March 26, 2025 • 62 mins
Hello Friends of the Most Excellent 80s Movies Podcast! We are taking a short break between seasons during February and March. In the meantime please enjoy these REBROADCAST episodes, some favorites of ours, to tide you over until we return on Wednesday April 9th with new episodes!Join Filmmaker Nathan Blackwell (Voyage Trekkers, The Last Movie Ever Made) and Comedian Krissy Lenz (Neighborhood Comedy Theatre, Saturday Matinée Podcast) with special guest, multiple Emmy award-winning Leigh Ann Dolan (Busy Tonight, Phoenix Film Festival, Valley Youth Theater) as they quip their way through the world of improbable illness and ineffectual men in their conversation about Steel Magnolias. What will the Deep Cut Recommendations be? What will they rate this classic "laughter through tears" extravaganza?
---
Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.
---
Learn more about supporting this podcast by becoming a member. It's just $5/month or $55/year. Visit our website to learn more.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Thanks for tuning in to another episode of the Most
Excellent Eighties Movies Podcast. Want to skip those ads and
get early access, become a member at true story dot fm,
slash join and discover all the other great parks that
come with it. Hello and welcome to the Most Excellent
(00:30):
Eighties Movies Podcast.
Speaker 2 (00:31):
It's the podcast.
Speaker 1 (00:32):
We're a filmmaker, a comedian and their fabulous guests look
through the eighties movies we think we love or might
have missed with these our modern and steal yet delicate eyes.
And today we're talking about steal Magnolia's a movie selection
from nineteen eighty nine.
Speaker 3 (00:55):
Here we go.
Speaker 4 (01:01):
I don't want to have to kill you.
Speaker 3 (01:03):
Don't you threaten me?
Speaker 5 (01:04):
Drumm, eat and drum would never ever point a guy
in a lady.
Speaker 2 (01:07):
Your husband is a boil on the butt of humanity.
Speaker 5 (01:11):
Try Star Pictures Presents. Then you're finally rid of me,
Sally Field. I think you'd be back, Dolly, pardon your family.
Speaker 3 (01:23):
Louis brought his girlfriend home, and the nicest thing I
can say about her is all her tattoons are spelled correctly.
Speaker 5 (01:31):
Oh leave me alone, Shirley McLean, I'm.
Speaker 1 (01:34):
Not crazy, Mileynn I've just been in a very bad
mood for forty years.
Speaker 6 (01:39):
Daryl Hannah, Mister, I swear to you that my personal
tragedy will not interfere with my ability to.
Speaker 4 (01:44):
Do good hair.
Speaker 5 (01:45):
Olympia do concussed. It's like two pigs. Fuglondo like it.
Julia Roberts, I'm gonna make you very happy. I want
a child of my own. Your poor body hasn't been
through so much. Why would you deliberately do this? Gods
have healthy babies. All the people are special Shelby Time
(02:05):
has made them close. Life She's gonna have a night
to go get a doctor has made them friends. Steel
Magnolia's the Funniest movie that will ever make you cry.
Speaker 2 (02:20):
That's a really good tagline.
Speaker 1 (02:22):
The funniest movie that will ever make you cry is
like a bold claim, And yet that would make me
go see a movie.
Speaker 4 (02:30):
Are you ready to cry?
Speaker 2 (02:32):
Yes? But also laugh periodically throughout?
Speaker 6 (02:39):
Yes?
Speaker 2 (02:39):
Also, like that's a whole genre all on its own.
Speaker 1 (02:44):
Sure is Hi, I'm Christy Lynn's a director of the
Neighborhood comedy theater and podcast comedian. And that other voice
you heard is filmmaker Nathan Blackwell.
Speaker 4 (02:54):
Hi, I'm Nathan Blackwell.
Speaker 2 (02:57):
I don't know how to ever do these filmmakers.
Speaker 1 (03:00):
Don't worry New Year six, you'll really catch on and
with us today we have a very special guest, someone
I've known for a very long time and done improv with,
who is not only a multiple Emmy winning producer of
so many fabulous things and the long time girl boss
of the Phoenix Film Festival.
Speaker 3 (03:22):
Oh yeah, that too. I'm forgetting all the stuff I've done.
I was like, are you talking about me?
Speaker 2 (03:28):
I am?
Speaker 1 (03:29):
And is now at the Valley Youth Theater, which is
like the place for youth theater in area has churned
out so much talent that people in the world have
heard of.
Speaker 3 (03:43):
I mean, I'm not going to drop any names here
at the Stone and the Stone, Glenn Charity Dawson, Matt's Crumb.
I mean, I could go on, but I won't.
Speaker 2 (03:56):
You know, of course, why would you?
Speaker 3 (03:58):
Everyone Jordan Sparks But no, no, no, let's keep going.
Speaker 2 (04:03):
Okay, I love Jordan's Sparks.
Speaker 1 (04:08):
Yes, A Value Theater is where it's at, So I'm
so excited for you to be here to talk with
us about a film and a play which crosses over.
Speaker 3 (04:17):
Yeah, it's like both of my things. I'm Lianne. By
the way, I.
Speaker 2 (04:22):
Didn't say your name.
Speaker 3 (04:23):
No, I don't mean movie.
Speaker 1 (04:26):
I just said lots of things about you and figure
that people would read my mind and know that you
are Liane.
Speaker 4 (04:32):
Who needs no introduction, Dolan, we know who she is.
Speaker 3 (04:36):
Let's get all knows.
Speaker 2 (04:39):
Leanne. Have you seen this movie? Is it a favorite
of yours? Have you seen the play?
Speaker 3 (04:43):
So? Okay, I was trying to think if I've seen
the play. There was like this point where I went
to like when I was in sixth grade. No, it
wasn't out in sixth grade, So no, I haven't seen
the play. I have seen the movie. Is it a favorite? Ah,
I've we can talk. We can talk about the movie itself,
but I have seen the movie many times because you know, uh,
(05:06):
you know, there was that whole There was that whole
point and like the late eighties early nineties were where
they're like everything was southern and it was like to
watch southern movies, So you know, that whole.
Speaker 7 (05:19):
Point you're describing, Miss Daisy was like the paple of
that period.
Speaker 4 (05:24):
Actually, didn't it win the Oscar like an eighty nine ninety?
Speaker 3 (05:27):
Yeah it did. I believe it did. You're gonna have
to We're gonna have to check that. But yeah, and
when you were like, oh yeah, Steel Magnolia's, I immediately
thought of like my favorite scene from it. And then
I was like, oh wait, that's not Steel Magnolia's. That's
Fried Green Tomatoes. Yeah.
Speaker 7 (05:46):
I told someone that that I was going to be
watching Steel Magnolias. It goes like, oh, that's the one
with Deborah where Deborah Winger dies at the end.
Speaker 1 (05:55):
It's like no, no, no, beaches, no, no, that's the
it's terms of endearment.
Speaker 4 (06:01):
Is I got it wrong?
Speaker 2 (06:03):
I derect what it is?
Speaker 1 (06:06):
Yeah, all the that it is the genre of movie
like funny, heartwarming movie, but you will cry because we
will try to make you cry, as like.
Speaker 7 (06:14):
Oh yeah, make some predictions. There's going to be troublesome family. Yeah,
some people disagree about how others should proceed with their lives.
There's some weirdos who enter into the picture and then uh,
but they all come together when someone.
Speaker 4 (06:33):
Dies and then there's a baby.
Speaker 2 (06:35):
Probably, yeah, probably.
Speaker 3 (06:36):
Don't don't forget quippy older ladies.
Speaker 4 (06:39):
Yeah, quippy horny older ladies.
Speaker 3 (06:42):
Yes, always always quippy older ladies who needs some.
Speaker 1 (06:47):
That's I stand horny old ladies like I'm here for it.
Speaker 3 (06:53):
You're like, that's my goal in life. I don't know
what you're talking about. I could be a quippy old lady.
I'll just like going through the retirement home will be good.
Speaker 2 (07:04):
Oh hell yeah.
Speaker 1 (07:04):
And I want to also solve mysteries. So if we're
taking orders, okay, I want to.
Speaker 3 (07:09):
That's a whole another that's a whole other genre.
Speaker 2 (07:13):
Just for up, just for an update.
Speaker 1 (07:14):
Raiinman won the Best Picture in nineteen eighty nine, but
Driving Miss Daisy was was right up there.
Speaker 2 (07:20):
But yeah, Rainman took it home.
Speaker 7 (07:25):
Yeah, I think I think Driving Miss daysy was nineteen ninety,
nineteen eighty nine.
Speaker 4 (07:32):
No for the Oscars that would.
Speaker 5 (07:35):
Yeah, so.
Speaker 2 (07:37):
Driving Mystics.
Speaker 4 (07:38):
So it's delayed by one. If it came out in
eighty nine, then it's the nineties, and it's the nineties.
Speaker 1 (07:42):
Oscars YEP sixty second Annual and Daniel day Lewis won
for My Left Foot in dandel Washington one for Glory,
and Jessica Dandy one for Driving Miss Daisy, and Brenda
Fricker one for My Left Foot.
Speaker 2 (07:55):
What a year?
Speaker 3 (07:56):
What a year?
Speaker 1 (07:57):
What are your for feet for feet and driving and driving.
So this movie is like it's we usually talk through
the like movie sort of chronological, but chronologic chronological, but
this movie is like in seasons. So we start with
the season of Shelby's wedding and it's like a young, fresh, adorable,
(08:27):
gigantic smile Julia Roberts who is getting ready for her
wedding day and she says at some point that the
wedding's at two, but the sheer amount of what they
accomplish in the day before the wedding is shocking.
Speaker 3 (08:40):
Yeah, I felt like, you know that first shot where
like Daryl Hannah is walking. You know, first of all,
props to the costume department for finding glasses to put
on Daryl Hannah so we could disguise her as like
she's not the most beautiful person in the entire world.
She's really nerdy and ugly. We put glasses on. She's
(09:01):
like walking through the town and she sees like all
of this stuff, this hubbub going on at the at
the house, and like that must have been at.
Speaker 4 (09:10):
Like dedict a hubbub.
Speaker 3 (09:11):
Yeah, there's a hubbub that must have been at like
six in the morning, right, because all of that stuff
happens before the actual wedding. So you know, all the
champagne glasses are broken and the.
Speaker 2 (09:25):
And Tom Scarrett is shooting birds out of a tree.
Speaker 4 (09:28):
I mean it really stressed out.
Speaker 3 (09:30):
Yeah, you and the dog.
Speaker 1 (09:33):
Yeah, and the brothers. So the dad, the father of
the bride, and the two little brothers of the bride
are all like determined to get these birds that like
are doing no one any harm.
Speaker 2 (09:45):
We just assume they are. They might pooh on someone
even though there's a tent, but there's a tent.
Speaker 3 (09:53):
I mean this is yeah, that's the ultimate and uh
eighties movie logic is that we need something for the
for the man to do. Here the ineffectual man, as
all men are in this movie, pretty ineffectual.
Speaker 4 (10:10):
I have experience in being the ineffectual man.
Speaker 3 (10:12):
Oh congratulations, you should have been in this book Vein.
It was like the men were seriously there because it
was like, you know what, we can't just not put
a man in this movie.
Speaker 1 (10:23):
It can't just be a ladies and that the play
itself has has no men.
Speaker 7 (10:27):
Uh yeah, the play is only the six women, and
it isn't it only in the beauty shop like the
whole play is only in the beauty shop.
Speaker 3 (10:36):
I believe, I believe. So, I don't know, I'm not
I'm not sure about that, but yeah, I mean it's
only the six women. There's no men in it. And
so when you're making obviously, when you're making a Hollywood movie,
you have to put right men in it. I'm surprised
they didn't just.
Speaker 4 (10:50):
Yeah, they had they had to. They had to put
dogs in it too.
Speaker 3 (10:54):
Yes, of course, men and dogs. That's the number one movie.
Speaker 7 (10:59):
The interesting thing is that the So I was fascinated
just watching like the adaptation from a play to a
movie because it actually was written by the same guy
who did the play screenplay, which is rare. Yeah, so
the screenplay was actually written by the same person and
just like expanding, like I'm sure they had long dialogue,
(11:22):
you know about talking about their relationship with their husband
and how he's always creating a mess and things like that,
and now they get to actually like visualize some of
these stories or things that they talked about, kind of
like the expanded universe of actually getting able to to
see things outside of the beauty parlor.
Speaker 3 (11:42):
I saw were there times, Nathan, just like from filmmaking perspective, Like,
were there times where you're like, oh, yeah, this was
a play.
Speaker 4 (11:50):
Oh yeah, one hundred percent.
Speaker 7 (11:51):
It's like when they all so obviously when it there's
a lot of like exposition in their dialogue where they're
talking about like who's relation to who, or they're sussing
out like other people's backstories. But it's almost always when
everyone is together and just kind of like, you know,
like there was a scene where they were all gathered
(12:13):
around the car and it was it was and then
they were doing like the easter eggs in the in
the car and just all of them each having a
moment and having their asides, and it's like, oh, yeah,
this totally was a moment from the play.
Speaker 3 (12:28):
Yeah, I felt that when she was describing when Julia
Roberts was describing her wedding and she's like, oh, in
my reception, my reception is going to be like this,
you know, and it's just like, boy, I could literally
be watching a play right now, which is like, it's
actually one of my least favorite genres, movies or plays
that are turned into movies but still feel like plays.
(12:50):
That's that's a genre.
Speaker 7 (12:51):
It's so tough, you know, you've got to still kind
of like you know, be you know, faithful to the
original material. But yet how do you make it so
people aren't just talking about everything that's going to happen
instead of seeing it, you know.
Speaker 1 (13:09):
Right, Well, is there a difference between like I mean
in the viewers experience between like if you see like Hamilton,
it's just like, Nope, this is a play. We put
a camera here, we put a camera here, we put
a camera here. You're seeing the stage. We're not pretending
that we're in these places. You're seeing the stage craft
versus like, no, it's a real world. And now not
only is there a beauty parlor, there's also a backyard.
Speaker 3 (13:37):
Yeah, I mean you see you know, you see.
Speaker 6 (13:38):
That a lot.
Speaker 3 (13:39):
And I did feel it here like clearly if they
when they were in the beauty parlor altogether, it's like
that was probably just like ripped from the stage performance.
Speaker 1 (13:48):
And that's that was the best part I felt, because
that's when you get all of the women really being
the characters that you signed up for, you know, which
is like Dolly Parton and her never ending quips, which
you know, I had a lot of Southern lady great
aunts and stuff who were just full of all of
(14:11):
these sayings where you're like, was there did.
