they only date
white people, or you know, the only date people that
have this salary, which in this film was insane because like, oh,

(36:19):
they got to make like five hundred k a year.

Speaker 2 (36:21):
I'm like, holy shit, I don't know a single person
who makes that much money in my life.

Speaker 1 (36:27):
Listen, we wouldn't be doing a podcast if.

Speaker 2 (36:29):
We again, we wouldn't be doing a damn podcast. If
we knew people like this, Yeah, No, And I think
the matchmaking service allows people to feel comfortable. That's like
part of the services thing is that, like it makes
people feel comfortable enough to be like to say the

(36:50):
most horrible stuff to them.

Speaker 1 (36:51):
Yes, well, in a way they're kind of like, I mean,
they're like, well, I'm paying for this, so I'm going
to get what I want out of it, which is
I'm going to say exactly what I want, even if
it's problematic or you know, like would get me canceled. Yeah,
and that was extremely distressing. And listen, we're in different

(37:15):
lots in life, right, You're married, you have a child,
You don't really have to think about any of this
at all. It's true, you just don't. I am single,
I've never been married, I don't have children, I have
never like, I don't I'm not on apps. I don't like,
I'm not doing that whole song and dance thing at all.

Speaker 2 (37:38):
Have you ever been on the apps.

Speaker 1 (37:41):
Briefly like I had had? So there were like maybe
two times where I was on an app for literally
more than one week. And when I say that, meaning
I probably had it for two weeks. I was constantly deleted.
I just felt so weird about them, like they don't

(38:04):
feel natural to me. I don't like the gamification of
dating that it does, like it makes you it's like
playing games basically. Yeah, And I just never felt like
I would win at the game, to be honest, and
so I just was like, well, I'm going to delete

(38:25):
this app. I downloaded it very like early days of
I think it was tender, like real early tender days,
like many many years ago. And then I downloaded it.
I think again when I moved to LA and then
was on it for maybe two weeks and then deleted
deleted it because I just just doesn't feel natural and

(38:48):
good to me. So have you were you on apps?

Speaker 2 (38:54):
That's how I met my wife? Oh bumble? I was
in those streets. I was in those apps streets for
a long time.

Speaker 1 (39:03):
Wow.

Speaker 2 (39:03):
No, of course, yeah, And I guess so after watching
this movie, I was like, where the women are like
they can't be shorter than whatever six feet and they
have to make this much money. I was like, yeah,
I saw this. I saw this on the apps. There's
a lot of women who put like no men under

(39:24):
six feet on their apps, you know, and which is fine.
I don't care. Yeah, but it's like I guess I
had sort of had a piece of taste of that
from the apps, and then on the reverse seeing how
like awful the men were being Like this forty eight
year old, thirty eight year old guy is like, I
want someone more mature, and they're like, okay, so someone

(39:46):
in their like thirties, and he's like, oh no, no, no, no, no, no,
you've got to be in their twenties, twenty seven. They
need to be twenty seven, you know. I was kind
of like, yeah, men are nasty and disgusting, and like
these rich men are disgusting. So I guess I isn't
as shocked by that, and so I was kind of like,
what the what was the what is this movie trying

(40:07):
to say that I didn't already know or experience?

Speaker 1 (40:11):
I see, I see, yeah, okay, yeah, I mean I
guess I guess you did. You were in those streets
a lot more than me. I Yeah, I feel like that.
The the bluntness at which that they talked about dating
was hard to hear, and it was like kind of

(40:35):
a constant throughout the movie. Now, this is the strangest
part for me. So in the During the course of
the movie, you have Dakota Johnson who is playing the matchmaker.
She matches a couple, they get married, she goes to
their wedding. She this is where she meets paid the

(40:56):
Page Pascal character, who's the brother of the guy that's
getting married right.

Speaker 2 (41:03):
Now.

Speaker 1 (41:04):
She's like, I want him as a client, and he's like,
I want you to be my girlfriend. And that is
exactly what I thought was kind of strange in the
onset about the Materialists, which I was like, Dakota Johnson
is extremely attractive, she's extreme.

Speaker 2 (41:24):
Everyone is so hot in this movie. Everyone has no
one has looked. Everyone looked as good as they've ever looked.
I thought, in this movie, right.

Speaker 1 (41:33):
There is There are times in the movie where I
was like, is she the right person for this role?

Speaker 2 (41:45):
I think maybe a lot of the problems from the
movie come from Dakota Johnson's performance. Okay, in some ways, yes,
I she's so beautiful and she's kind of like in
the movie she's like, you don't want to date an
old hag like me, and it's kind of like.

Speaker 1 (42:06):
All right, give me a break. He exactly wants to
date you.

Speaker 2 (42:12):
Yeah, But also there are parts where that are like
supposed to be kind of funny, but I don't know
if Dakota Johnson delivers those lines in a way that's
like funny. Now, and she really is doing nothing. It's
very muted acting, and I feel like this role kind

(42:34):
of required a little bit more I don't know, tenacity
or something. And I know she I know Selene's song
name checks broadcast news. But I was thinking a young
Holly Hunter would have been really good in this movie.

Speaker 1 (42:50):
Okay, So let's let's dig into this because this is
this is what I think is a tenant, a core
tenant of the rom com Okay. And you'll have to
forgive me if this, you know, sounds a bit weird,
but I'm gonna say it. I think that obviously, the
avatar for us, especially for me, for like, let's just

(43:14):
say me as a woman, a straight woman who is
interested in men, okay, is the relatability of the lead character.

Speaker 2 (43:24):
Okay.

Speaker 1 (43:25):
And with rom coms, that person your avatar can be sexy,
but they also have to be cute. Okay. They have
to be relatable so they can be extremely attractive. And
lord knows, I mean there's so many rom comms where
that woman is extremely attractive. I mean, Julia Roberts a

(43:45):
pretty woman and like freaking even I mean, I remember
when Britard Jones's Diary came out where everybody was like
Renee Zellweger was supposed to be like some chunky uggo
and she's extremely beautiful Sandra Bullock.

