A League of Their Own | with guests Ellen Adair & Eric Gilde (Take Me In To The Ballgame) - Happy Hour Flix | HHF

Episode Transcript
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Speaker 1 (00:00):
We're rolling over your tape.
Cool Three, two one.

Speaker 2 (00:04):
The only thing longer than an actual baseball game is
the piss Tom Hanks takes in thelocker room.
We watched a league of theirown.
Here it is 1992.

(00:33):
Also coming out this year isFrancis Ford Coppola's, bram
Stoker's Dracula, a few good men, basic instinct, my cousin
Vinnie, last of the Mohicans,batman Returns, the Bodyguard,
aladdin and Encino man.
A lot of fun movies here thisyear.
As he recovers from his Mikedisaster here, matt Mundy, how
are you doing?

(00:54):
I'm doing quite well, steve.
You're going to move that mic alittle closer to you now.
So you were saying before wecame on is this the longest pee
ever recorded in the history offilm?

Speaker 4 (01:05):
I believe so.
And Austin Powers, come at me,I believe even with the editing,
and you'll notice that theygive up timing.
I timed it.
I mean, yes, I watched, Ipaused, I timed it, went back, I
went back and, yeah, it's thelongest on screen.
How long is it?
52 seconds.
That is way longer than Ithought it was going to be.

(01:26):
Yeah, 52 seconds.
Oh man, I should have taken abet, but you know who would
probably know?

Speaker 2 (01:32):
Who, what?
Oh, somebody that's really goodat statistics and analytics.

Speaker 5 (01:35):
Exactly oh.

Speaker 2 (01:35):
I see.

Speaker 4 (01:38):
That's where we're going now.
Yes, so in studio today we havea mighty duo who are indeed
angels who need no outfield.

Speaker 2 (01:47):
Oh good God, what?
Because they're major league.
Oh good God, good God, oh mygosh.

Speaker 4 (01:53):
Our friends and supremely talented host of
immense patience as I pundmyself off the mound of their
podcast.
Take me into the ballgame.

Speaker 2 (02:03):
Bre, you're nice and a dare and Eric Gildy.
Ellen and Eric, it is wonderfulto have you guys.

Speaker 3 (02:09):
Perfect, that was amazing.

Speaker 5 (02:10):
No notes oh, absolutely no notes.
No, it's great to be here.
It's funny.
I was thinking about the lengthof the piss and I was thinking
that that would absolutely notfly in 2023 with the piss timer.

Speaker 2 (02:23):
With the piss timer.
You know what I mean.
What is the piss timer?
Whoa, whoa, whoa, whoa, whoa,whoa 25,.

Speaker 5 (02:26):
Yeah, the piss clock.

Speaker 2 (02:27):
What is this?
The piss clock.

Speaker 5 (02:29):
Yeah, it keeps the game, the piss clock.

Speaker 2 (02:31):
Oh, I see Keeping the game going.
I got it.

Speaker 3 (02:34):
You've got to maintain eye contact the whole
time.
Right Eye contact is veryimportant.
Yeah, you've got to get set.
You know it makes it closer towhat we grew up with Exactly.
It's just good.

Speaker 5 (02:44):
Back to the old days of peeing in a sink.
It's absolutely.

Speaker 2 (02:47):
And in that, yes, again in a sink.
That is also what makes thisand Rosie O'Donnell vary into it
the whole time.
She's like keep going.
No, that counts, Time, it, butthen they never give us the time
.
Why it never keeps its secret.

Speaker 4 (02:58):
That is why I went back and rewound it, because I
was like I'm with you, rosie,like you know, I'm with you, so,
anyway, I think I've beaten it,though I think my personal
record is higher than 52 seconds, I think, so that is too long.

Speaker 2 (03:13):
That is too long, I'm not saying it's healthy
Something you've been workingtowards.

Speaker 4 (03:20):
Exactly.

Speaker 5 (03:21):
Yeah, you can work yourself up to it, you know, I
think it is different if it's 52seconds like a personal record,
versus if there are otherpeople there to.

Speaker 2 (03:30):
Oh, this is a good point, oh yeah, I'm way too
bladder shy to pull this off.

Speaker 5 (03:33):
Like I would.

Speaker 2 (03:34):
I would never attempt this.
I would probably die of youknow, euromycetitis or whatever
before.