Speaker 2 (14:14):
You take a class? Was class.
Speaker 1 (14:18):
Where you just like have to go through a little
book and like so you have everything like memorized. I
remember one time my aunt Edith yelled at my father
and said, mister Stewart, if you point that thing at me,
you better hope it's made of chocolate or that it's
your size, because you're gonna either eat it or wear it.
Speaker 2 (14:38):
And I was like, how did she just have that
in her back pocket? How did she know?
Speaker 1 (14:46):
And like so the gentleman who wrote the play clearly
found the text book from Southern Lady Equipp's done.
Speaker 3 (14:55):
I think it was like I think they shot it
in like his hometown, so I think, like it's a
lot of it. I run that a lot of it
was like based off of his sister, and it was
for his sister who mirrors Shelby's predicament in the whole thing.
And uh, but but yeah, it was based on his thing,
on his hometown. So I'm sure he had a lot
(15:17):
of those ladies that can pull a quip.
Speaker 1 (15:20):
Out and just just be ready with it, like just
be ready with it, even if I wrote it down
in a journal.
Speaker 2 (15:28):
I have to Now here's an opportunity.
Speaker 7 (15:31):
Uh, Louisiana, We've got to start doing our homework and
practicing our equips.
Speaker 3 (15:39):
Yeah, you have to practice your clips be like, are
you going to eat that? Or pointed at me?
Speaker 4 (15:45):
No, I's.
Speaker 2 (15:49):
That was my opportunity and I let it go by.
Speaker 3 (15:52):
I'm the worst Southern lady ever.
Speaker 1 (15:54):
Yeah, but all these Southern ladies are like, well not all,
but some of them are very very rich and wealthy
and fancy and run this town.
Speaker 2 (16:03):
And then some of them are.
Speaker 1 (16:05):
Like blue collar here to do your hair for a living,
and you know where Daryl Hannah disguised glasses. And then
Shelby is like the person from the next generation. So
in nineteen eighty nine, she's gonna take us into the
nineties with her forward thinking ideas.
Speaker 2 (16:23):
Although and we're just skipping way ahead.
Speaker 1 (16:26):
Surprisingly, this film has not terrible attitudes toward gay people.
Speaker 2 (16:32):
Anyone else surprised?
Speaker 6 (16:33):
Oh, I mean he could, Like it's first of all,
the fact that like so so the clip, right, the
clip is that you know that somebody is gay when.
Speaker 3 (16:47):
They have track lighting and our names what is it Mark,
Steve or somebody?
Speaker 5 (16:55):
Yeah, but like you.
Speaker 3 (16:58):
Know, and everyone's like totally the ladies are totally cool
with it. But that's always how it's been, right, It's
always been like the ladies are like, yeah, you want
to be gay whatever, I don't really care, that's fine,
But the men have always been like that. So yeah,
so so yeah, but I thought I thought that was
really cute as a as a lady who grew up
(17:19):
Mark Ricker Steve. Mark is uh equals gay. Track lighting
and Mark and the name Mark Rickers Steve and that
equals gay.
Speaker 1 (17:31):
Yeah, which really hard for anyone who works at a
gallery or someplace where track lighting is a necessity. I
guess you hire a Mark, a rick or a Steve
so as well.
Speaker 4 (17:42):
Yeah, that's a small town.
Speaker 1 (17:44):
But the in the in addition to the seasons of
these women's life, we start with the spring right the wedding,
and we learn in that that the scene of this
movie that Julia Roberts is a die betech and that
she has a that it's very serious because she's like
(18:06):
having a great time talking about blush and bashful pink
and pink pink blue shade is much deep, and then
all of a sudden she's like shaking it out of control,
and she has to drink her juice.
Speaker 2 (18:22):
Shelby, drink the juice.
Speaker 3 (18:24):
Shelby, drink the juice.
Speaker 2 (18:26):
Shelby, I've got candy. No, she needs juice juice.
Speaker 3 (18:31):
This is the kind of diabetes that doesn't do candy juice.
Speaker 2 (18:36):
It does the juice.
Speaker 1 (18:38):
And and she's very, very sick, and like the mom
is saying.
Speaker 2 (18:42):
She shouldn't work after she's married.
Speaker 1 (18:44):
She's a nurse, but she shouldn't stay on her feet
because she's she's so ill that if she doesn't drink
juice regularly, she will she could go into insulin shock
and like you know, have very serious consequences. And and
also in that whole before the wedding of this movie,
(19:04):
we learned that she is told she shouldn't have children,
and that Dylan McDermott wants to marry her anyway, and
that they will likely adopt.
Speaker 2 (19:14):
But you can tell, right, you can tell.
Speaker 3 (19:16):
Yeah, we know what's gonna happen. Yeah, but we okay,
So I'm not very familiar with diabetes types or anything.
The Julia Roberts seizure that she has in the in
the beauty parlor was like, I don't know what. I
guess it was kind of frightening, but also kind of strange,
(19:39):
Like do diabetics have like those kind of like where
where they're like drink the Jews showed me and she's
like pushing it away and shaking, and you know, I like,
is that a thing that happens?
Speaker 2 (19:52):
Yeah, that's a great question.
Speaker 1 (19:54):
She She also was like, stop at Mama, you're embarrassing
me when it's like, well, you are having a seizure
to help, right, and I'm like, all of.
Speaker 3 (20:05):
A sudden, because you're diabetic, you go into this like
extra reality space where it's like all the people who
are trying to help you aren't trying to help you.
They're there to embarrass you and not give you juice.
And so we're going to push the juice away. But
yet I don't I don't know, I don't know.
Speaker 7 (20:21):
Enough took it as a source of like steel Magnolia's
they're all very tough, but yet she is very fragile.
Her body is fragile, and she so it's it's like
when she goes into a seizure, she's angry that it's happening,
that this reality is is coming up, that it's happening.
You know, it's like her whole arc is that she's
(20:45):
going to live the way she's going to live despite
her limitations, despite her weaknesses, you know, right.
Speaker 4 (20:50):
And so I feel like it's more of her angry.
Speaker 7 (20:55):
You know, it's like she has she wants to have
the perfect life, she wants to have the perfect wedding,
she's gonna have kids, She's gonna do what she's gonna do,
you know.
Speaker 1 (21:05):
Right, and so, and I did read that the movie
got somewhat criticized for being like very worst case scenario
of like type one diabetes. Like this is like all
heightened past a ten worst case scenario, worst case scenario
on top of worst case.
Speaker 4 (21:21):
Of a real story, right exactly.
Speaker 2 (21:23):
Yes, lived experience.
Speaker 5 (21:26):
Yeah.
Speaker 3 (21:27):
Also also as a as a fellow nine inch Nails fan,
Chrissy wasn't that. I don't know if you remember it,
but when she was having this seizure, it was very
it was very like Trent Resnor scored it, going like
huh to Trent and Atticus scored this part because it's
(21:48):
like dumb.
Speaker 1 (21:52):
I was like, we can look at the credits clearly,
but maybe it inspired them because you know, their film
work is now what we all know them for, right.
Speaker 4 (22:01):
Yeah, they can't just say that they were inspired by
Steel Magnolia's.
Speaker 3 (22:05):
Right, Yes, it could be true, but but they really
super metal to be inspired if you'rre Trent Reznor and
being like, yeah, my my biggest inspiration was A Heroin
and B Steve Magnolias.
Speaker 2 (22:20):
Those two things.
Speaker 3 (22:22):
But but like, but they really opt the like, you know,
the severity of it with this like very dramatic music,
this like huge seizure. She's like clearly messed up her hair,
and then when she comes out of it, she's like,
oh so so it was this. I just felt everything
(22:42):
was just like really big, oh yeah, obviously clearly played
for the you know, played for the drama of the scene.
Speaker 1 (22:50):
Yeah, and the fighting between Sally Field and Julia Roberts
in the in the beginning wedding scenes. To me on
this viewing was a little over the top. I was like, wow,
you are kind of being a dick. Julia Roberts like,
calm down, Shelby. She's like, you told Daddy to get
(23:10):
the birds out of the tree. This is your fault
that he's out there shooting now on the tree, right,
And it's like.
Speaker 3 (23:18):
You should have drowned my brothers.
Speaker 2 (23:20):
What what really.
Speaker 3 (23:23):
They're like, you know, teenage boys, We should have drowned them.
Speaker 4 (23:27):
They are kind of dicks.
Speaker 2 (23:29):
Yes, well again, yeah, yeah, exactly.
Speaker 4 (23:34):
Yeah, And let's just for let's just stop for a moment.
Speaker 7 (23:38):
Sally Field is like the MVP here, Like she is
like Jessica Julia Roberts. She won the Oscar for her performance.
But I feel like Sally Field is really the one
that is killing this movie, like in a good way.
Speaker 3 (23:54):
She's definitely and especially at the end of the World.
We'll talk about it later, but especially that monologue at
the end where she goes through eighty seven thousand different
emotions in the span of like two and a half seconds,
and you're like, oh, that was some She's the one.
Speaker 2 (24:10):
Turns out she's pretty good at acting.
Speaker 3 (24:13):
I think.
Speaker 4 (24:16):
She ends every take with acting acting.
Speaker 3 (24:19):
Thank you. She should do it professionally.
Speaker 2 (24:24):
She should. She's so great.
Speaker 1 (24:25):
Although my sixteen year old daughter kept being like really
confused about how Sally Field was supposed to be Julia
Roberts's mom. She's like, wait, that's the mom of this character.
She kept trying to make it somebody else, Like I'm like, no, no,
she just you know the Southern women, they have the
babies young, right, But you could even see the difference
(24:46):
in Sally Field from the initial uh you know, the
all the different stops for her in this movie. Oh
it's my daughter's wedding. We're not going to fuss over
her because she had an insolent shock seizure. You know,
she's just sad she can't have a baby. Oh wait,
she is going to have a baby. This is bad times,
but thankfully all my lady friends are here to help
(25:08):
me focus on the joy. And then when you know
later at the beauty shop that they're about to do
a kidney transplant and she's accepted it, she can joke
about it. She's accepted it. She's gone through it all
and we got to go through it with her, which
is like so lovely. And Sally Field Man is amazing,
(25:32):
Julia Roberts is amazing, but like the supporting cast of
women are also pretty great. You got.
Speaker 2 (25:41):
Dolly Park, we talked about Daryl Hannah.
Speaker 1 (25:44):
We've got Olympia Ducaucus and Shirley McClain all in there
kicking in their two cents, and.
Speaker 3 (25:51):
Then all of our ineffectual men.
Speaker 4 (25:53):
Yes, Tom Skarett and Sam Shepherd.
Speaker 1 (25:57):
Sam Shepherd, what Shepherd's crazy that he's in this house?
Speaker 2 (26:02):
To me, Sam Shepherds spun and he's so depressing.
Speaker 1 (26:07):
He's such a depressing character who like doesn't want to
go do anything with like vibrant, wonderful Dolly Parton Parton.
Speaker 3 (26:16):
You gotta be pretty depressed, right, you gotta be pretty
depressed to be like, you know what, Dolly Parton? You
are not cheering me up? Yeah, sorry, do it for me.
I will not go to a picnic with you. I
will not go to a wedding. He didn't go to
the wedding.
Speaker 2 (26:30):
The wedding.
Speaker 3 (26:31):
How could you not go to the wedding with Dolly Parton?
The blush and bashful wedding of the century.
Speaker 1 (26:37):
So much pink at that wedding and so many bridesmaids
and so much hat it was glorious, so much hat
you got to go to that, Sam Shepherd write a
play about it.
Speaker 3 (26:50):
Also, can we talk about the armadillo?
Speaker 2 (26:54):
Yes? Please?
Speaker 3 (26:56):
I mean to miss that groom's cake is a is
a is a shame? The groom's cake that was made
by ant? Was it Aunt.
Speaker 2 (27:06):
Kathy something like that? The aunt of Dermot dermott.
Speaker 3 (27:12):
Uh.
Speaker 1 (27:13):
The aunt of the husband makes an armadillo cake, gray
frosting and red on the inside, so it really does
look And when we see it at the wedding, they've
cut off the arms and the legs.
Speaker 3 (27:26):
I was like, this is truly horrifying.
Speaker 2 (27:29):
Yes, absolutely, well, you don't want to go snout down.
Speaker 3 (27:34):
You don't. You don't want to go snout down. I'm
going to put that on his shirt. By the way,
don't go snout down.
Speaker 2 (27:42):
Don't don't ever go.
Speaker 3 (27:43):
Snout down, you go leg Yeah, and then you know,
and then drum gets the butt.
Speaker 1 (27:52):
Uh yes, because uh, Shirley McLain and Tom Scarett have
this ongoing rivalry where uh and she has a rivalry
with everyone, apparently Weezer, which in this movie is the
first time I ever realized. I always assumed it was Weezer,
like the band it's it's I had the sound translation
(28:14):
on what it was that close close captaining, and it
kept spelling it Weezer like o U I s e
R like she's French. And then I realized it because
her name is Louisa. Uh everyone queeza.
Speaker 3 (28:31):
You know what. I never got the Louis I never
got I knew it was, but I knew it wasn't Weezer.
Speaker 2 (28:38):
Like like the band.
Speaker 3 (28:39):
I knew it wasn't the band. I knew it was
O U I S E R, but I just thought
it was you know, like like how you spelled bo
B a U X. Because we're in the South.
Speaker 1 (28:51):
We got to use extra letters. We got to use
all the letters that I'll let.
Speaker 7 (28:57):
The letters, we gotta use them.
Speaker 1 (29:01):
It also bothered me that her dog, her crazy dog,
Weezer's crazy dog, is named Rhett, which obviously is Rhett
Butler right.
Speaker 3 (29:11):
In the South.
Speaker 1 (29:12):
And then she's like, I hate movies because they're full
of naked people.
Speaker 2 (29:17):
I'm like, well we do not gone with the wind.
Speaker 4 (29:19):
Yeah, she's got she is a big fan of buns.
Speaker 2 (29:25):
There are naked people in this I know.
Speaker 3 (29:27):
I was like, and we didn't even get naked people
in it, but we did get naked people.
Speaker 4 (29:32):
Yeah.
Speaker 7 (29:32):
She she's in a locker room, a sports locker room
full of buns, using her little mirror to secretly spy
on them.
Speaker 3 (29:41):
I miss that part.