Speaker 2 (43:58):
I feel like every movie they're like, oh, she's hideous, Like.

Speaker 1 (44:01):
No, no, no, she's like a famous, famous actress who is
extremely gorgeous and could have any man she wanted. But
there is an element of I don't know, some kind
of this cuteness or this relatability or this quirkiness, and
that is something that I don't think Dakota Johnson gave
even this movie. There was no way in for me

(44:22):
with her at all. She could be a boss bitch,
she could be wearing her like you know, power blazers
and shit and click clacking around and you know, she
could be doing her job just fine and really good
at what she does. But was she giving me like
a way in beyond that, Like is she nice? Is

(44:44):
she like does she have like you know, I don't know,
like weird.

Speaker 2 (44:50):
Well that's the whole fucking thing where she's like I
drank a coke and beer and it's like, no, you
fucking don't cann We talk about this real quick. Her
drink of choice is that she orders a coke and
beer together and we never see her drink it. Does
she mix the two together or does she drink them separately?
But it was supposed to be kind of her like

(45:11):
quirky thing she got well right, and I.

Speaker 1 (45:14):
Think if she if we did see her mix it
and chug it like a boss, then I'd be like, oh,
I get it, like get her, yeah, you know, but
it was there was nothing for me to grab onto.
I was like, it would be great if like she
clogged a toilet at least once in this movie, or
like did something like funny and weird and like actually
like humanistic to me, it didn't feel that way.

Speaker 2 (45:35):
So was she so elegant and just so demure and
kind of like yes, muted and regal that there's no
way in with her. You're totally right.

Speaker 1 (45:47):
It was like she suffered from being like two chic too.
She and even though there were moments where she was like, well,
only make eighty eight thousand dollars a year or whatever, which,
by the way, any other part of the country, you'd
own a home, but you live in New York City
and you're a beggar apparently if you make eighty eight
k no totally.

Speaker 2 (46:05):
And there's like several moments where she's like, I grew
up poor. I was poor, and I was like, eh, no,
you weren't. Like I was just like, I don't believe
you like you weren't.

Speaker 1 (46:14):
Show it. Show how that works, because it's not. You
can say the things, But I feel like there has
to be a moment in a film where we get
it from a character perspective. But I gotta tell you,
as much as we're kind of like it seems like
we're kind of dogging out Dakota Johnson in this movie,

(46:35):
Chris Evans was not much better.

Speaker 2 (46:37):
Like I one hundred percent agree the everything that we
said applies to him. Yes, I'm like you, you are
not you are too beautiful and too chic, your hair
is too gorgeous, and like they kept being like he
lives in a shitty apartment, and it's like it just

(46:59):
didn't feel like it. It didn't feel he wasn't relatable.
I don't know he was. It was everything you say
it we just said about Dakota Johnson could be applied
to him as well.

Speaker 1 (47:10):
Yeah, I mean there was I think there was a
kind of an effort maybe with the acset work to
try to make him into this like Mindy Kaling guy type,
you know, like the like lovable, like Jersey New York
type of dude. But it just don't know, I know,
that's what I'm saying. I just don't think it hit.
And this is I think the problem with the relationship

(47:34):
because spoiler alert, they're you know, they broke up many
years ago, but now they're kind of backing each other's lives,
and I think you do have the traditional rom com
setup of the like should I go with like the rich,
handsome guy or like the poor guy that I love

(47:56):
type of thing, right, Yeah, But the idea that two
of them wanted to get back together was never really
fleshed out in a way that made me compelled.

Speaker 2 (48:10):
Like I was, like, I don't one hundred percent agreed.
There was no there was nothing in their story that
was like, see I've changed, I'm different now, or I've
come to a decision that we should be together. It's
just kind of like they end up back together. There
isn't really an inciting incident that propels them back to

(48:31):
each other. Right, they just kind of end up back
in each other's arm.

Speaker 1 (48:33):
Well, and like there's nothing human that gets shown in
the film that makes you believe that they want each
other despite all of the like economic machinations and the
pressures of capitalism, which are, by the way, are insane.
Like at this point in our life, I think that

(48:59):
people are scerned about money, and they are concerned about
money and lifestyle in a way that is not romantic.
It is not.

Speaker 2 (49:09):
Good, it's not good.

Speaker 1 (49:10):
People aren't good people now about money. People will break
up with you for being poor now, and people won't
even beat you. And this is like, I think this
is the truest part of the movie is that it
is so cutthroat in a way that makes you feel
like shit. And that's what I felt like, I feel

(49:31):
like shit when I was, like, you know, watching parts
of this movie. So in my mind, I'm like, show
me the thing that is going to bring these people
together despite all the pressures and all of the bullshit
and the horribleness of modern capitalism. Show me what they
have that is, And it's not dancing in a barn

(49:54):
with like string lights, which, by the way, Selaine's song
hats dring lights and past lives too.

Speaker 2 (50:03):
It's a millennial problem. It's a millennial disease, and fuck
if I'm not I'm cursed with it. I love a
string light.

Speaker 1 (50:18):
You love an outdoor string light.

Speaker 2 (50:21):
That's so interesting that we love anthropology, we love an
outdoor string light. I love that you.

Speaker 1 (50:29):
I was just produced to the millennials, like it's a
millennial problem.

Speaker 2 (50:32):
Okay, like it's a millennial problem, I will say. I
was like, this is a millennial movie from almost the beginning.
The beginning of the movie plays with like kind of
a montage of Manhattan and they're playing cat Powers Manhattan.
I was kind of like, hmm, I don't know. This
feels very two thy eleven. I don't know.

Speaker 1 (50:52):
I felt like that's what you're saying.

Speaker 2 (50:55):
It was very millennial COVID.

Speaker 1 (50:57):
Although I do love that song the I do.

Speaker 2 (51:00):
I love cap Power.

Speaker 1 (51:02):
Yeah, but it's it's funny because that moment where they
spoiler they uh drive up state and uh.

Speaker 2 (51:12):
Crass spoiler there are string lights and slow dancing, yes.

Speaker 1 (51:16):
And I think that was supposed to have been the like, hey,
isn't it aren't they they're supposed to be together. She's
not supposed to be with Pedro Pascal and is you know,
spotless well appointed Noguchi lamp apartment Like this is like
this is who she's supposed to be with. But it
was not enough for me. I think it just didn't

(51:37):
feel enough. It felt kind of hollow. Their relationship felt
kind of hollow. He I mean towards the end spoiler alert, Uh,
you know, he's basically like, I know I'm poor, but
I know I'm gonna love you, and I'm like, is
that it?

Speaker 2 (51:52):
And then she's like and I'm gonna be I'm going
to complain about being poor for the rest of our lives,
but let's do it. And I was like, well that
sounds bad too.

Speaker 1 (52:03):
I was like, are you really about to go back
in that apartment with the guy who left the condom
in the living room and stealing chargers and you about
to do that? Girl? Like, what's up? Like, I don't know,
I don't think. She didn't give any indication that she
was about that life, and uh, he didn't give any

(52:25):
indication that he was going to do anything different. I
don't It just felt not.

Speaker 2 (52:29):
It didn't feel very romantic. No, it like didn't feel
I don't know, I didn't feel anything. I think that's
a big problem here. I felt like, for how much
we emotionally felt in past lives, I felt nothing throughout
this whole movie for me. Yeah, so do you except
disgust at the dating stuff? I suppose I did feel

(52:50):
something with that, but just I don't know. I didn't
get the tingles.

Speaker 1 (52:54):
Well, okay, so this is I think maybe what we need.
I don't know. Hopefully I can flesh this out enough
to make you understand what I'm about to say. Do
you think that the Tingleys comes from a latent but
inherent corniness to rom coms that exists and you cannot

(53:19):
make a beautiful atmospheric rom com.

Speaker 2 (53:25):
I think that is correct. I think that inherently, and
in romance in general, inherently there's a bit of cornball
going on. Now. Do you think that Selene's song was
kind of like I want to make a romantic comedy
without the cornball? I intentionally, you know, I don't think

(53:51):
she was like doing the elevator pitch in the studio,
being like, I'm gonna make a beautiful, cold, slightly cold
atmospheric rom com uh, I'm going to turn it on
its like.

Speaker 1 (54:07):
I think that that's just maybe her visual creative style
that she was trying to apply to a genre.

Speaker 2 (54:20):
That is way more.

Speaker 1 (54:24):
Earnest and corny by nature. Does that make sense?

Speaker 2 (54:29):
Yeah? No, I think you're one hundred percent correct. Can
I tell you the biggest laugh the theater I was in?

Speaker 1 (54:35):
God this, I want to hear this because I feel
like it's the same one, But go ahead.

Speaker 2 (54:40):
I don't know, I don't know, Maybe it's not. So
there is a kind of a prologue and epilogue in
this movie of cavemen and cave people, which is not
meant to be funny, falling in love and quote unquote
getting married, and so you see that at the beginning,

(55:03):
and then there is some voiceover and towards the end
there's a voiceover of like, I think of the caveman,
the first caveman to fall in love and get married?
What was that like? Blah blah blah, And sort of
as she's doing that voiceover, we see Chris Chris Evans
walk in front of like a natural history museum and
it says like coming soon, caveman exhibit, And people really

(55:28):
laughed at that what because it was like, why is
there so much damn caveman stuff going on? I don't know.
I kind of like was like laughing at it too,
because I was like, really, did they have to have
a caveman exhibit happening in the background? I don't know.

Speaker 1 (55:45):
This is what makes this shit truly bizarre to me.
Like when okay, when this caveman thing happened, I was like,
where the hell are we going?

Speaker 2 (55:57):
Like this me too. I plugged my years really during
that part because I was like, this feels like a
rom com beginning where he gets like stepped on by
a dinosaur. Like I swear to fucking.

Speaker 1 (56:11):
God that I thought that that was going to happen.

Speaker 2 (56:13):
Because it was like I was so I was so
just like tumbling out into lost space. I have no
idea where so too many Jurassic Park movies. You're like,
oh Christmas, I'm coming in with some bias. I'll admit
I'm coming with some bias. But it just like that's
how out of the realm of safety I felt. I

(56:35):
was like, I have no idea what.

Speaker 1 (56:36):
Oh. I was like, is this the is this two
thousand and one a space outestly like what are we
doing here? This is insane and I mean just the
idea that a rom come.

Speaker 2 (56:51):
Earnestly starts like that, this earnest not that this was
not for Come.

Speaker 1 (56:57):
This was absolutely not for Okay. So the biggest laugh
that came in my movie, Yes, I want to spoiler alert.

Speaker 2 (57:06):
I think I know where you're I think I know
where you're going to be. Okay.

Speaker 1 (57:14):
So Paja Pascal's character, Okay is like, you know, obviously,
I mean, he ends up being the Baxter of the film.
If you know what a Baxter is is like you know,
the kind of it's kind of like film slang for
the guy that does not end up with the main character.
And he's like the you know, the lame duck type

(57:36):
of guy.

Speaker 2 (57:36):
Right, It's like Bill Pullman in Sleepless in CM, That's right.

Speaker 1 (57:41):
He's the He's the Baxter, the guy that loses the
girl for Chris Evans. Right. So he is revealed at
some point in the film. By the way, this was
dark as fuck. The reveal was very dark, also very strange.