Speaker 7 (29:43):
She pulls out her makeup mirror and she starts like
rotating it to kind of look at the people behind her.
Speaker 1 (29:48):
Yeah, she is into it, and it's all like so
you know, the story underneath the story is just all
these women trying to like live their lives, and so
Parton has her depressed husband who won't go to a picnic.
Real bummer Olympia Ducoccus, whose name is Clairee is widowed
(30:10):
by the former mayor of the town.
Speaker 3 (30:13):
Is that right, Yeah, Clarie Belcher, which is like unfortunate
it is.
Speaker 1 (30:21):
She's good there may there's maybe a Bob's Burger's connection.
Way back, there's southern the southern line of the Belcher family.
Shirley McLean is like also widowed, but is like went
the other way with it. So there's like the benevolent
widow who like goes to the openings of parks and
and is at every event, and then there's the grumpy
(30:43):
widow who has just been at a very bad mood
for forty years.
Speaker 7 (30:48):
Yeah, they're kind of like on opposite ends of the
social letter, you know, right, but.
Speaker 3 (30:55):
It's the same letter because we learned that we are
as more money than God. And I feel reason why
people talk to her, Christy are you and I just
gonna like say lines from the movie in this weird
accent that we have. Yes, it's a weird accent that
we're making up as we go along.
Speaker 2 (31:12):
Pink is my color, blush and bashful. It's so good.
Speaker 4 (31:19):
I'm an effectual male.
Speaker 3 (31:21):
Where's your Nathan, ineffectual male? Where is your where's your accent?
Speaker 4 (31:26):
Where's my Southern accent?
Speaker 3 (31:30):
Yeah? No, we're good.
Speaker 4 (31:33):
If you can achieve puberty, you can achieve a past.
Speaker 3 (31:41):
Can we can? We just say really quickly, obviously this
is the eighties, but we have we see a total
of five African American people, and four of them.
Speaker 4 (31:51):
It's like, oh, I see one.
Speaker 3 (31:53):
Four of them are are the servants in the Eastington
household doing the preparations. And then one was evidently hired
to be a professional dancer at the wedding, because we
see him dancing quite a bit in the wedding. Oh. Yes,
(32:15):
so there is there is an African American attending the wedding.
Speaker 1 (32:19):
And there is the nurse at the very very end
a person of color, right.
Speaker 3 (32:24):
Yes, and then and the nurses African American as well. Yes,
And that's it.
Speaker 2 (32:29):
That's it.
Speaker 4 (32:30):
I remember I did spot one Asian person.
Speaker 1 (32:35):
There's a baby of color at the Easter thing at
the very end.
Speaker 7 (32:41):
Okay, this movie lost out to Driving Miss Daisy in
the Oscars, so yeah, it was not the best time
for representation.
Speaker 4 (32:51):
And then you know the remake is an all black cast.
Speaker 1 (32:55):
Yeah well it was on Lifetime, right right, there's a
remake of this movie.
Speaker 4 (33:00):
Yeah, but like, but.
Speaker 3 (33:02):
It's like with amazing actors and I'm not quite sure, like,
like I believe it's full. Oh is one of them?
Look this up?
Speaker 2 (33:17):
That's awesome.
Speaker 1 (33:17):
I like that makes me think of like Death at
a Funeral, which was a play that became a movie
that was all white people and then was redone with
a Is that correct?
Speaker 2 (33:27):
Yeah? Yeah, cool, I love it. Keep doing that. There's
no reason why these have to be all white people.
There's no real I mean because I was.
Speaker 3 (33:36):
Also thinking about it and like, there is nothing in
it that needs to be white people.
Speaker 1 (33:42):
I think it does need to be southern, but like
even that could change. You know, it's just about a
small town, right.
Speaker 3 (33:50):
Well. The one thing because it was southern, I didn't
overly feel like I was watching an eighties movie because
like it was already a period piece, being like it
was said southern piece.
Speaker 4 (34:01):
Sure, yeah, YEAHA was the southern aspect.
Speaker 3 (34:04):
Was the Southern, so I wasn't feeling like I was
watching an eighties movie because like I could explain a
lot of the costumes away because it was Southern, right,
so it's not you know, like and like, so I
just kind of was like, oh, yeah, it's a it's
a it's a southern movie. It's not really an eighties movie.
Speaker 2 (34:23):
Yeah.
Speaker 1 (34:24):
There was a scene where the Weiza and Clarie are
buying food to feed the ineffectual men while the women
are having their kidneys swapped, and she just is buying
so much food, and my daughter was like, oh, okay,
I get it. So the Southern women are just like
(34:44):
old Italian grandmas. They have to feed you or they
can't function. It's like, yeah, that's that's the only way
they know how to cope with drama is to feed
you and feed you and feed you.
Speaker 2 (34:56):
And the men and the man can't cook and they
like poking beats like.
Speaker 3 (35:01):
An open a km. She bought like tons of meat
and by the way, she just threw the meat into
the part without putting it in a bag first, which
like to me, is disgusting, but whatever. It was. The
eighties we lived dangerously.
Speaker 2 (35:13):
You're the beans on top of it, Like she could
have punctured.
Speaker 3 (35:18):
That plastic in the that's what I thinks.
Speaker 2 (35:22):
Contamination happening, cross damination.
Speaker 1 (35:26):
Uh So after the kidney transplant, so she does Julie
Roberts does have a baby. Uh and then she's just
she really has done it now and her kidneys are
cou put. She gets a Sally Field kidney and everything
seems to be fine. But of course it's not. On Halloween,
she falls down and dies.
Speaker 3 (35:46):
We didn't talk about the big transition in Julia Roberts's life,
which is the fact that she cuts her all over
her hair off.
Speaker 1 (35:56):
Yeah, that's a big diss And isn't that a cliche
like once women get married and have kids, they cut
off their beautiful hair which they use to lure you.
Speaker 3 (36:05):
Right, Yes, they lured you in with the hair.
Speaker 4 (36:09):
I got you now, I was there.
Speaker 3 (36:12):
Yeah. And now that she is the wife of a
very rich Louisiana lawyer, she can cut it all off.
I thought she looked like jeans smart when she did it,
like from the show that's on TV right now. I
was like, this is not this is not a look
for her.
Speaker 1 (36:32):
Yeah, it's a as a as a woman who has
worn a variation of the pixie cut her whole life.
Speaker 2 (36:37):
It's like, it's not for everybody.
Speaker 1 (36:38):
Don't try and come into our pixie cut territory, Jiah
roberts You don't belong here.
Speaker 3 (36:44):
You gotta know, like, you gotta know if you can
pull it off, like Christy you can pull it off.
I cannot. There's no way in a million years I
can pull off a Cutie Judy pixie cut. Julie robertson,
I have something in common.
Speaker 1 (36:58):
There, yes, absolutely something in common and she but I
I really do love the scene where she's like, I
don't know what I think of it. I don't know
what I think of it. I don't know what I
think of it. Sally Field says she likes it. I'm fine,
I'm okay, okay, although I bet Jackson had something to
say about it when she got home, Like I'm sure
he was like, look, we'll focus on the kidney thing
(37:18):
for now, but we're going to talk about the hair.
Speaker 4 (37:21):
Yeah, you can.
Speaker 3 (37:24):
Grow it out like that. I think, oh, well you can.
And I don't feel like it's low maintenance.
Speaker 2 (37:36):
No oh no, no, She's like I wanted.
Speaker 3 (37:38):
A low maintenance hairstyle. And I was like, honey, that
is going to take you. That's not just like throwing
gel in it and going just.
Speaker 4 (37:45):
A hair tie.
Speaker 2 (37:46):
You know, that's long hair. You put it up in
a one of those clips.
Speaker 3 (37:52):
I know you all can't see this right now, but
I literally have my hair in a pony tail. It
is in a ponytail on you to Nathan, I see, it's.
Speaker 4 (38:03):
The easiest tail in high school.
Speaker 2 (38:06):
Yeah, it's the easiest way.
Speaker 1 (38:08):
And yeah, you're you're teasing that, you're blow drying it,
You're doing as much as as possible. And she like
envisions this life for herself, and Julie Roberts does say
or Shale says she'd rather have three minutes a wonderful
and rather than a lifetime of nothing special.
Speaker 2 (38:28):
And it's like, okay, but you don't, you don't.
Speaker 1 (38:31):
It doesn't have to be a go big or go
home situation, like, yeah, you could maybe have taken better
care of yourself and had a lifetime of wonderful.
Speaker 2 (38:41):
Why is that?
Speaker 1 (38:42):
Why is it either three minutes or or in a
lifetime and not it's but how about a lifetime of
wonderful where you just like.
Speaker 2 (38:48):
Drink your juice shall be just.
Speaker 3 (38:53):
Tell people no.
Speaker 1 (38:54):
Like she leaves the hospital and it's clear that she
can tell she's not feeling well, and then she like, oh,
I'm gonna pick up my two year old son, even
though I know that I shouldn't be doing that. And
then okay, maybe don't do those things. Like I get
that you want to live like you don't have an issue,
but this is the consequences that she found to do coma.
(39:16):
How long was she in that coma? Was it like
a day or did you get the impression it was
like three days or a week?
Speaker 3 (39:25):
I got a three day impression.
Speaker 2 (39:27):
Okay, I got a.
Speaker 3 (39:28):
Three or three or four day impression. I don't think
it wasn't a day. I don't think it was as
long as a week. But she because she because right
it was Halloween, right, because she's like, we're gonna go
trick or treating and then you know, Jackson comes home
and you have a man a crying, screaming baby. That's
like the That was the only part of the movie
(39:51):
that really affected me, was like when the baby is
like on the ground screaming and then pointing outside and
Jackson is like show.
Speaker 7 (40:02):
They dramatized that very well from the point of view
of not the of not of Julia Roberts, but of
the people who are finding her, you know. And so
you get two moments that are really well done back
to back.
Speaker 4 (40:17):
You got Dermott mulroney, not Dermott.
Speaker 7 (40:23):
Who's the other one, Dylan McDermott. Dylan McDermott comes home,
finds the kid crying, sees like the food is boiling away,
and you get and then it just pans over and
she's lying unconscious splay out on the ground with the
(40:43):
phone wrapped around her. Like that's like the startling moment
that we have of coming in and finding someone like
passed out or dead, you know, we kind of get
that real experience. And then and then the next the
next shot is Sally Field just.
Speaker 4 (40:59):
Walking down a long, long, long hospital corridor by herself,
just kind of picking up steam. Yeah, and we feel
her stress, we feel the anxiousness of what she's gonna experience.
Speaker 3 (41:13):
I kind of also thought like in that walk there
was a little bit of like, I swear to God,
when I see her, I'm gonna yell at her because
she was doing too much and I knew she was
gonna do too much. I told her she was doing
too much. And then now she's done too much and
she's done it and she's put herself in a coma.
Like I felt like there was like that part of
it too, which so like I agree. I think that
like those two scenes were probably the most most effective
(41:37):
scenes in the entire movie because like, because Sally Field
said so much with her like determined, slash, pissed, slashed,
worried walk down that hallway, and that was really really great.
Speaker 2 (41:53):
That is such a good observation.
Speaker 7 (41:55):
Yeah, yeah, her heart is breaking, but she's furious.
Speaker 3 (41:59):
Or she's like furious, her heart is breaking, she's worried.
She's like, you know, Sally Field, man, she should do
this for a living.
Speaker 2 (42:10):
She's quite good.
Speaker 1 (42:11):
And then as soon as as soon as they pulled
the plug on Shelby, you know, the dad walks out,
the husband walks out, and she stays. And then as
soon as she is she emerges, it's like, we're gonna
need this pink suit. You're gonna have to call this
funeral home. Like she's already in triage mode as the mom,
(42:32):
and then she she realizes she could hold she could
be holding the baby, and she runs out to get
the baby right, because.
Speaker 2 (42:39):
That's what she has left.
Speaker 1 (42:41):
And then we get that, like the whole funeral scene is,
you know, we get as much set up to it
as we do almost the wedding scene, but this time
we get Sam Shephard like really dropping some science on
us about how he feels bad for them, and it's
like wow, okay, And then that beautiful scene where the
(43:04):
funeral's over, everyone's leaving and all the women are like, nope,
we got to go have a big moment.
Speaker 2 (43:14):
And they they all they go have.
Speaker 3 (43:17):
They their their Academy Award moment.
Speaker 1 (43:20):
They do, and but I I love the so Sally
Field is being like, I'm so angry I want to
just hit someone and make them feel as bad as
I do, and the Olympia Ducucus is like hit waise,
hit waise.
Speaker 3 (43:39):
Of course, and truly like yes, like that's exactly what
was needed in that, Like I know, like Weaser gets mad,
like that's exactly what was needed in that because truthfully,
like so we see, you know, Sally Field has this
Academy Award winning moment where where all of the grief
that she's had because she doesn't because what you just
(44:01):
said prissy strue. She doesn't let it out when she
is in that when she's sitting there holding Shelby's hand
while Shelby's dies, she comes out, she's like all business.
She's like, I got to go find this baby. So
she finds the baby, she holds the baby, but she
has not let any of this out, and so she
(44:22):
held it together for the funeral. And then you know,
as if the rest of the ladies are like, she's
has to lose it in a second here, we've got
to go help her. So they go over and they
you know, they help her so she can lose it.
And this is just like explosion of anger and grief
and understanding and not understanding and Academy Award winning material.
Speaker 1 (44:47):
Yep, and even Darryl Hannah gets to have that lovely
moment which is so frustrating but so real of like
trying to offer a religious like.
Speaker 4 (44:58):
Right, what a wonderful funeral? Here am I strong religious beliefs?
Speaker 7 (45:03):
You know who's had who's had that experience before? Yeah, I.
Speaker 1 (45:10):
Thought, even like Tom Scarett and you know, Sam Shephard
did some nice, very subtle, ineffectual man acting where they're like, oh,
Sally Field is clearly struggling. Should I go Olympia Ducoccus
and Dolly partner on it.
Speaker 2 (45:23):
I'll let them handle this.
Speaker 3 (45:25):
They've got it wrong.
Speaker 2 (45:27):
They're not wrong.
Speaker 3 (45:29):
By the way, did you notice that the flowers were
blush and bashful? I did, and it made me made
me happy.
Speaker 1 (45:40):
And so yeah, so it's I mean that is this
movie like life goes on, they find easter eggs.
Speaker 2 (45:45):
They they're gonna tell Jackson and.