(58:01):
But it's revealed that he has had leg lengthening surgery
much like I did earlier, but reversed and in the
beginning of the movie, anecdotally, they're talking these you know,
Dakota Johnson's talking to her coworker, and you know, her
coworker's telling her this anecdote about how there's now surgery

(58:22):
is where you can be taller, you can be actually
made taller, and that you know, in the dating pool,
being tall is obviously a benefit. And like guys who
are rich, who are trying to date supermodels who are
twenty two are a lot of them are getting this surgery,
and you're like, how absurd, how absurd, And then you
realize that he, his fucking ass, got the surgery right,

(58:46):
and it's revealed in this very dark, intimate way, which
also kind of made me laugh in this Stranger because
I'm just like, I don't know, this is like really tense,
and I feel like it's.

Speaker 2 (58:57):
Again, this is not I felt like this scene was
not played for comedy. No, it's not.

Speaker 1 (59:03):
This might mean it's so strange. So then he doesn't
want to talk about it. He goes to the kitchen,
you know, and he then they start having their like
what are we doing? Am I supposed to be with you?

Speaker 5 (59:14):
I don't know.

Speaker 1 (59:15):
I think you want me, but you don't want me
and you're just you like me on paper. So they
kind of like have their breakup moment, right there's like
a liar of bitch. Pascal just like is this about
the leg? And everybody laughed.

Speaker 2 (59:30):
Really, but that's not a joke. I didn't feel like
there was a joke. Wasn't a joke.

Speaker 1 (59:34):
But I think it was just like his delivery and
the absurdity of the entire scene, like the absurdity of
all of it. Everybody just laughed because we were just like,
it is about the leg. Actually, I think maybe I
don't know.

Speaker 2 (59:51):
That would have been a great moment if she was like,
it's a little bit of it, like, but she was
like no, I just I feel like I know you
more now because of that. At the end of that scene,
he crouches down to where he would have been at
five six and he's like, could you've dated me? He's like,
I never would have asked you out if I was
this hight and she's like, I think you would have.
And it like cuts to a wide of him like

(01:00:11):
crouching with this little butt out and I'm like, is
this not funny? This feels funny, but it's not a
joke either.

Speaker 1 (01:00:18):
I just felt very strange, a getting very strange, but
everybody laughed. I don't think it was supposed to be funny,
and yet I think there was like a tension building
up with the audience where we're like, okay, we have
to laugh at this. As much as I've I've talked
about disliking a lot of what was happening, I am giving.

(01:00:44):
I'm saying too that I think she if any movie
she would have made, would have ultimately ultimately been compared
to past lives and she would have lost ultimately. I
also think that the marketing of this movie is very strange,
and a lot of people have said that, Like I've
read reviews about how people were like, you know, the

(01:01:06):
way that this film was being presented is not what
actually it was. And maybe I mean, we've seen that
happen many times in Hollywood, where a film is not
what we thought it was because whatever, like the marketing
people that or wherever company are like, we're trying to
make this into a movie that we want to sell,

(01:01:28):
not what this movie actually is. Type of thing.

Speaker 2 (01:01:32):
I will say, this didn't feel like a sellout movie
to me, and it didn't feel like I felt like
Selene's song was trying something. I don't feel like ultimately
it worked, but I still like respect the movie and
what it was trying to do. I do think she

(01:01:52):
ultimately failed at doing that, but that doesn't like a
lot of great directors try to do something and don't like.
I mean, this is maybe a silly example, but I
think of like Ori Astor's bo Is Afraid. I was like,
that did not work for me, and I don't know
what that was. But that doesn't mean I like him
less than as a filmmaker, or I don't feel like

(01:02:14):
this takes away anything in my opinion of her as
a filmmaker, you know, because I feel like she really
swung for something. Yeah, And that's kind of all I
ask of film directors, to like try something interesting and
to do something unique, yeah, you know, and I think
she really tried to do that.

Speaker 1 (01:02:33):
Yeah. And I mean like she should continue to make
all the movies that she wants to make, honestly, Like
even if this one, ultimately, you know, wasn't hitting as
hard as Past Lives. I mean, this is I think
what's going to be actually really interesting. As we talk
about this a lot in Hollywood about you know, movies
that are panned or misunderstood and that get reevaluated. I mean,

(01:02:55):
I can actually see people reevaluating this movie later.

Speaker 2 (01:02:58):
Like I a hundred this is the This is the
type of movie that ends up on like the Criterion
Channel or the Criterion Collection like twenty years from now,
where it's like, we didn't quite understand this at the time,
And I would be one of those people who didn't
quite understand it at the time. But I think this
is the classic type of movie that screams for reevaluation

(01:03:19):
years from that.

Speaker 1 (01:03:20):
Yeah, and this I'm so guilty of that too. I mean,
I mean, I think one of the famous ones is
that I remember not really enjoying Maulholland Drive, David Lynch's
Maholland Drive, and I first saw and then I saw
it many years later. I saw it fairly recently in
the past year, and I think it's a masterpiece. So,
I mean, a lot can change totally, but I ultimately, yeah,

(01:03:42):
I feel like this is such a bizarre film for me.
The one thing that I do think is really interesting
is that, Okay, so Past Lives is a movie that's
ultimately about three people, sort of like a love triangle.
Then there was a lot of conversation around when Challengers,

(01:04:04):
the movie Challengers came out, So that movie was written
by her partner, and that is ultimately a movie about
a low triangle. And I remember everybody being like, huh,
that's really interesting. There's like a love triangle, two love
triangle movies made by a couple. That's interesting. And then
he got this movie that's also sort of about a

(01:04:25):
love triangle. What is it about love triangles in this family?
What's up?

Speaker 2 (01:04:32):
Do you think part of it is that Selene's song
was trying to say to people after past lives, because
at the end of past Lives, she goes back to
her husband, she doesn't hook up or get with the
Korean man from her past. Do you think that this

(01:04:54):
movie is her way of saying, like, no, no, no,
I always will prefer the art a poor guy over
the successful, rich, tall guy.

Speaker 1 (01:05:06):
I mean perhaps, yeah, I mean I feel like, okay,
that's a very interesting concept that this family is drawn
to stories about yeah triangles. However, it is kind of
a great narrative device, right, I Mean, there's just totally
there's a lot of drama in that scenario, so why.

Speaker 2 (01:05:29):
Not can I say something sort of something else that
unmoored me from the very top of the mode. Sure.
Dakota Johnson's coworker Daisy, who she talks to about the
height lengthening surgery and kind of the other woman who
she works with. She's played by Dasha Nekrasova. Do you
know who that is?

Speaker 4 (01:05:48):
No?

Speaker 2 (01:05:50):
She is the host of the podcast Red Scare. And
she used to be a huge Bernie bro slash, huge
socialist advocate, and now she's a huge right winger Donald
Trump supporter and like Alex Jones fan what And she's

(01:06:10):
like really pro Donald Trump now and has been for
a little while. And I was like, why is she
in this fucking movie?

Speaker 1 (01:06:19):
Wow?

Speaker 2 (01:06:20):
And so I was just like what the hell when
I saw her on screen?

Speaker 1 (01:06:24):
So I did not clop that whatsoever. I've never even
heard Red Scare though, So that's my interesting wow. Huh. Well,
is there anything else to say about materialists? I mean,
I feel like we obviously went super hard, super like.
I think we both came to the same conclusion about it.
And I'm actually surprised that we both felt very similar

(01:06:49):
about it, because a lot of times you and I
don't and you know, which I think is also great.
I mean, that's part of having a podcast with you
is that week.

Speaker 2 (01:06:56):
It is interesting. We were like completely aligned on this
because if you look at like I, a lot of
my friends and people who like whose film opinions I
really respect, really liked this movie, and we're like, oh,
I love this, this is really working for me.

Speaker 1 (01:07:10):
Huh.

Speaker 2 (01:07:11):
So just because I didn't see it with this one
does not mean that you won't like I don't. I
actually don't think this is a bad movie because I
think what she's attempting is honorable and good. Yeah, you know,
but so I'm not even like saying people should skip
it because it is an interesting film.

Speaker 1 (01:07:30):
Yeah, it's pro cigarettes. I think we need to make.

Speaker 2 (01:07:33):
That distinct great cigarette. Actually again, you know what I
will say. You know, we talked about in our episode,
which my dad loved. He loved the cigarette episode and
how he's like, you can tell when actors don't know
how to smoke. He brought he brought that up that
he really loved that coment.

Speaker 1 (01:07:51):
Oh my god, Casey's dad, thank you.

Speaker 2 (01:07:54):
Yeah, Kevin O'Brien, Kevin shout out, shout. But I will
say I feel like Chris Evans and Dakota Johnson don't
know how to smoke.

Speaker 1 (01:08:04):
Yeah, I feel like he smokes weed. There's also that too,
where you can see somebody who smoked marijuana but never cigarettes.

Speaker 2 (01:08:14):
Yeah, so interesting.

Speaker 1 (01:08:17):
Well, I think Patrick Pascal should have just taught him
all how to do everything. They'd be like, listen, I'll
teach you. Oh yeah, teach every all the tricks in
the book.

Speaker 2 (01:08:25):
Can't you just see a cigarette just hanging on his
lip as he's doing, I don't know, something fixing a car.

Speaker 1 (01:08:32):
I mean, they showed the trailer for the new Ariostra movie.
Uh huh, and he's in that. Yeah, and he looks
damn fine. He needed like he's he is my He
should just be in Westerns again. I know, I'm describing,
you know, careers to these very famous people where I'm like,
I'm sorry, but you should just stand erotic thrillers. With

(01:08:55):
Patrick Pasko, I'm like, could you just stay in Westerns
and like, you know kind of I don't know, like
morality tales, action films or something. I don't know.

Speaker 2 (01:09:05):
He's just is like he's got that gravitas he does.
He's good man. I love Pagan.

Speaker 1 (01:09:14):
He doesn't have to lengthen his legs a damn inch.
As far as I'm.

Speaker 2 (01:09:17):
Concerned, how how tall is Pedro Pascal in real life?
Let me look this up? Do you ever do that?
Look up height on celebrities?

Speaker 1 (01:09:25):
Of course, I think they're all lying. That's why I
don't really think about it.

Speaker 2 (01:09:28):
I mean, see, he's five ten in real life.

Speaker 1 (01:09:32):
Yeah, yeah, I thought he was taller.

Speaker 2 (01:09:36):
He's supposed to be six foot in this movie.

Speaker 1 (01:09:38):
So I mean, that's what's what I mean, is like,
how tall is anyone? Like? I feel like I'm the
shortest person ever. I feel like you're the tallest person ever.
So I have like, you know.

Speaker 2 (01:09:50):
Well I am now thinks to my surgery.

Speaker 1 (01:09:55):
Oh Jesus Christ. Well, okay, we've done all we could
with materialists. I suppose it's time to move on.

Speaker 2 (01:10:02):
Time to move on, all right. So a few weeks
ago we did a film regrets segment which was very popular,
huge numbers, and we got a few people writing in

(01:10:24):
about their own film regrets, and I thought it'd be
fun to kind of read some of these just and
if you have any new film regrets, Millie hop In, Okay,
I will film regrets, Hi Millian Casey, ooh, film regrets.
When you started talking about film regrets, my mind immediately
turned to Harmony Kreen. But then you, of course beat
me to the punch. Honestly, I hope everyone who came

(01:10:46):
up watching films in the nineties has some regret about
Harmony Creen. Here's a brief synopsis of my own story
for your entertainment. I saw Gomo on a first date
with a guy I had a huge crush on. It
was uncomfortable and terrible, but after it was all over,
he still wanted to continue to date, which I took
is a good sign, like he'd passed some kind of test.
He was cool. He liked Harmony Kreen. Of course, looking back,
his belief that a Harmony Kreen movie was appropriate fodder

(01:11:08):
for a first date should have raised a million red flags.
The relationship, short lived, thankfully, turned out to be as
unsavory as the movie. Anyways, Thanks for the show. I
love listening, Elizabeth. So that's sort of in reaction to
a conversation.