Speaker 4 (45:46):
Then the movie goes on for ten more minutes it does.
Speaker 3 (45:49):
Yeah, well, okay, so how blonde is Shelby's baby?
Speaker 8 (45:58):
That is not Don mcdermot's baby, but that is the
blondiest little blondie of a little blondie.
Speaker 4 (46:04):
It's German.
Speaker 1 (46:09):
Yeah, but that baby did not did not ever, but
her younger brothers both are like complete toehead buns.
Speaker 2 (46:17):
So what is it?
Speaker 1 (46:18):
Just it skips a generation? No matter that Gregor Mendel
would have something right, there's.
Speaker 7 (46:23):
A lot of it skips a generation conversations I think
in town, but in reality is probably a little different.
Speaker 3 (46:31):
Yeah, so wait, can we talk really quick, like filmmaking
wise about the helicopter shot? Right, the last shot of
the movie is a helicopter shot. Where like now it's
a drone shot, right, But then like you know that
they rented a helicopter for this last scene of them
(46:52):
driving away, and so so we get a helicopter with
all of its like janky helicopter qualities, like can't keep
the helicopter steady enough, so we have to end it
on a freeze frame. But but like, just like filmmaking purposes,
I'm like, thank god for drones now because.
Speaker 7 (47:13):
Right and stabilizationation which they did not which they did
not have.
Speaker 3 (47:21):
I also thought Darryl Hannah could do so much better
than that guy.
Speaker 2 (47:25):
Oh yeah, what's the Daryl?
Speaker 3 (47:28):
Like, because we put her in glass, she's like not
beautiful anymore.
Speaker 4 (47:32):
And then like I'm not a fan of her journey. No,
like she was.
Speaker 7 (47:36):
She lost her glasses. She looked better in the glasses.
She got super religious in people's faces.
Speaker 3 (47:42):
You know that's because she was. She was super she
was super slutty. She was super slutty, and then she
got super.
Speaker 1 (47:48):
Religious for like an afternoon, though for an afternoon for
one season from she was through the whole town and
after Christmas, yeah's like praying all the time.
Speaker 2 (48:01):
I agree like her.
Speaker 1 (48:03):
She seemed fun at the beginning, then more fun, then
less fun, and then she stayed at a very low
fun angle. It's like and then hanging out with Dolly Parton.
You should find your way to a middle ground, right.
Speaker 3 (48:17):
And then like she meets Emo Bartender and like is like,
oh hey, Emo Bartender and he's like hey, and then
they're together the entire rest of.
Speaker 2 (48:27):
The until they get married and have a baby.
Speaker 3 (48:31):
A baby named Shelby.
Speaker 2 (48:32):
Shelby.
Speaker 3 (48:33):
Shelby should do a lot better than Emo Bartender.
Speaker 1 (48:40):
I agree, like she should have. Shelby should have been
like introducing her to some handsome lawyer cast offs.
Speaker 3 (48:47):
Right, this is the junior partner at the firm that
Jackson works at.
Speaker 1 (48:52):
She was Shelby was very invested in Weeza getting together
with the the funny little Man.
Speaker 3 (49:03):
Man ineffectual funny little Man.
Speaker 1 (49:05):
Yeah, I completely agree with that.
Speaker 2 (49:10):
Of all of the women that we get to meet
and know.
Speaker 1 (49:14):
She's my least favorite, not Darrel, Hannah Annell and now
the character Annel the character. So what do you guys
like If it's hard to rate this kind of movie,
I think because you're holding it up against beaches, you're
holding it up against terms of endurement. You're holding it
up against Fried Green Tomato. It's like, this is that
(49:37):
genre of movie. So on a scale of one glass
of juice being the least good to ten glasses of
juice is being a perfect laughter through tears movie.
Speaker 2 (49:50):
Yeah, where do you put steel Magnolia's.
Speaker 4 (49:55):
Yeah, that's a tough one.
Speaker 2 (49:56):
It really is.
Speaker 7 (49:58):
Yeah, you know you I have noticed I didn't have
too much to say during this episode.
Speaker 4 (50:03):
I admittedly this is I am not the target audience.
Speaker 7 (50:06):
For this movie, although I enjoyed quite a bit of it,
you know, like.
Speaker 4 (50:12):
Yeah, like I wanted to give it like the movie deserves.
So this is based off of just.
Speaker 7 (50:17):
Like how it sits with me and like how where
it is for my own personal enjoyment.
Speaker 4 (50:24):
I think I'd probably give it a six out of
ten just in terms of my like, I know, the
movie is better than a six, but that's in terms
of like it's in its value or entertainment value to me.
Speaker 3 (50:38):
You know, the movie is better than a six.
Speaker 7 (50:42):
I feel like it is like just the level of performances,
you know, the and everyone involved.
Speaker 4 (50:50):
Like I feel like it's a it's it's its value
is higher than my experience with it. But yeah, that's
that's just my gut, Okay, I see that.
Speaker 3 (51:00):
Like the performances are a solid eight glasses of juice, right,
but the movie itself sits much lower than that, so
it probably.
Speaker 4 (51:10):
It's like a delivery vehicle for quick right, Like.
Speaker 3 (51:13):
There's a there's a trailer of this movie that is
literally just like Sally Field, Darryl Hannah.
Speaker 4 (51:21):
Julia Roberts and Terminal.
Speaker 3 (51:24):
Olympia Ducaucus and Shirley McLain in Steel Magnis and like
that's it. Like that's the trailer, right, so we don't
care what happens and it men are in a factual
so like, so the performances are eight, the ladies are eight,
but like this movie is a right down the middle
of the five. Like I finished it yesterday. I finished it.
(51:46):
I watched it again yesterday I finished it. I was like, yeah,
that still magnilia, Like you know, like that's what you say.
Speaker 4 (51:53):
About it, Okay, I don't feel so bad that I.
Speaker 2 (51:56):
Like that assessment. I feel like that is a very like.
Speaker 1 (52:02):
Clean assessment of the quality of the movie and the
equality of the performance is I'm gonna cut the difference
in the high to the higher range because I also
think that this movie is rewatchable, and like scratches an
itch that there aren't a lot of movies.
Speaker 2 (52:23):
Being made right now that scratched that same itch.
Speaker 1 (52:30):
So I think that I would sort of split the
difference and say I give it a seven and a
half because I think that it's still like my whole
family came and watched this movie with me, Like I
turned it on alone and was like sitting there alone,
folding laundry and taking my notes, and slowly but surely
they all drifted in and said, oh, steal Magnolias, and
(52:51):
like sat down and like we're eating popcorn and watching along.
Speaker 3 (52:55):
So it's definitely popcorny because of the quips, did you
have really quippy funny ladies? There's nothing really to.
Speaker 2 (53:04):
Racing in it, So I think I give it.
Speaker 4 (53:08):
I think I give it dude buns, plenty of dude.
Speaker 1 (53:11):
Buns, buns, buns, buns, buns, And so what about a
deep cut recommendation? So like, I think this was tough
for me to figure out what my deep cut recommendation
would be, and I couldn't think of anything. I think
Leanne was just giving hers is it girls trip?
Speaker 3 (53:33):
No, it wasn't girl deep cut. You know what, that's
a that's a because Girls Trip is definitely like if
they remade It's like if they remade Steel Magnolia's right,
what is it going to have to be in order
for people to watch it? And it has to be
Girls Trip, that's where it has to go. But it's
like Girls Trip with a bunch.
Speaker 8 (53:50):
Of old ladies, which is another movie.
Speaker 3 (53:55):
But like, so, okay, so my dad cut and I
don't know how deep like we were going to get
if we were going to like go like Indie or whatever.
But my deep cut is actually by the same screenwriter
who talked to Sally Field and was like, what do
you like? What what would you love to play? And
she's like, I just want to be a mean woman
(54:20):
that could wear amazing outfits. And so then he he
wrote soap Dish for her. So soap Dish is gonna
be my deep cut. I don't I know, it's not
that deep, but like my deep okay, go go good, okay,
soap Dish because soap Dish has the quippy equips, right,
(54:43):
it has the like funniness, you're not crying through tears,
laughing through crying. It's none of that. But like I
just think I'm gonna I'm gonna go with soap dish.
Speaker 2 (54:54):
That's perfect. I love it. And what's hers, Nathan, So.
Speaker 4 (54:59):
Mine is okay. So this is a type of movie, like.
Speaker 7 (55:03):
This is a movie about the lineage of a family.
And I feel like like my my version of this
movie is, in terms of my sensibilities is parenthood, you know,
like that's that's that is My personal taste is just
more on the comedy aspect.
Speaker 4 (55:22):
But and I feel like then.
Speaker 7 (55:25):
For me, that's a back door to a deeper connection
to the drama, you know. And and there's there's not
like the Oscar speech scene, you know, necessarily to where
someone has died, Like I mean, I you know, and
if I had to go, you know, adjacent to that
(55:47):
kind of thing, I'd say the Royal tann and bombs.
Speaker 4 (55:52):
Bombs, but I'd say I'd say much more.
Speaker 7 (55:54):
Parenthood is my version of this, This kind of story
of of like the misfit families. We can't all get along,
you know, the weirdos that we bring into our lives,
and ultimately the story is just about the people rather
than something Sure.
Speaker 3 (56:11):
You.
Speaker 2 (56:14):
Both much better than mine.
Speaker 1 (56:16):
I'm going to recommend a website that you can shop at,
which is called always fits dot.
Speaker 4 (56:22):
Com website for track lights.
Speaker 1 (56:27):
It's for track lights, No, it's they sell gifts and
home goods, and it's where I do the majority of
my Christmas shopping. And they sell a movie poster that
I love where you scratch off the top one hundred
eighties movies.
Speaker 2 (56:44):
So that's where I found the website.
Speaker 1 (56:46):
But they have a whole line of glassware that says
drink your juice, Shelby. Okay, And so you can buy
a picture and a whole line of glassware that all
say drink your juice, Shelby. And I just think, what
a great icebreaker at your next women only picnic.
Speaker 3 (57:08):
I like it, Okay, thank you juice.
Speaker 1 (57:12):
And I'll put a link in when I post the episode.
Speaker 2 (57:15):
But it's always fits dot com.
Speaker 3 (57:18):
Always fits dot Com all right.
Speaker 1 (57:20):
Yeah, I don't know why it's called that because they
really only sell socks, which would be something that would.
Speaker 3 (57:26):
Fit always always always fit.
Speaker 2 (57:30):
That's true, So we just solve the mystery.
Speaker 3 (57:33):
I don't know why they called it this because they
only sell socks that always fit. But it always fits
dot Com.
Speaker 1 (57:42):
Uh, Leanne, how can people support you and value theater.
Tell us a little bit about how the people of
the world can get involved at Value Theater.
Speaker 3 (57:52):
Sure, you know, Value theater is really cool. We've been
around since nineteen eighty nine. I actually was a Value
Theater k in nineteen ninety one, not dating myself or anything,
but it was a long time ago. We are online
at vt dot com. We have some amazing programs. It's
not just kids on stage performing, which we have that
(58:13):
and the shows are amazing, but we also do some
awesome programs for our community where we have reading programs
for children in Title I schools. We have programs for
children from all sorts of walks of life to give
them their very first theater experience. We recognize the power
(58:33):
of the transformational power of theater, and we believe that
that power not only helps kids grow up and be
sure better actors, but we make kids better people. So
you can learn more about us at VYT dot com
and come on out and see a show.
Speaker 1 (58:52):
Yes there, I highly recommend. They do amazing things out there.
Speaker 3 (58:57):
Yeah, it's professional quality theater and the only difference is
that like instead of the people on stage being adults,
their children.
Speaker 1 (59:07):
Yeah, but they're doing as as good a work, it's
like so impressive. Yeah, and it's so so so great,
as you said, Leanne, for kids to get like that
kind of like professional quality experience at that age, because
they just get that it's like the Malcolm Gladwell ten
thousand hours thing.
Speaker 2 (59:22):
They're starting so much further ahead.
Speaker 3 (59:25):
Yeah, I mean, it really is like, you know, if
you tell a child like, oh, you're going to be
in this you know, this show, but it's just not
going to be as good as like the ones on
Broadway or whatever, then then the show isn't going to
be as good as the ones on Broadway. But if
you sit there and you tell kids like this is
going to be the best thing you've ever done, they're
(59:45):
gonna make it the best thing they've ever done. And
like if you sit there, you know, and and for
a lot of kids, they really feel that theaters out
of their reach, that like it's for other people, not
for them. And sometimes children they set their foot into
a theater for the first time to see a play
(01:00:05):
and just this like aura of magic comes over them
and their eyes get wide and it's the most amazing
thing you've ever seen. I love value theater for that.
So anything you know, we're a nonprofit. So we love volunteers,
we love you know, donations, we love just coming down
and seeing our shows. We love all of that.
Speaker 1 (01:00:28):
Excellent, absolutely, And so Nathan, where can people find you?
Speaker 7 (01:00:36):
Yes, Squishy Studios is the best place to check out
our projects.
Speaker 4 (01:00:41):
We're not a nonprofit. We're an unprofit.
Speaker 3 (01:00:46):
As many as many filmmakers are.
Speaker 4 (01:00:48):
Exactly. Yeah, we don't make We don't make money. We
make movies. That's air.
Speaker 5 (01:00:52):
Look.
Speaker 7 (01:00:55):
So yeah, if you want to check out our past
stuff or check out stuff that's coming down the line, our.
Speaker 4 (01:01:03):
Our web series Voyage Checkers, a lot of people know,
and then we've been we're in post production on a
feature film. It's not Voyage Checkers. It's called the Last
Movie Ever Made.
Speaker 7 (01:01:18):
And so yeah, they can if they want to check
us out Squishy Studios dot com or Facebook and Twitter.
Speaker 4 (01:01:25):
Technically Instagram is online more often.
Speaker 1 (01:01:29):
And totally worth supporting. Very great stuff all around, and
you can find me at the Neighborhood Comedy Theater in
downtown Mesa. At Arizona, you can listen to all of
the most excellent eighties movies podcast on True Story FM
and catch me on the Saturday Matinee podcast on True
Story FM.
Speaker 2 (01:01:48):
And thank you so much, Leanne, it was so wonderful
to have you.
Speaker 1 (01:01:53):
Hey, I wish I had a I wish I had
a quip, the only quip I have to end my
podcast that while y'all are out there in the world, remember.
Speaker 2 (01:02:03):
To be excellent to each other and to party on. Dudes.