Speaker 1 (01:11:24):
Thanks for writing.

Speaker 2 (01:11:25):
Have you ever been on any dates that were like, WHOA,
this isn't a good first date movie?

Speaker 1 (01:11:30):
Hmmm, I don't think so. Anytime I've watched something problematic.
I go by myself because I just know I'm like,
if I brought somebody to come see Wake and Fright
or Cannibal Holocaust, like people would think I'm a horrible person.

Speaker 2 (01:11:49):
Yeah yeah, So I just go and do that on
my own. We can. Fright's not a good first date movie.
There's too much kangaroo murder in that. Listen.

Speaker 1 (01:11:56):
I felt like a bad person with a trench coat
when I did that a lot. That was on Valentine's
Day too. I watched it on Valentine's Day. Jesus, what
a psycho.

Speaker 2 (01:12:05):
Okay, I saw Steve Jobs, the Danny Boyle Michael Fastpender
movie on the first date with my wife.

Speaker 1 (01:12:14):
We ended up married, and then Steve Job you had
a Steve Jobs themed wedding and uh huh.

Speaker 2 (01:12:20):
We all wore black turtlenecks and little glasses and tucked
our black turtlenecks into jeans and we all looked beautiful.

Speaker 1 (01:12:28):
Now that's a wedding I'd crash, So.

Speaker 2 (01:12:33):
Hide your movies. The first three movies I regret upon
a second watch would be the following number one, Garden State.
I should direct you to one of our early episodes
about Garden State cases. Uh, I'm just gonna read the
movies that they said. They have a little bit of
an explanation, but I'm just gonna read the movies that
they sent in. So number one was Garden State. Number

(01:12:55):
two was five Hundred Days of Summer. These are kind
of similar, Hurt. I think that you would like as
they're kind of sincere movies, and I could see how
that you got turned off by those overtime number three
True Romance. Ah, I'll just read what they have to
say about this. I remember finding this so darling and

(01:13:16):
refreshing and how bold it was. I remember thinking there
was so much nuance and cleverness with Dennis Hoppersin dropping
N bombs left and right to Christopher Walkin. Upon watching
it again, yikes, it just feels like another moment where
Quentin Tarantino wants to say the N word many many
times over. Did not age well. Many thanks, Katie, Thank you, Katie.

Speaker 1 (01:13:38):
Katie, thank you for those film regrets.

Speaker 2 (01:13:41):
Okay, and then here's a voicemail that I'll play for
you for the last one.

Speaker 6 (01:13:46):
Hi, Millian Casey. I was inspired to send this voicemail
based on your film regrets section. I loved the movie
Forrest comp growing up. But when I was listening to
an episode of I saw what you did. I think
you talked about Forrest Gump being an unreliable narrator, and
that shook me to my core and made me question

(01:14:06):
my entire existence, essentially because I was so moved by
Tom Hanks's performance as a nine year old that I
wrote him a letter. And I don't actually know if
my mom ever sent it or if she kept it,
but I did do that, and that led me to
a question, which is what performances really.

Speaker 5 (01:14:25):
Moved you as a child. I'd love to hear that.
So thanks And that was from Kate. Thank you so
much for sending in that voicemail Millie rocking people's worlds
about Forrest Gump.

Speaker 1 (01:14:37):
Yeah, I actually that is a little I mean when
I said it, I feel like I'm the one that
called him an unreliable narrator, didn't I.

Speaker 2 (01:14:47):
I can't remember exactly how that conversation.

Speaker 1 (01:14:49):
I can't remember either. Well, yeah, and when you when
you find that out, you're like, huh, what, so you're
telling me that he did not go to Vietnam and
he did not create it. Extremely cessful shrimp company, and
he wasn't a ping pong champion, and he didn't run
across the country and create the shit Happensticker.

Speaker 2 (01:15:10):
I kinda I disagreed with this thesis. I think I
don't think of him as an unreliable narrator. I think
all that stuff happened in the world of that movie.

Speaker 1 (01:15:21):
I try, well, that's where you and I finally disagree. Finally,
So to answer the second part of this question, what were.

Speaker 2 (01:15:30):
Some performances that moved you when you were a child.

Speaker 1 (01:15:34):
When I was a child, like, everything moved me.

Speaker 2 (01:15:37):
That's the thing.

Speaker 3 (01:15:37):
Is it like?

Speaker 2 (01:15:38):
Oh?

Speaker 1 (01:15:38):
It only took me, being an older person, to being like,
oh is it good? Or was I horny? I mean
as the question, yeah, I mean shit. I fucking loved
Patrick Swayzee in every movie and Ghost and in Dirty Dancing.
I was like, it moved beside myself. I cried when
dB Sweeney confesses love to Moira Kelly in The Cutting Edge.

(01:16:03):
I cried when Kevin from Home Alone was in the
church with the old man Marley. So all these moments
I've cried, I've cried. I cried the entire time through
this movie called The Boy Who Could Fly, which I
think was like maybe a Disney movie with Fred Savage

(01:16:24):
about the autistic boy who's the neighbor of this like family.
I think Bonnie Badelia was the mom. I don't know,
It's like I cried throughout that entire movie. That performance.
I thought Christian Slater and Untamed Heart was should have
go on an oscar when I was twelve. Okay, that
was a.

Speaker 2 (01:16:44):
Big narrative for me as a child, being like I
truly don't understand why Space Jam wouldn't get nominated for
Best Picture, Like I don't understand, like as a child.

Speaker 1 (01:17:03):
It only it would only get nobodyd for like a
technical oscar and they don't even show it. They do
that ceremony on like Thursday mornings.

Speaker 2 (01:17:12):
I remember going to the movie theater with my grandparents,
who would see everything. They would see every movie, and
I remember frequently I would be like that movie was awesome,
and they'd be like, that's stunk. I remember seeing The
Phantom with Billy Zane, yeah, and I was like, you know,

(01:17:36):
I was eight years old, and I was like loved it.
I was on the edge of my seat and I
was like dancing out of the movie. Theater and my
grandparents are lying that was a waste of ten bucks.
I wish I could have that afternoon back. That's stunk,
and I'd be like, what.

Speaker 1 (01:17:56):
Kevin's parents or.

Speaker 2 (01:17:58):
Hear my mom h Vernon Lois. I love them, I
did love them. But my grandma especially was very vocal
about movies she thought were bad. So I thought that
was that. I look back on it, I love that.

Speaker 1 (01:18:17):
I swear my parents loved every single movie that they
came across. So I have no idea what that would
be like to come out of a movie and be
like that was a piece of shit.

Speaker 2 (01:18:31):
Holy lord, moving performances that moved me. I can't even
really as a kid, I was a kid as a kid, yeah,
I know. But that's the thing. It's tough because I
don't really feel like I noticed movie performances in the
same way I do now, you know. I think I

(01:18:51):
would say. The one thing that comes to mind is
in The Never Ending Story, when a tray U's horse
like get stuck in the mud and dies. I remember
thinking the kid was really I was like, I really
felt for a trade, yeah, and was really impressed by

(01:19:11):
them in that movie. Yeah, that's the only thing I
can really, I can't think. I mean McCauley Culkin was
my favorite actor. I remember thinking that, like, he's my
favorite actor.

Speaker 1 (01:19:23):
So you but you had seen him in other things
other than the Home Alone series by that point.

Speaker 2 (01:19:27):
No, I don't think so. I mean I've just seen him.
I'd seen him in Home Alone one and Homo Alone two?
What more was there to see? And then I remember
when The good Son came out. I was like, Mom,
can I see that? And she was like, no, you cannot.
I was like, what, She's like, that's rated R. I
was like, how could McCauley do me like that? Being

(01:19:49):
an R rated movie?

Speaker 1 (01:19:50):
That's that was the kind I mean we talked about
like dark kid turns in the Showgirls episode that was
his little dark turn, right.

Speaker 2 (01:20:00):
He's not He's not the good so he's a bad one.
He's a bad boy in that one. Anyways, that's any
other film regrets you got Millie before.

Speaker 1 (01:20:10):
We of course, I have film regrets every day in
my life, so I could name all of them. I mean,
I can't believe how many fucking BTS documentaries I've watched
that should be a film regret.

Speaker 2 (01:20:21):
I mean, are you kidding?

Speaker 1 (01:20:22):
Me, I've seen like four or five How is that
even possible?

Speaker 2 (01:20:27):
Four or five?

Speaker 1 (01:20:28):
Yeah, I've seen like four or five BTS documentaries.

Speaker 2 (01:20:32):
Casey, Like you know, I feel like you're you're kind
of cooking the books on your letterboxed diary there, because
I don't those have not been brought up in the
in our diary sections.

Speaker 1 (01:20:46):
I watched them pre this podcast. Okay, but if you
go deep enough, you'll see him. You'll see junk Cook.
I am still junk Cook Colon, I am still. I mean,
I've never heard of a band making so many documentaries.
I mean, I guess there's like seven of them. They've
been around for over a decade. I guess you'd get

(01:21:07):
a couple. But I feel like they've got a lot
a lot of documentaries about them, So I don't know.
I've seen a lot of them, and I'm like, that's
how that's a film regret. I suppose.

Speaker 2 (01:21:18):
Would you call it?

Speaker 1 (01:21:19):
Now, let me ask you this, this is a hard question.
Would you call Materialists a film regret?

Speaker 3 (01:21:23):
No?

Speaker 2 (01:21:23):
I would not. I would not say that. Even though
I reviewed it negatively, I'm glad I saw it. I
love movies like this that are trying to like Broadcast
News is a movie I hold so dear and that
that threads the needle of drama and romantic comedy that

(01:21:45):
I think this movie was attempting to do the same. Sure,
and I love The Apartment, which also threads that needle. Well, yes,
but it's a difficult thing to do, and there aren't
many movies in that kind of genre that I felt
like Materialists was trying to be a part of. But yeah,
you know, yeah, yeah, I don't know. Ask me again

(01:22:07):
in twenty years when you're still doing this podcast.

Speaker 1 (01:22:10):
Yeah, we're still like in the basement being five eight
and five four, respectively.

Speaker 2 (01:22:18):
Say I'm five to seven and a half.

Speaker 1 (01:22:20):
Okay, all right, I'm giving you the extra Okay, I'm
your friend. Well listen, I'm loving the film regrets, so
keep sending.

Speaker 2 (01:22:27):
Them to us.

Speaker 1 (01:22:28):
This is so so fun, love it, Millie.

Speaker 2 (01:22:31):
Moving on to our employees Picks, which is our film
recommendations based on the theme of the discussion. Do you
have a recommendation for us today?

Speaker 1 (01:22:41):
I actually do, And I know we're going to have
to go down one of the little tributaries this week,
because you know, we talked about Celine Song who directed Materialists,
in Past lives we talked about those ad nauseum. So
I'm actually one of the things that is was really
interesting to me is what I was watching Materialists, and

(01:23:03):
I saw the production credits at the beginning of the film.
I realized that it was produced by Killer Films, which
is a production company that's co owned by Christine Vashan,
who was a very very famous producer, was extremely important
to like the nineties independent cinema movement. She in fact

(01:23:23):
produced Go Fish, which I talked about in my film diary.
But she did everything. I mean, she did all the
Todd Haynes movies. That's how she kind of got her start.
Kids Happiness, Velvet, gold Mine, Boys Don't Cry, There's a
ton Headwig. But one of my favorites from her production

(01:23:46):
company is a movie called I Shot Andy Warhol from
nineteen ninety six.