Speaker 6 (01:02:10):
Dudes,
Thanks for tuning in to another episode of the Most
Excellent Eighties Movies Podcast. Want to skip those ads and
get early access, become a member at true story dot fm,
slash join and discover all the other great parks that
come with it. Hello and welcome to the Most Excellent
(00:30):
Eighties Movies Podcast.
Speaker 2 (00:31):
It's the podcast.
Speaker 1 (00:32):
We're a filmmaker, a comedian and their fabulous guests look
through the eighties movies we think we love or might
have missed with these our modern and steal yet delicate eyes.
And today we're talking about steal Magnolia's a movie selection
from nineteen eighty nine.
Speaker 3 (00:55):
Here we go.
Speaker 4 (01:01):
I don't want to have to kill you.
Speaker 3 (01:03):
Don't you threaten me?
Speaker 5 (01:04):
Drumm, eat and drum would never ever point a guy
in a lady.
Speaker 2 (01:07):
Your husband is a boil on the butt of humanity.
Speaker 5 (01:11):
Try Star Pictures Presents. Then you're finally rid of me,
Sally Field. I think you'd be back, Dolly, pardon your family.
Speaker 3 (01:23):
Louis brought his girlfriend home, and the nicest thing I
can say about her is all her tattoons are spelled correctly.
Speaker 5 (01:31):
Oh leave me alone, Shirley McLean, I'm.
Speaker 1 (01:34):
Not crazy, Mileynn I've just been in a very bad
mood for forty years.
Speaker 6 (01:39):
Daryl Hannah, Mister, I swear to you that my personal
tragedy will not interfere with my ability to.
Speaker 4 (01:44):
Do good hair.
Speaker 5 (01:45):
Olympia do concussed. It's like two pigs. Fuglondo like it.
Julia Roberts, I'm gonna make you very happy. I want
a child of my own. Your poor body hasn't been
through so much. Why would you deliberately do this? Gods
have healthy babies. All the people are special Shelby Time
(02:05):
has made them close. Life She's gonna have a night
to go get a doctor has made them friends. Steel
Magnolia's the Funniest movie that will ever make you cry.
Speaker 2 (02:20):
That's a really good tagline.
Speaker 1 (02:22):
The funniest movie that will ever make you cry is
like a bold claim, And yet that would make me
go see a movie.
Speaker 4 (02:30):
Are you ready to cry?
Speaker 2 (02:32):
Yes? But also laugh periodically throughout?
Speaker 6 (02:39):
Yes?
Speaker 2 (02:39):
Also, like that's a whole genre all on its own.
Speaker 1 (02:44):
Sure is Hi, I'm Christy Lynn's a director of the
Neighborhood comedy theater and podcast comedian. And that other voice
you heard is filmmaker Nathan Blackwell.
Speaker 4 (02:54):
Hi, I'm Nathan Blackwell.
Speaker 2 (02:57):
I don't know how to ever do these filmmakers.
Speaker 1 (03:00):
Don't worry New Year six, you'll really catch on and
with us today we have a very special guest, someone
I've known for a very long time and done improv with,
who is not only a multiple Emmy winning producer of
so many fabulous things and the long time girl boss
of the Phoenix Film Festival.
Speaker 3 (03:22):
Oh yeah, that too. I'm forgetting all the stuff I've done.
I was like, are you talking about me?
Speaker 2 (03:28):
I am?
Speaker 1 (03:29):
And is now at the Valley Youth Theater, which is
like the place for youth theater in area has churned
out so much talent that people in the world have
heard of.
Speaker 3 (03:43):
I mean, I'm not going to drop any names here
at the Stone and the Stone, Glenn Charity Dawson, Matt's Crumb.
I mean, I could go on, but I won't.
Speaker 2 (03:56):
You know, of course, why would you?
Speaker 3 (03:58):
Everyone Jordan Sparks But no, no, no, let's keep going.
Speaker 2 (04:03):
Okay, I love Jordan's Sparks.
Speaker 1 (04:08):
Yes, A Value Theater is where it's at, So I'm
so excited for you to be here to talk with
us about a film and a play which crosses over.
Speaker 3 (04:17):
Yeah, it's like both of my things. I'm Lianne. By
the way, I.
Speaker 2 (04:22):
Didn't say your name.
Speaker 3 (04:23):
No, I don't mean movie.
Speaker 1 (04:26):
I just said lots of things about you and figure
that people would read my mind and know that you
are Liane.
Speaker 4 (04:32):
Who needs no introduction, Dolan, we know who she is.
Speaker 3 (04:36):
Let's get all knows.
Speaker 2 (04:39):
Leanne. Have you seen this movie? Is it a favorite
of yours? Have you seen the play?
Speaker 3 (04:43):
So? Okay, I was trying to think if I've seen
the play. There was like this point where I went
to like when I was in sixth grade. No, it
wasn't out in sixth grade, So no, I haven't seen
the play. I have seen the movie. Is it a favorite? Ah,
I've we can talk. We can talk about the movie itself,
but I have seen the movie many times because you know, uh,
(05:06):
you know, there was that whole There was that whole
point and like the late eighties early nineties were where
they're like everything was southern and it was like to
watch southern movies, So you know, that whole.
Speaker 7 (05:19):
Point you're describing, Miss Daisy was like the paple of
that period.
Speaker 4 (05:24):
Actually, didn't it win the Oscar like an eighty nine ninety?
Speaker 3 (05:27):
Yeah it did. I believe it did. You're gonna have
to We're gonna have to check that. But yeah, and
when you were like, oh yeah, Steel Magnolia's, I immediately
thought of like my favorite scene from it. And then
I was like, oh wait, that's not Steel Magnolia's. That's
Fried Green Tomatoes. Yeah.
Speaker 7 (05:46):
I told someone that that I was going to be
watching Steel Magnolias. It goes like, oh, that's the one
with Deborah where Deborah Winger dies at the end.
Speaker 1 (05:55):
It's like no, no, no, beaches, no, no, that's the
it's terms of endearment.
Speaker 4 (06:01):
Is I got it wrong?
Speaker 2 (06:03):
I derect what it is?
Speaker 1 (06:06):
Yeah, all the that it is the genre of movie
like funny, heartwarming movie, but you will cry because we
will try to make you cry, as like.
Speaker 7 (06:14):
Oh yeah, make some predictions. There's going to be troublesome family. Yeah,
some people disagree about how others should proceed with their lives.
There's some weirdos who enter into the picture and then uh,
but they all come together when someone.
Speaker 4 (06:33):
Dies and then there's a baby.
Speaker 2 (06:35):
Probably, yeah, probably.
Speaker 3 (06:36):
Don't don't forget quippy older ladies.
Speaker 4 (06:39):
Yeah, quippy horny older ladies.
Speaker 3 (06:42):
Yes, always always quippy older ladies who needs some.
Speaker 1 (06:47):
That's I stand horny old ladies like I'm here for it.
Speaker 3 (06:53):
You're like, that's my goal in life. I don't know
what you're talking about. I could be a quippy old lady.
I'll just like going through the retirement home will be good.
Speaker 2 (07:04):
Oh hell yeah.
Speaker 1 (07:04):
And I want to also solve mysteries. So if we're
taking orders, okay, I want to.
Speaker 3 (07:09):
That's a whole another that's a whole other genre.
Speaker 2 (07:13):
Just for up, just for an update.
Speaker 1 (07:14):
Raiinman won the Best Picture in nineteen eighty nine, but
Driving Miss Daisy was was right up there.
Speaker 2 (07:20):
But yeah, Rainman took it home.
Speaker 7 (07:25):
Yeah, I think I think Driving Miss daysy was nineteen ninety,
nineteen eighty nine.
Speaker 4 (07:32):
No for the Oscars that would.
Speaker 5 (07:35):
Yeah, so.
Speaker 2 (07:37):
Driving Mystics.
Speaker 4 (07:38):
So it's delayed by one. If it came out in
eighty nine, then it's the nineties, and it's the nineties.
Speaker 1 (07:42):
Oscars YEP sixty second Annual and Daniel day Lewis won
for My Left Foot in dandel Washington one for Glory,
and Jessica Dandy one for Driving Miss Daisy, and Brenda
Fricker one for My Left Foot.
Speaker 2 (07:55):
What a year?
Speaker 3 (07:56):
What a year?
Speaker 1 (07:57):
What are your for feet for feet and driving and driving.
So this movie is like it's we usually talk through
the like movie sort of chronological, but chronologic chronological, but
this movie is like in seasons. So we start with
the season of Shelby's wedding and it's like a young, fresh, adorable,
(08:27):
gigantic smile Julia Roberts who is getting ready for her
wedding day and she says at some point that the
wedding's at two, but the sheer amount of what they
accomplish in the day before the wedding is shocking.
Speaker 3 (08:40):
Yeah, I felt like, you know that first shot where
like Daryl Hannah is walking. You know, first of all,
props to the costume department for finding glasses to put
on Daryl Hannah so we could disguise her as like
she's not the most beautiful person in the entire world.
She's really nerdy and ugly. We put glasses on. She's
(09:01):
like walking through the town and she sees like all
of this stuff, this hubbub going on at the at
the house, and like that must have been at.
Speaker 4 (09:10):
Like dedict a hubbub.
Speaker 3 (09:11):
Yeah, there's a hubbub that must have been at like
six in the morning, right, because all of that stuff
happens before the actual wedding. So you know, all the
champagne glasses are broken and the.
Speaker 2 (09:25):
And Tom Scarrett is shooting birds out of a tree.
Speaker 4 (09:28):
I mean it really stressed out.
Speaker 3 (09:30):
Yeah, you and the dog.
Speaker 1 (09:33):
Yeah, and the brothers. So the dad, the father of
the bride, and the two little brothers of the bride
are all like determined to get these birds that like
are doing no one any harm.
Speaker 2 (09:45):
We just assume they are. They might pooh on someone
even though there's a tent, but there's a tent.
Speaker 3 (09:53):
I mean this is yeah, that's the ultimate and uh
eighties movie logic is that we need something for the
for the man to do. Here the ineffectual man, as
all men are in this movie, pretty ineffectual.
Speaker 4 (10:10):
I have experience in being the ineffectual man.
Speaker 3 (10:12):
Oh congratulations, you should have been in this book Vein.
It was like the men were seriously there because it
was like, you know what, we can't just not put
a man in this movie.
Speaker 1 (10:23):
It can't just be a ladies and that the play
itself has has no men.
Speaker 7 (10:27):
Uh yeah, the play is only the six women, and
it isn't it only in the beauty shop like the
whole play is only in the beauty shop.
Speaker 3 (10:36):
I believe, I believe. So, I don't know, I'm not
I'm not sure about that, but yeah, I mean it's
only the six women. There's no men in it. And
so when you're making obviously, when you're making a Hollywood movie,
you have to put right men in it. I'm surprised
they didn't just.
Speaker 4 (10:50):
Yeah, they had they had to. They had to put
dogs in it too.
Speaker 3 (10:54):
Yes, of course, men and dogs. That's the number one movie.
Speaker 7 (10:59):
The interesting thing is that the So I was fascinated
just watching like the adaptation from a play to a
movie because it actually was written by the same guy
who did the play screenplay, which is rare. Yeah, so
the screenplay was actually written by the same person and
just like expanding, like I'm sure they had long dialogue,
(11:22):
you know about talking about their relationship with their husband
and how he's always creating a mess and things like that,
and now they get to actually like visualize some of
these stories or things that they talked about, kind of
like the expanded universe of actually getting able to to
see things outside of the beauty parlor.
Speaker 3 (11:42):
I saw were there times, Nathan, just like from filmmaking perspective, Like,
were there times where you're like, oh, yeah, this was
a play.
Speaker 4 (11:50):
Oh yeah, one hundred percent.
Speaker 7 (11:51):
It's like when they all so obviously when it there's
a lot of like exposition in their dialogue where they're
talking about like who's relation to who, or they're sussing
out like other people's backstories. But it's almost always when
everyone is together and just kind of like, you know,
like there was a scene where they were all gathered
(12:13):
around the car and it was it was and then
they were doing like the easter eggs in the in
the car and just all of them each having a
moment and having their asides, and it's like, oh, yeah,
this totally was a moment from the play.
Speaker 3 (12:28):
Yeah, I felt that when she was describing when Julia
Roberts was describing her wedding and she's like, oh, in
my reception, my reception is going to be like this,
you know, and it's just like, boy, I could literally
be watching a play right now, which is like, it's
actually one of my least favorite genres, movies or plays
that are turned into movies but still feel like plays.
(12:50):
That's that's a genre.
Speaker 7 (12:51):
It's so tough, you know, you've got to still kind
of like you know, be you know, faithful to the
original material. But yet how do you make it so
people aren't just talking about everything that's going to happen
instead of seeing it, you know.
Speaker 1 (13:09):
Right, Well, is there a difference between like I mean
in the viewers experience between like if you see like Hamilton,
it's just like, Nope, this is a play. We put
a camera here, we put a camera here, we put
a camera here. You're seeing the stage. We're not pretending
that we're in these places. You're seeing the stage craft
versus like, no, it's a real world. And now not
only is there a beauty parlor, there's also a backyard.
Speaker 3 (13:37):
Yeah, I mean you see you know, you see.
Speaker 6 (13:38):
That a lot.
Speaker 3 (13:39):
And I did feel it here like clearly if they
when they were in the beauty parlor altogether, it's like
that was probably just like ripped from the stage performance.
Speaker 1 (13:48):
And that's that was the best part I felt, because
that's when you get all of the women really being
the characters that you signed up for, you know, which
is like Dolly Parton and her never ending quips, which
you know, I had a lot of Southern lady great
aunts and stuff who were just full of all of
(14:11):
these sayings where you're like, was there did.
Speaker 2 (14:14):
You take a class? Was class.
Speaker 1 (14:18):
Where you just like have to go through a little
book and like so you have everything like memorized. I
remember one time my aunt Edith yelled at my father
and said, mister Stewart, if you point that thing at me,
you better hope it's made of chocolate or that it's
your size, because you're gonna either eat it or wear it.
Speaker 2 (14:38):
And I was like, how did she just have that
in her back pocket? How did she know?
Speaker 1 (14:46):
And like so the gentleman who wrote the play clearly
found the text book from Southern Lady Equipp's done.
Speaker 3 (14:55):
I think it was like I think they shot it
in like his hometown, so I think, like it's a
lot of it. I run that a lot of it
was like based off of his sister, and it was
for his sister who mirrors Shelby's predicament in the whole thing.