Speaker 2 (01:23:53):
And we just mentioned Gwen of Your Turner earlier, who
co wrote American Psycho with Mary Herren.

Speaker 1 (01:23:59):
Who directed I Shot a New Warhol. So yeah, this was.
This was the movie where Lily Taylor plays Valerie Solanis,
who was a really important in my world feminist, lesbian
activist poet sort of was adjacent to the Warhol universe,

(01:24:28):
which is why she shot Andy Warhol at some point.
But Lily Taylor is incredible in this movie. I actually
think Jared Harris, the actor Jared Harris, plays Andy Warhol,
and he's probably the best Andy Warhol I've ever seen.

Speaker 2 (01:24:42):
I love Jared Harris. I feel like he doesn't get
the respect he deserves.

Speaker 1 (01:24:46):
Oh, I love him too, so so much. Stephen Dorf
plays Candy Darling, which I think was a big thing
at the time. Like I remember people saying that that
was a notable thing anyway, So if you haven't seen it,
you should watch it. That's my employee pick.

Speaker 2 (01:25:01):
Fabulous. Fabulous. So I was sort of thinking about New
York dating conversations, penthouses, and I kept thinking about class.

Speaker 1 (01:25:19):
And I think I know where we're going with this
to you.

Speaker 2 (01:25:23):
I was thinking about Wit Stillman's Metropolitan.

Speaker 1 (01:25:28):
That's exactly what I thought you were gonna say. Really good.

Speaker 2 (01:25:30):
I'm sure this is one of my all time favorite
movies from nineteen ninety. It's wit Stillman's first movie. I
think he like sold his apartment or something to get
the money for this, or I don't, he like raised
the money himself. And it basically takes place in like
I don't know, a few people's apartments and it's a

(01:25:53):
it's an incredible movie about a bunch of young, wealthy
socialites during the debutante season in Manhattan, which I didn't
even know was a thing. And I don't know, it's
just it's such a fabulous movie. And it is kind
of talking about people's statuses and like what they bring
to the party and like how much someone is kind

(01:26:18):
of worth socially, And I don't know, it's just it's
one of my all time favorites and it's so funny,
and I feel like it's so influential, and I feel like,
Noah bomb Bok wouldn't be here if it weren't for
Wit Stillman. And yeah, I think it's just great, such
a great movie.

Speaker 1 (01:26:36):
Hey, that's a good one. Thank you, good job employee.

Speaker 2 (01:26:40):
Thank you fellow coworker.

Speaker 1 (01:26:44):
All Right, well, I guess that's the end of our sode.

Speaker 2 (01:26:48):
That's the end of our sued.

Speaker 1 (01:26:50):
Yeah. I wonder if you have if anybody out there
is listening and you want to talk about any of
the stuff that we talked about with us, because you
can email us at Dearmovies at exactlyrightmedia dot com. We
love film advice. If you need it, we have it.
If you have a film grape, if you have a
film regret, please send it our way, same email address. Also,

(01:27:16):
if you want, like our last person who wrote in,
leave a voicemail, just record it on your phone. Make
sure it's under a minute long and email it too.
Dear Movies at exactlyrightmedia dot com fabulous.

Speaker 2 (01:27:30):
You can also follow us on our socials at Deer
Movies I Love You on Instagram and Facebook. Our letterbox
handles are at Katy leo'brien and at md'chericho. And you
can listen to Dear Movies, I Love You on the
iHeartRadio app, Apple Podcasts or wherever you get your podcasts.
And hey, rate and review our show. It helps makes

(01:27:52):
us look cool.

Speaker 1 (01:27:53):
Thank you, Thank you so much. All right, So Casey,
what are we doing next week?

Speaker 2 (01:28:03):
We're doing Jackass number two from two thousand and six.
Many people are saying, and I'm one of them, that
it's the best Jackass movie and uh oh, I'm excited
to talk about this. I'm passionate, passionate about Jackass.

Speaker 1 (01:28:18):
You know, for like two notes of your little tribute
your Little minute Man tribute. I totally thought you were
gonna do the Deliverance theme song banding ding ding ding.

Speaker 2 (01:28:28):
You know, I played the banjo for a while. I
took banjo lessons for like three years. That's pretty good.
That tracks actually one in a long time. But I
took lessons at the Homestead pick and Parlor. Anyways, that's

(01:28:49):
neither here nor there.

Speaker 1 (01:28:51):
Well, that's a fascinating bit of trivia to just tuck
into the end of an episode. Casey, well, Casey see,
great job today wrapping your feelings around a complicated film.

Speaker 2 (01:29:06):
Thank you, Milly for coming up with the concept of
this episode and being like, stop the presses, we need
to talk about this movie. And I think it was
a great idea and a great episode.

Speaker 1 (01:29:17):
Well, and I'm glad that you got your leg lengthening
reverse because I like you. I like you just the
way you are.

Speaker 2 (01:29:23):
Okay, Thanks Milly. I appreciate that you need to hear that.

Speaker 1 (01:29:26):
Sometimes you could make more money though I'm.

Speaker 2 (01:29:31):
Missing yeah, I know, don't remind me.

Speaker 1 (01:29:37):
Bye everyone, Bye. This has been an exactly right production
hosted by me Milly to Cherco and produced by my
co host Casey O'Brien.

Speaker 2 (01:29:49):
This episode was mixed by Tom Bryfogel. Our associate producer
is Christina Chamberlain, our guest booker is Patrick Cottner, and
our artwork is by Vanessa ilac.

Speaker 1 (01:29:58):
Our incredible theme music is by the best man in
the entire world, The Softies.

Speaker 2 (01:30:03):
Thank you to our executive producers Karen Kilgarriff, Georgia Hardstark,
Daniel Kramer and Millie.

Speaker 1 (01:30:08):
To Jericho, we love you, Goodbye, Beca

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