And uh, but but yeah, it was based on his thing,
on his hometown. So I'm sure he had a lot
(15:17):
of those ladies that can pull a quip.
Speaker 1 (15:20):
Out and just just be ready with it, like just
be ready with it, even if I wrote it down
in a journal.
Speaker 2 (15:28):
I have to Now here's an opportunity.
Speaker 7 (15:31):
Uh, Louisiana, We've got to start doing our homework and
practicing our equips.
Speaker 3 (15:39):
Yeah, you have to practice your clips be like, are
you going to eat that? Or pointed at me?
Speaker 4 (15:45):
No, I's.
Speaker 2 (15:49):
That was my opportunity and I let it go by.
Speaker 3 (15:52):
I'm the worst Southern lady ever.
Speaker 1 (15:54):
Yeah, but all these Southern ladies are like, well not all,
but some of them are very very rich and wealthy
and fancy and run this town.
Speaker 2 (16:03):
And then some of them are.
Speaker 1 (16:05):
Like blue collar here to do your hair for a living,
and you know where Daryl Hannah disguised glasses. And then
Shelby is like the person from the next generation. So
in nineteen eighty nine, she's gonna take us into the
nineties with her forward thinking ideas.
Speaker 2 (16:23):
Although and we're just skipping way ahead.
Speaker 1 (16:26):
Surprisingly, this film has not terrible attitudes toward gay people.
Speaker 2 (16:32):
Anyone else surprised?
Speaker 6 (16:33):
Oh, I mean he could, Like it's first of all,
the fact that like so so the clip, right, the
clip is that you know that somebody is gay when.
Speaker 3 (16:47):
They have track lighting and our names what is it Mark,
Steve or somebody?
Speaker 5 (16:55):
Yeah, but like you.
Speaker 3 (16:58):
Know, and everyone's like totally the ladies are totally cool
with it. But that's always how it's been, right, It's
always been like the ladies are like, yeah, you want
to be gay whatever, I don't really care, that's fine,
But the men have always been like that. So yeah,
so so yeah, but I thought I thought that was
really cute as a as a lady who grew up
(17:19):
Mark Ricker Steve. Mark is uh equals gay. Track lighting
and Mark and the name Mark Rickers Steve and that
equals gay.
Speaker 1 (17:31):
Yeah, which really hard for anyone who works at a
gallery or someplace where track lighting is a necessity. I
guess you hire a Mark, a rick or a Steve
so as well.
Speaker 4 (17:42):
Yeah, that's a small town.
Speaker 1 (17:44):
But the in the in addition to the seasons of
these women's life, we start with the spring right the wedding,
and we learn in that that the scene of this
movie that Julia Roberts is a die betech and that
she has a that it's very serious because she's like
(18:06):
having a great time talking about blush and bashful pink
and pink pink blue shade is much deep, and then
all of a sudden she's like shaking it out of control,
and she has to drink her juice.
Speaker 2 (18:22):
Shelby, drink the juice.
Speaker 3 (18:24):
Shelby, drink the juice.
Speaker 2 (18:26):
Shelby, I've got candy. No, she needs juice juice.
Speaker 3 (18:31):
This is the kind of diabetes that doesn't do candy juice.
Speaker 2 (18:36):
It does the juice.
Speaker 1 (18:38):
And and she's very, very sick, and like the mom
is saying.
Speaker 2 (18:42):
She shouldn't work after she's married.
Speaker 1 (18:44):
She's a nurse, but she shouldn't stay on her feet
because she's she's so ill that if she doesn't drink
juice regularly, she will she could go into insulin shock
and like you know, have very serious consequences. And and
also in that whole before the wedding of this movie,
(19:04):
we learned that she is told she shouldn't have children,
and that Dylan McDermott wants to marry her anyway, and
that they will likely adopt.
Speaker 2 (19:14):
But you can tell, right, you can tell.
Speaker 3 (19:16):
Yeah, we know what's gonna happen. Yeah, but we okay,
So I'm not very familiar with diabetes types or anything.
The Julia Roberts seizure that she has in the in
the beauty parlor was like, I don't know what. I
guess it was kind of frightening, but also kind of strange,
(19:39):
Like do diabetics have like those kind of like where
where they're like drink the Jews showed me and she's
like pushing it away and shaking, and you know, I like,
is that a thing that happens?
Speaker 2 (19:52):
Yeah, that's a great question.
Speaker 1 (19:54):
She She also was like, stop at Mama, you're embarrassing
me when it's like, well, you are having a seizure
to help, right, and I'm like, all of.
Speaker 3 (20:05):
A sudden, because you're diabetic, you go into this like
extra reality space where it's like all the people who
are trying to help you aren't trying to help you.
They're there to embarrass you and not give you juice.
And so we're going to push the juice away. But
yet I don't I don't know, I don't know.
Speaker 7 (20:21):
Enough took it as a source of like steel Magnolia's
they're all very tough, but yet she is very fragile.
Her body is fragile, and she so it's it's like
when she goes into a seizure, she's angry that it's happening,
that this reality is is coming up, that it's happening.
You know, it's like her whole arc is that she's
(20:45):
going to live the way she's going to live despite
her limitations, despite her weaknesses, you know, right.
Speaker 4 (20:50):
And so I feel like it's more of her angry.
Speaker 7 (20:55):
You know, it's like she has she wants to have
the perfect life, she wants to have the perfect wedding,
she's gonna have kids, She's gonna do what she's gonna do,
you know.
Speaker 1 (21:05):
Right, and so, and I did read that the movie
got somewhat criticized for being like very worst case scenario
of like type one diabetes. Like this is like all
heightened past a ten worst case scenario, worst case scenario
on top of worst case.
Speaker 4 (21:21):
Of a real story, right exactly.
Speaker 2 (21:23):
Yes, lived experience.
Speaker 5 (21:26):
Yeah.
Speaker 3 (21:27):
Also also as a as a fellow nine inch Nails fan,
Chrissy wasn't that. I don't know if you remember it,
but when she was having this seizure, it was very
it was very like Trent Resnor scored it, going like
huh to Trent and Atticus scored this part because it's
(21:48):
like dumb.
Speaker 1 (21:52):
I was like, we can look at the credits clearly,
but maybe it inspired them because you know, their film
work is now what we all know them for, right.
Speaker 4 (22:01):
Yeah, they can't just say that they were inspired by
Steel Magnolia's.
Speaker 3 (22:05):
Right, Yes, it could be true, but but they really
super metal to be inspired if you'rre Trent Reznor and
being like, yeah, my my biggest inspiration was A Heroin
and B Steve Magnolias.
Speaker 2 (22:20):
Those two things.
Speaker 3 (22:22):
But but like, but they really opt the like, you know,
the severity of it with this like very dramatic music,
this like huge seizure. She's like clearly messed up her hair,
and then when she comes out of it, she's like,
oh so so it was this. I just felt everything
(22:42):
was just like really big, oh yeah, obviously clearly played
for the you know, played for the drama of the scene.
Speaker 1 (22:50):
Yeah, and the fighting between Sally Field and Julia Roberts
in the in the beginning wedding scenes. To me on
this viewing was a little over the top. I was like, wow,
you are kind of being a dick. Julia Roberts like,
calm down, Shelby. She's like, you told Daddy to get
(23:10):
the birds out of the tree. This is your fault
that he's out there shooting now on the tree, right,
And it's like.
Speaker 3 (23:18):
You should have drowned my brothers.
Speaker 2 (23:20):
What what really.
Speaker 3 (23:23):
They're like, you know, teenage boys, We should have drowned them.
Speaker 4 (23:27):
They are kind of dicks.
Speaker 2 (23:29):
Yes, well again, yeah, yeah, exactly.
Speaker 4 (23:34):
Yeah, And let's just for let's just stop for a moment.
Speaker 7 (23:38):
Sally Field is like the MVP here, Like she is
like Jessica Julia Roberts. She won the Oscar for her performance.
But I feel like Sally Field is really the one
that is killing this movie, like in a good way.
Speaker 3 (23:54):
She's definitely and especially at the end of the World.
We'll talk about it later, but especially that monologue at
the end where she goes through eighty seven thousand different
emotions in the span of like two and a half seconds,
and you're like, oh, that was some She's the one.
Speaker 2 (24:10):
Turns out she's pretty good at acting.
Speaker 3 (24:13):
I think.
Speaker 4 (24:16):
She ends every take with acting acting.
Speaker 3 (24:19):
Thank you. She should do it professionally.
Speaker 2 (24:24):
She should. She's so great.
Speaker 1 (24:25):
Although my sixteen year old daughter kept being like really
confused about how Sally Field was supposed to be Julia
Roberts's mom. She's like, wait, that's the mom of this character.
She kept trying to make it somebody else, Like I'm like, no, no,
she just you know the Southern women, they have the
babies young, right, But you could even see the difference
(24:46):
in Sally Field from the initial uh you know, the
all the different stops for her in this movie. Oh
it's my daughter's wedding. We're not going to fuss over
her because she had an insolent shock seizure. You know,
she's just sad she can't have a baby. Oh wait,
she is going to have a baby. This is bad times,
but thankfully all my lady friends are here to help
(25:08):
me focus on the joy. And then when you know
later at the beauty shop that they're about to do
a kidney transplant and she's accepted it, she can joke
about it. She's accepted it. She's gone through it all
and we got to go through it with her, which
is like so lovely. And Sally Field Man is amazing,
(25:32):
Julia Roberts is amazing, but like the supporting cast of
women are also pretty great. You got.
Speaker 2 (25:41):
Dolly Park, we talked about Daryl Hannah.
Speaker 1 (25:44):
We've got Olympia Ducaucus and Shirley McClain all in there
kicking in their two cents, and.
Speaker 3 (25:51):
Then all of our ineffectual men.
Speaker 4 (25:53):
Yes, Tom Skarett and Sam Shepherd.
Speaker 1 (25:57):
Sam Shepherd, what Shepherd's crazy that he's in this house?
Speaker 2 (26:02):
To me, Sam Shepherds spun and he's so depressing.
Speaker 1 (26:07):
He's such a depressing character who like doesn't want to
go do anything with like vibrant, wonderful Dolly Parton Parton.
Speaker 3 (26:16):
You gotta be pretty depressed, right, you gotta be pretty
depressed to be like, you know what, Dolly Parton? You
are not cheering me up? Yeah, sorry, do it for me.
I will not go to a picnic with you. I
will not go to a wedding. He didn't go to
the wedding.
Speaker 2 (26:30):
The wedding.
Speaker 3 (26:31):
How could you not go to the wedding with Dolly Parton?
The blush and bashful wedding of the century.
Speaker 1 (26:37):
So much pink at that wedding and so many bridesmaids
and so much hat it was glorious, so much hat
you got to go to that, Sam Shepherd write a
play about it.
Speaker 3 (26:50):
Also, can we talk about the armadillo?
Speaker 2 (26:54):
Yes? Please?
Speaker 3 (26:56):
I mean to miss that groom's cake is a is
a is a shame? The groom's cake that was made
by ant? Was it Aunt.
Speaker 2 (27:06):
Kathy something like that? The aunt of Dermot dermott.
Speaker 3 (27:12):
Uh.
Speaker 1 (27:13):
The aunt of the husband makes an armadillo cake, gray
frosting and red on the inside, so it really does
look And when we see it at the wedding, they've
cut off the arms and the legs.
Speaker 3 (27:26):
I was like, this is truly horrifying.
Speaker 2 (27:29):
Yes, absolutely, well, you don't want to go snout down.
Speaker 3 (27:34):
You don't. You don't want to go snout down. I'm
going to put that on his shirt. By the way,
don't go snout down.
Speaker 2 (27:42):
Don't don't ever go.
Speaker 3 (27:43):
Snout down, you go leg Yeah, and then you know,
and then drum gets the butt.
Speaker 1 (27:52):
Uh yes, because uh, Shirley McLain and Tom Scarett have
this ongoing rivalry where uh and she has a rivalry
with everyone, apparently Weezer, which in this movie is the
first time I ever realized. I always assumed it was Weezer,
like the band it's it's I had the sound translation
(28:14):
on what it was that close close captaining, and it
kept spelling it Weezer like o U I s e
R like she's French. And then I realized it because
her name is Louisa. Uh everyone queeza.
Speaker 3 (28:31):
You know what. I never got the Louis I never
got I knew it was, but I knew it wasn't Weezer.
Speaker 2 (28:38):
Like like the band.
Speaker 3 (28:39):
I knew it wasn't the band. I knew it was
O U I S E R, but I just thought
it was you know, like like how you spelled bo
B a U X. Because we're in the South.
Speaker 1 (28:51):
We got to use extra letters. We got to use
all the letters that I'll let.
Speaker 7 (28:57):
The letters, we gotta use them.
Speaker 1 (29:01):
It also bothered me that her dog, her crazy dog,
Weezer's crazy dog, is named Rhett, which obviously is Rhett
Butler right.
Speaker 3 (29:11):
In the South.
Speaker 1 (29:12):
And then she's like, I hate movies because they're full
of naked people.
Speaker 2 (29:17):
I'm like, well we do not gone with the wind.
Speaker 4 (29:19):
Yeah, she's got she is a big fan of buns.
Speaker 2 (29:25):
There are naked people in this I know.
Speaker 3 (29:27):
I was like, and we didn't even get naked people
in it, but we did get naked people.
Speaker 4 (29:32):
Yeah.
Speaker 7 (29:32):
She she's in a locker room, a sports locker room
full of buns, using her little mirror to secretly spy
on them.
Speaker 3 (29:41):
I miss that part.
Speaker 7 (29:43):
She pulls out her makeup mirror and she starts like
rotating it to kind of look at the people behind her.
Speaker 1 (29:48):
Yeah, she is into it, and it's all like so
you know, the story underneath the story is just all
these women trying to like live their lives, and so
Parton has her depressed husband who won't go to a picnic.
Real bummer Olympia Ducoccus, whose name is Clairee is widowed
(30:10):
by the former mayor of the town.
Speaker 3 (30:13):
Is that right, Yeah, Clarie Belcher, which is like unfortunate
it is.
Speaker 1 (30:21):
She's good there may there's maybe a Bob's Burger's connection.
Way back, there's southern the southern line of the Belcher family.
Shirley McLean is like also widowed, but is like went
the other way with it. So there's like the benevolent
widow who like goes to the openings of parks and
and is at every event, and then there's the grumpy
(30:43):
widow who has just been at a very bad mood
for forty years.
Speaker 7 (30:48):
Yeah, they're kind of like on opposite ends of the
social letter, you know, right, but.
Speaker 3 (30:55):
It's the same letter because we learned that we are
as more money than God. And I feel reason why
people talk to her, Christy are you and I just
gonna like say lines from the movie in this weird
accent that we have. Yes, it's a weird accent that
we're making up as we go along.
Speaker 2 (31:12):
Pink is my color, blush and bashful. It's so good.
Speaker 4 (31:19):
I'm an effectual male.
Speaker 3 (31:21):
Where's your Nathan, ineffectual male? Where is your where's your accent?
Speaker 4 (31:26):
Where's my Southern accent?
Speaker 3 (31:30):
Yeah? No, we're good.
Speaker 4 (31:33):
If you can achieve puberty, you can achieve a past.
Speaker 3 (31:41):
Can we can? We just say really quickly, obviously this
is the eighties, but we have we see a total
of five African American people, and four of them.
Speaker 4 (31:51):
It's like, oh, I see one.
Speaker 3 (31:53):
Four of them are are the servants in the Eastington
household doing the preparations. And then one was evidently hired
to be a professional dancer at the wedding, because we
see him dancing quite a bit in the wedding. Oh. Yes,
(32:15):
so there is there is an African American attending the wedding.
Speaker 1 (32:19):
And there is the nurse at the very very end
a person of color, right.
Speaker 3 (32:24):
Yes, and then and the nurses African American as well. Yes,
And that's it.
Speaker 2 (32:29):
That's it.
Speaker 4 (32:30):
I remember I did spot one Asian person.
Speaker 1 (32:35):
There's a baby of color at the Easter thing at
the very end.
Speaker 7 (32:41):
Okay, this movie lost out to Driving Miss Daisy in
the Oscars, so yeah, it was not the best time
for representation.
Speaker 4 (32:51):
And then you know the remake is an all black cast.
Speaker 1 (32:55):
Yeah well it was on Lifetime, right right, there's a
remake of this movie.
Speaker 4 (33:00):
Yeah, but like, but.
Speaker 3 (33:02):
It's like with amazing actors and I'm not quite sure, like,
like I believe it's full. Oh is one of them?
Look this up?
Speaker 2 (33:17):
That's awesome.
Speaker 1 (33:17):
I like that makes me think of like Death at
a Funeral, which was a play that became a movie
that was all white people and then was redone with
a Is that correct?
Speaker 2 (33:27):
Yeah? Yeah, cool, I love it. Keep doing that. There's
no reason why these have to be all white people.
There's no real I mean because I was.
Speaker 3 (33:36):
Also thinking about it and like, there is nothing in
it that needs to be white people.
Speaker 1 (33:42):
I think it does need to be southern, but like
even that could change. You know, it's just about a
small town, right.
Speaker 3 (33:50):
Well. The one thing because it was southern, I didn't
overly feel like I was watching an eighties movie because
like it was already a period piece, being like it
was said southern piece.
Speaker 4 (34:01):
Sure, yeah, YEAHA was the southern aspect.
Speaker 3 (34:04):
Was the Southern, so I wasn't feeling like I was
watching an eighties movie because like I could explain a
lot of the costumes away because it was Southern, right,
so it's not you know, like and like, so I
just kind of was like, oh, yeah, it's a it's
a it's a southern movie. It's not really an eighties movie.
Speaker 2 (34:23):
Yeah.
Speaker 1 (34:24):
There was a scene where the Weiza and Clarie are
buying food to feed the ineffectual men while the women
are having their kidneys swapped, and she just is buying
so much food, and my daughter was like, oh, okay,
I get it. So the Southern women are just like
(34:44):
old Italian grandmas. They have to feed you or they
can't function. It's like, yeah, that's that's the only way
they know how to cope with drama is to feed
you and feed you and feed you.
Speaker 2 (34:56):
And the men and the man can't cook and they
like poking beats like.
Speaker 3 (35:01):
An open a km. She bought like tons of meat
and by the way, she just threw the meat into
the part without putting it in a bag first, which
like to me, is disgusting, but whatever. It was. The
eighties we lived dangerously.
Speaker 2 (35:13):
You're the beans on top of it, Like she could
have punctured.
Speaker 3 (35:18):
That plastic in the that's what I thinks.
Speaker 2 (35:22):
Contamination happening, cross damination.
Speaker 1 (35:26):
Uh So after the kidney transplant, so she does Julie
Roberts does have a baby. Uh and then she's just
she really has done it now and her kidneys are
cou put. She gets a Sally Field kidney and everything
seems to be fine. But of course it's not. On Halloween,
she falls down and dies.
Speaker 3 (35:46):
We didn't talk about the big transition in Julia Roberts's life,
which is the fact that she cuts her all over
her hair off.
Speaker 1 (35:56):
Yeah, that's a big diss And isn't that a cliche
like once women get married and have kids, they cut
off their beautiful hair which they use to lure you.
Speaker 3 (36:05):
Right, Yes, they lured you in with the hair.
Speaker 4 (36:09):
I got you now, I was there.
Speaker 3 (36:12):
Yeah. And now that she is the wife of a
very rich Louisiana lawyer, she can cut it all off.
I thought she looked like jeans smart when she did it,
like from the show that's on TV right now. I
was like, this is not this is not a look
for her.
Speaker 1 (36:32):
Yeah, it's a as a as a woman who has
worn a variation of the pixie cut her whole life.
Speaker 2 (36:37):
It's like, it's not for everybody.
Speaker 1 (36:38):
Don't try and come into our pixie cut territory, Jiah
roberts You don't belong here.
Speaker 3 (36:44):
You gotta know, like, you gotta know if you can
pull it off, like Christy you can pull it off.
I cannot. There's no way in a million years I
can pull off a Cutie Judy pixie cut. Julie robertson,
I have something in common.
Speaker 1 (36:58):
There, yes, absolutely something in common and she but I
I really do love the scene where she's like, I
don't know what I think of it. I don't know
what I think of it. I don't know what I
think of it. Sally Field says she likes it. I'm fine,
I'm okay, okay, although I bet Jackson had something to
say about it when she got home, Like I'm sure
he was like, look, we'll focus on the kidney thing
(37:18):
for now, but we're going to talk about the hair.
Speaker 4 (37:21):
Yeah, you can.
Speaker 3 (37:24):
Grow it out like that. I think, oh, well you can.
And I don't feel like it's low maintenance.
Speaker 2 (37:36):
No oh no, no, She's like I wanted.
Speaker 3 (37:38):
A low maintenance hairstyle. And I was like, honey, that
is going to take you. That's not just like throwing
gel in it and going just.
Speaker 4 (37:45):
A hair tie.
Speaker 2 (37:46):
You know, that's long hair. You put it up in
a one of those clips.
Speaker 3 (37:52):
I know you all can't see this right now, but
I literally have my hair in a pony tail. It
is in a ponytail on you to Nathan, I see, it's.
Speaker 4 (38:03):
The easiest tail in high school.
Speaker 2 (38:06):
Yeah, it's the easiest way.
Speaker 1 (38:08):
And yeah, you're you're teasing that, you're blow drying it,
You're doing as much as as possible. And she like
envisions this life for herself, and Julie Roberts does say
or Shale says she'd rather have three minutes a wonderful
and rather than a lifetime of nothing special.
Speaker 2 (38:28):
And it's like, okay, but you don't, you don't.
Speaker 1 (38:31):
It doesn't have to be a go big or go
home situation, like, yeah, you could maybe have taken better
care of yourself and had a lifetime of wonderful.
Speaker 2 (38:41):
Why is that?
Speaker 1 (38:42):
Why is it either three minutes or or in a
lifetime and not it's but how about a lifetime of
wonderful where you just like.
Speaker 2 (38:48):
Drink your juice shall be just.
Speaker 3 (38:53):
Tell people no.
Speaker 1 (38:54):
Like she leaves the hospital and it's clear that she
can tell she's not feeling well, and then she like, oh,
I'm gonna pick up my two year old son, even
though I know that I shouldn't be doing that. And
then okay, maybe don't do those things. Like I get
that you want to live like you don't have an issue,
but this is the consequences that she found to do coma.
(39:16):
How long was she in that coma? Was it like
a day or did you get the impression it was
like three days or a week?
Speaker 3 (39:25):
I got a three day impression.
Speaker 2 (39:27):
Okay, I got a.
Speaker 3 (39:28):
Three or three or four day impression. I don't think
it wasn't a day. I don't think it was as
long as a week. But she because she because right
it was Halloween, right, because she's like, we're gonna go
trick or treating and then you know, Jackson comes home
and you have a man a crying, screaming baby. That's
like the That was the only part of the movie
(39:51):
that really affected me, was like when the baby is
like on the ground screaming and then pointing outside and
Jackson is like show.
Speaker 7 (40:02):
They dramatized that very well from the point of view
of not the of not of Julia Roberts, but of
the people who are finding her, you know. And so
you get two moments that are really well done back
to back.
Speaker 4 (40:17):
You got Dermott mulroney, not Dermott.
Speaker 7 (40:23):
Who's the other one, Dylan McDermott. Dylan McDermott comes home,
finds the kid crying, sees like the food is boiling away,
and you get and then it just pans over and
she's lying unconscious splay out on the ground with the
(40:43):
phone wrapped around her. Like that's like the startling moment
that we have of coming in and finding someone like
passed out or dead, you know, we kind of get
that real experience. And then and then the next the
next shot is Sally Field just.
Speaker 4 (40:59):
Walking down a long, long, long hospital corridor by herself,
just kind of picking up steam. Yeah, and we feel
her stress, we feel the anxiousness of what she's gonna experience.
Speaker 3 (41:13):
I kind of also thought like in that walk there
was a little bit of like, I swear to God,
when I see her, I'm gonna yell at her because
she was doing too much and I knew she was
gonna do too much. I told her she was doing
too much. And then now she's done too much and
she's done it and she's put herself in a coma.
Like I felt like there was like that part of
it too, which so like I agree. I think that
like those two scenes were probably the most most effective
(41:37):
scenes in the entire movie because like, because Sally Field
said so much with her like determined, slash, pissed, slashed,
worried walk down that hallway, and that was really really great.
Speaker 2 (41:53):
That is such a good observation.
Speaker 7 (41:55):
Yeah, yeah, her heart is breaking, but she's furious.
Speaker 3 (41:59):
Or she's like furious, her heart is breaking, she's worried.
She's like, you know, Sally Field, man, she should do
this for a living.
Speaker 2 (42:10):
She's quite good.
Speaker 1 (42:11):
And then as soon as as soon as they pulled
the plug on Shelby, you know, the dad walks out,
the husband walks out, and she stays. And then as
soon as she is she emerges, it's like, we're gonna
need this pink suit. You're gonna have to call this
funeral home. Like she's already in triage mode as the mom,
(42:32):
and then she she realizes she could hold she could
be holding the baby, and she runs out to get
the baby right, because.
Speaker 2 (42:39):
That's what she has left.
Speaker 1 (42:41):
And then we get that, like the whole funeral scene is,
you know, we get as much set up to it
as we do almost the wedding scene, but this time
we get Sam Shephard like really dropping some science on
us about how he feels bad for them, and it's
like wow, okay, And then that beautiful scene where the
(43:04):
funeral's over, everyone's leaving and all the women are like, nope,
we got to go have a big moment.
Speaker 2 (43:14):
And they they all they go have.
Speaker 3 (43:17):
They their their Academy Award moment.
Speaker 1 (43:20):
They do, and but I I love the so Sally
Field is being like, I'm so angry I want to
just hit someone and make them feel as bad as
I do, and the Olympia Ducucus is like hit waise,
hit waise.
Speaker 3 (43:39):
Of course, and truly like yes, like that's exactly what
was needed in that, Like I know, like Weaser gets mad,
like that's exactly what was needed in that because truthfully,
like so we see, you know, Sally Field has this
Academy Award winning moment where where all of the grief
that she's had because she doesn't because what you just
(44:01):
said prissy strue. She doesn't let it out when she
is in that when she's sitting there holding Shelby's hand
while Shelby's dies, she comes out, she's like all business.
She's like, I got to go find this baby. So
she finds the baby, she holds the baby, but she
has not let any of this out, and so she
(44:22):
held it together for the funeral. And then you know,
as if the rest of the ladies are like, she's
has to lose it in a second here, we've got
to go help her. So they go over and they
you know, they help her so she can lose it.
And this is just like explosion of anger and grief
and understanding and not understanding and Academy Award winning material.
Speaker 1 (44:47):
Yep, and even Darryl Hannah gets to have that lovely
moment which is so frustrating but so real of like
trying to offer a religious like.
Speaker 4 (44:58):
Right, what a wonderful funeral? Here am I strong religious beliefs?
Speaker 7 (45:03):
You know who's had who's had that experience before? Yeah, I.
Speaker 1 (45:10):
Thought, even like Tom Scarett and you know, Sam Shephard
did some nice, very subtle, ineffectual man acting where they're like, oh,
Sally Field is clearly struggling. Should I go Olympia Ducoccus
and Dolly partner on it.
Speaker 2 (45:23):
I'll let them handle this.
Speaker 3 (45:25):
They've got it wrong.
Speaker 2 (45:27):
They're not wrong.
Speaker 3 (45:29):
By the way, did you notice that the flowers were
blush and bashful? I did, and it made me made
me happy.
Speaker 1 (45:40):
And so yeah, so it's I mean that is this
movie like life goes on, they find easter eggs.
Speaker 2 (45:45):
They they're gonna tell Jackson and.
Speaker 4 (45:46):
Then the movie goes on for ten more minutes it does.
Speaker 3 (45:49):
Yeah, well, okay, so how blonde is Shelby's baby?
Speaker 8 (45:58):
That is not Don mcdermot's baby, but that is the
blondiest little blondie of a little blondie.
Speaker 4 (46:04):
It's German.
Speaker 1 (46:09):
Yeah, but that baby did not did not ever, but
her younger brothers both are like complete toehead buns.
Speaker 2 (46:17):
So what is it?
Speaker 1 (46:18):
Just it skips a generation? No matter that Gregor Mendel
would have something right, there's.
Speaker 7 (46:23):
A lot of it skips a generation conversations I think
in town, but in reality is probably a little different.
Speaker 3 (46:31):
Yeah, so wait, can we talk really quick, like filmmaking
wise about the helicopter shot? Right, the last shot of
the movie is a helicopter shot. Where like now it's
a drone shot, right, But then like you know that
they rented a helicopter for this last scene of them
(46:52):
driving away, and so so we get a helicopter with
all of its like janky helicopter qualities, like can't keep
the helicopter steady enough, so we have to end it
on a freeze frame. But but like, just like filmmaking purposes,
I'm like, thank god for drones now because.
Speaker 7 (47:13):
Right and stabilizationation which they did not which they did
not have.
Speaker 3 (47:21):
I also thought Darryl Hannah could do so much better
than that guy.
Speaker 2 (47:25):
Oh yeah, what's the Daryl?
Speaker 3 (47:28):
Like, because we put her in glass, she's like not
beautiful anymore.
Speaker 4 (47:32):
And then like I'm not a fan of her journey. No,
like she was.
Speaker 7 (47:36):
She lost her glasses. She looked better in the glasses.
She got super religious in people's faces.
Speaker 3 (47:42):
You know that's because she was. She was super she
was super slutty. She was super slutty, and then she
got super.
Speaker 1 (47:48):
Religious for like an afternoon, though for an afternoon for
one season from she was through the whole town and
after Christmas, yeah's like praying all the time.
Speaker 2 (48:01):
I agree like her.
Speaker 1 (48:03):
She seemed fun at the beginning, then more fun, then
less fun, and then she stayed at a very low
fun angle. It's like and then hanging out with Dolly Parton.
You should find your way to a middle ground, right.
Speaker 3 (48:17):
And then like she meets Emo Bartender and like is like,
oh hey, Emo Bartender and he's like hey, and then
they're together the entire rest of.
Speaker 2 (48:27):
The until they get married and have a baby.
Speaker 3 (48:31):
A baby named Shelby.
Speaker 2 (48:32):
Shelby.
Speaker 3 (48:33):
Shelby should do a lot better than Emo Bartender.
Speaker 1 (48:40):
I agree, like she should have. Shelby should have been
like introducing her to some handsome lawyer cast offs.
Speaker 3 (48:47):
Right, this is the junior partner at the firm that
Jackson works at.
Speaker 1 (48:52):
She was Shelby was very invested in Weeza getting together
with the the funny little Man.
Speaker 3 (49:03):
Man ineffectual funny little Man.
Speaker 1 (49:05):
Yeah, I completely agree with that.
Speaker 2 (49:10):
Of all of the women that we get to meet
and know.
Speaker 1 (49:14):
She's my least favorite, not Darrel, Hannah Annell and now
the character Annel the character. So what do you guys
like If it's hard to rate this kind of movie,
I think because you're holding it up against beaches, you're
holding it up against terms of endurement. You're holding it
up against Fried Green Tomato. It's like, this is that
(49:37):
genre of movie. So on a scale of one glass
of juice being the least good to ten glasses of
juice is being a perfect laughter through tears movie.
Speaker 2 (49:50):
Yeah, where do you put steel Magnolia's.
Speaker 4 (49:55):
Yeah, that's a tough one.
Speaker 2 (49:56):
It really is.
Speaker 7 (49:58):
Yeah, you know you I have noticed I didn't have
too much to say during this episode.
Speaker 4 (50:03):
I admittedly this is I am not the target audience.
Speaker 7 (50:06):
For this movie, although I enjoyed quite a bit of it,
you know, like.
Speaker 4 (50:12):
Yeah, like I wanted to give it like the movie deserves.
So this is based off of just.
Speaker 7 (50:17):
Like how it sits with me and like how where
it is for my own personal enjoyment.
Speaker 4 (50:24):
I think I'd probably give it a six out of
ten just in terms of my like, I know, the
movie is better than a six, but that's in terms
of like it's in its value or entertainment value to me.
Speaker 3 (50:38):
You know, the movie is better than a six.
Speaker 7 (50:42):
I feel like it is like just the level of performances,
you know, the and everyone involved.
Speaker 4 (50:50):
Like I feel like it's a it's it's its value
is higher than my experience with it. But yeah, that's
that's just my gut, Okay, I see that.
Speaker 3 (51:00):
Like the performances are a solid eight glasses of juice, right,
but the movie itself sits much lower than that, so
it probably.
Speaker 4 (51:10):
It's like a delivery vehicle for quick right, Like.
Speaker 3 (51:13):
There's a there's a trailer of this movie that is
literally just like Sally Field, Darryl Hannah.
Speaker 4 (51:21):
Julia Roberts and Terminal.
Speaker 3 (51:24):
Olympia Ducaucus and Shirley McLain in Steel Magnis and like
that's it. Like that's the trailer, right, so we don't
care what happens and it men are in a factual
so like, so the performances are eight, the ladies are eight,
but like this movie is a right down the middle
of the five. Like I finished it yesterday. I finished it.
(51:46):
I watched it again yesterday I finished it. I was like, yeah,
that still magnilia, Like you know, like that's what you say.
Speaker 4 (51:53):
About it, Okay, I don't feel so bad that I.
Speaker 2 (51:56):
Like that assessment. I feel like that is a very like.
Speaker 1 (52:02):
Clean assessment of the quality of the movie and the
equality of the performance is I'm gonna cut the difference
in the high to the higher range because I also
think that this movie is rewatchable, and like scratches an
itch that there aren't a lot of movies.
Speaker 2 (52:23):
Being made right now that scratched that same itch.
Speaker 1 (52:30):
So I think that I would sort of split the
difference and say I give it a seven and a
half because I think that it's still like my whole
family came and watched this movie with me, Like I
turned it on alone and was like sitting there alone,
folding laundry and taking my notes, and slowly but surely
they all drifted in and said, oh, steal Magnolias, and
(52:51):
like sat down and like we're eating popcorn and watching along.
Speaker 3 (52:55):
So it's definitely popcorny because of the quips, did you
have really quippy funny ladies? There's nothing really to.
Speaker 2 (53:04):
Racing in it, So I think I give it.
Speaker 4 (53:08):
I think I give it dude buns, plenty of dude.
Speaker 1 (53:11):
Buns, buns, buns, buns, buns, And so what about a
deep cut recommendation? So like, I think this was tough
for me to figure out what my deep cut recommendation
would be, and I couldn't think of anything. I think
Leanne was just giving hers is it girls trip?
Speaker 3 (53:33):
No, it wasn't girl deep cut. You know what, that's
a that's a because Girls Trip is definitely like if
they remade It's like if they remade Steel Magnolia's right,
what is it going to have to be in order
for people to watch it? And it has to be
Girls Trip, that's where it has to go. But it's
like Girls Trip with a bunch.
Speaker 8 (53:50):
Of old ladies, which is another movie.
Speaker 3 (53:55):
But like, so, okay, so my dad cut and I
don't know how deep like we were going to get
if we were going to like go like Indie or whatever.
But my deep cut is actually by the same screenwriter
who talked to Sally Field and was like, what do
you like? What what would you love to play? And
she's like, I just want to be a mean woman
(54:20):
that could wear amazing outfits. And so then he he
wrote soap Dish for her. So soap Dish is gonna
be my deep cut. I don't I know, it's not
that deep, but like my deep okay, go go good, okay,
soap Dish because soap Dish has the quippy equips, right,
(54:43):
it has the like funniness, you're not crying through tears,
laughing through crying. It's none of that. But like I
just think I'm gonna I'm gonna go with soap dish.
Speaker 2 (54:54):
That's perfect. I love it. And what's hers, Nathan, So.
Speaker 4 (54:59):
Mine is okay. So this is a type of movie, like.
Speaker 7 (55:03):
This is a movie about the lineage of a family.
And I feel like like my my version of this
movie is, in terms of my sensibilities is parenthood, you know,
like that's that's that is My personal taste is just
more on the comedy aspect.
Speaker 4 (55:22):
But and I feel like then.
Speaker 7 (55:25):
For me, that's a back door to a deeper connection
to the drama, you know. And and there's there's not
like the Oscar speech scene, you know, necessarily to where
someone has died, Like I mean, I you know, and
if I had to go, you know, adjacent to that
(55:47):
kind of thing, I'd say the Royal tann and bombs.
Speaker 4 (55:52):
Bombs, but I'd say I'd say much more.
Speaker 7 (55:54):
Parenthood is my version of this, This kind of story
of of like the misfit families. We can't all get along,
you know, the weirdos that we bring into our lives,
and ultimately the story is just about the people rather
than something Sure.
Speaker 3 (56:11):
You.
Speaker 2 (56:14):
Both much better than mine.
Speaker 1 (56:16):
I'm going to recommend a website that you can shop at,
which is called always fits dot.
Speaker 4 (56:22):
Com website for track lights.
Speaker 1 (56:27):
It's for track lights, No, it's they sell gifts and
home goods, and it's where I do the majority of
my Christmas shopping. And they sell a movie poster that
I love where you scratch off the top one hundred
eighties movies.
Speaker 2 (56:44):
So that's where I found the website.
Speaker 1 (56:46):
But they have a whole line of glassware that says
drink your juice, Shelby. Okay, And so you can buy
a picture and a whole line of glassware that all
say drink your juice, Shelby. And I just think, what
a great icebreaker at your next women only picnic.
Speaker 3 (57:08):
I like it, Okay, thank you juice.
Speaker 1 (57:12):
And I'll put a link in when I post the episode.
Speaker 2 (57:15):
But it's always fits dot com.
Speaker 3 (57:18):
Always fits dot Com all right.
Speaker 1 (57:20):
Yeah, I don't know why it's called that because they
really only sell socks, which would be something that would.
Speaker 3 (57:26):
Fit always always always fit.
Speaker 2 (57:30):
That's true, So we just solve the mystery.
Speaker 3 (57:33):
I don't know why they called it this because they
only sell socks that always fit. But it always fits
dot Com.
Speaker 1 (57:42):
Uh, Leanne, how can people support you and value theater.
Tell us a little bit about how the people of
the world can get involved at Value Theater.
Speaker 3 (57:52):
Sure, you know, Value theater is really cool. We've been
around since nineteen eighty nine. I actually was a Value
Theater k in nineteen ninety one, not dating myself or anything,
but it was a long time ago. We are online
at vt dot com. We have some amazing programs. It's
not just kids on stage performing, which we have that
(58:13):
and the shows are amazing, but we also do some
awesome programs for our community where we have reading programs
for children in Title I schools. We have programs for
children from all sorts of walks of life to give
them their very first theater experience. We recognize the power
(58:33):
of the transformational power of theater, and we believe that
that power not only helps kids grow up and be
sure better actors, but we make kids better people. So
you can learn more about us at VYT dot com
and come on out and see a show.
Speaker 1 (58:52):
Yes there, I highly recommend. They do amazing things out there.
Speaker 3 (58:57):
Yeah, it's professional quality theater and the only difference is
that like instead of the people on stage being adults,
their children.
Speaker 1 (59:07):
Yeah, but they're doing as as good a work, it's
like so impressive. Yeah, and it's so so so great,
as you said, Leanne, for kids to get like that
kind of like professional quality experience at that age, because
they just get that it's like the Malcolm Gladwell ten
thousand hours thing.
Speaker 2 (59:22):
They're starting so much further ahead.
Speaker 3 (59:25):
Yeah, I mean, it really is like, you know, if
you tell a child like, oh, you're going to be
in this you know, this show, but it's just not
going to be as good as like the ones on
Broadway or whatever, then then the show isn't going to
be as good as the ones on Broadway. But if
you sit there and you tell kids like this is
going to be the best thing you've ever done, they're
(59:45):
gonna make it the best thing they've ever done. And
like if you sit there, you know, and and for
a lot of kids, they really feel that theaters out
of their reach, that like it's for other people, not
for them. And sometimes children they set their foot into
a theater for the first time to see a play
(01:00:05):
and just this like aura of magic comes over them
and their eyes get wide and it's the most amazing
thing you've ever seen. I love value theater for that.
So anything you know, we're a nonprofit. So we love volunteers,
we love you know, donations, we love just coming down
and seeing our shows. We love all of that.
Speaker 1 (01:00:28):
Excellent, absolutely, And so Nathan, where can people find you?
Speaker 7 (01:00:36):
Yes, Squishy Studios is the best place to check out
our projects.
Speaker 4 (01:00:41):
We're not a nonprofit. We're an unprofit.
Speaker 3 (01:00:46):
As many as many filmmakers are.
Speaker 4 (01:00:48):
Exactly. Yeah, we don't make We don't make money. We
make movies. That's air.
Speaker 5 (01:00:52):
Look.
Speaker 7 (01:00:55):
So yeah, if you want to check out our past
stuff or check out stuff that's coming down the line, our.
Speaker 4 (01:01:03):
Our web series Voyage Checkers, a lot of people know,
and then we've been we're in post production on a
feature film. It's not Voyage Checkers. It's called the Last
Movie Ever Made.
Speaker 7 (01:01:18):
And so yeah, they can if they want to check
us out Squishy Studios dot com or Facebook and Twitter.
Speaker 4 (01:01:25):
Technically Instagram is online more often.
Speaker 1 (01:01:29):
And totally worth supporting. Very great stuff all around, and
you can find me at the Neighborhood Comedy Theater in
downtown Mesa. At Arizona, you can listen to all of
the most excellent eighties movies podcast on True Story FM
and catch me on the Saturday Matinee podcast on True
Story FM.
Speaker 2 (01:01:48):
And thank you so much, Leanne, it was so wonderful
to have you.
Speaker 1 (01:01:53):
Hey, I wish I had a I wish I had
a quip, the only quip I have to end my
podcast that while y'all are out there in the world, remember.
Speaker 2 (01:02:03):
To be excellent to each other and to party on. Dudes.
Speaker 6 (01:02:10):
Dudes,
Popular Podcasts
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
The Clay Travis and Buck Sexton Show
The Clay Travis and Buck Sexton Show. Clay Travis and Buck Sexton tackle the biggest stories in news, politics and current events with intelligence and humor. From the border crisis, to the madness of cancel culture and far-left missteps, Clay and Buck guide listeners through the latest headlines and hot topics with fun and entertaining conversations and opinions.
The Charlie Kirk Show
Charlie is America's hardest working grassroots activist who has your inside scoop on the biggest news of the day and what's really going on behind the headlines. The founder of Turning Point USA and one of social media's most engaged personalities, Charlie is on the front lines of America’s culture war, mobilizing hundreds of thousands of students on over 3,500 college and high school campuses across the country, bringing you your daily dose of clarity in a sea of chaos all from his signature no-holds-barred, unapologetically conservative, freedom-loving point of view. You can also watch Charlie Kirk on Salem News Channel