Speaker 3 (03:40):
Yeah, you know, like one of the things that we
learned when we were researchingthis movie, like a few years
ago at this point, is that thefirst like working cut of it was
like four hours long, so who'sto know how much P ended up on
the cutting room floor.
That's also true and also fairto say you're podcast.

Speaker 2 (04:01):
you guys have had a podcast going for a long time
about baseball and baseballmovies specifically Indeed.

Speaker 5 (04:06):
Yeah.

Speaker 2 (04:07):
And this was one of the early films that you did, so
we're really bringing you backfull circle here, where you guys
are sharing your expertise withus.

Speaker 3 (04:14):
It's true, except for our expertise, potentially.
But this was, I think, ourthird episode that we did for
our podcast, to the point thatwe didn't even have microphones.
We had my that's not me right,oh, maybe this, sorry, we were
just shouting into Eric'scomputer.
We were sitting side by sidewith my laptop just using its

(04:40):
internal microphone, just liketalking into it from our couch.
I love this.
Oh my God.

Speaker 2 (04:45):
All right, Well as in , we got to get back.
We want to get back to themovie, but since we're all here,
we're all settled in.

Speaker 4 (04:50):
We just went off on a tangent.

Speaker 2 (04:51):
As long as that piss, exactly, exactly which is again
what makes me concerned aboutEric's physical health, because
it would still be goingapparently.
All right.
So our drink today for a leagueof their own.
This was made down at Melladiesdown in Soho on 160 Prince
Street.
It was voted top 50 best barsin North America this year
that's 2023 and recentlynominated for best new US

(05:12):
cocktail bar at Tales of theCocktail.
This was made specifically bytheir head bartender, izzy.
She's very cool, matt.
You get to hang out with herfor a second.
She's a Jersey native.
Oh boy, native is currentlyresiding in Red Hook with her
dog and cat, kona and big wave.
That's right, she's a goldenale, delish, wow.
All right, izzy, give it up forIzzy.

(05:33):
You can get her on Instagram atIzzy, izzy.
Y underscore C's S, e, s.
So this is the.
Give us the name of thecocktail here, matt.
Oh, who's Lou?
For the first time ever, asubtitle.

Speaker 4 (05:47):
It's a subtitle Sweet old fashioned Sweet.

Speaker 2 (05:50):
Oh no, no, no, no, it's like.
By the way, I loved you in theWizard of Oz.
Oh, yeah, yeah.

Speaker 4 (05:54):
By the way, I loved you in the Wizard of Oz, Great
yeah.

Speaker 2 (05:59):
Ellen and Eric, we've had no rehearsal and prior
things.
You guys want to mind readingus the ingredients here for
everybody making along at home.

Speaker 3 (06:05):
Sure, well, first, what you got to do is you got to
get one ounce of well dressedgin, which is that's our
misguided spirit.

Speaker 2 (06:13):
So our very friendly friends throwing us in the
liquor to make this one.

Speaker 4 (06:17):
Yeah, love their gin yeah.

Speaker 5 (06:21):
Then you are going to add 0.75 ounces of China.
China, which is a Frenchversion of bitters.

Speaker 2 (06:27):
That is really interesting.
I've never heard of China,china so nice, they named it
twice.

Speaker 3 (06:33):
Then what you do?
You see, you get a quarterounce of Gifford Caribbean
pineapple liqueur, which I'venever heard of before, but man
it's tasty.

Speaker 2 (06:41):
Yeah, it's about say which everybody has in their
liquor cabinet.

Speaker 4 (06:44):
Just go ahead and pull out your.

Speaker 2 (06:45):
Caribbean pineapple liqueur.

Speaker 4 (06:47):
Is he?
What are you doing to us?

Speaker 5 (06:48):
And then you add 25.25 ounces of Tempest Fujit
creme de banana.

Speaker 2 (06:56):
Yeah, fantastic.
They even gave us a littlepronunciation there.
Fugit, fugit, fugit.

Speaker 3 (07:04):
I mean like Patrick Fugit.

Speaker 4 (07:07):
Well, that's my pronunciation and I'm sorry Time
flies, oh wow.
You speak.

Speaker 5 (07:10):
French, I'm poor.

Speaker 4 (07:13):
But that's Latin.
You may say, but that's Latin.

Speaker 5 (07:16):
Tempest Fugit is Latin and it means time flies.

Speaker 2 (07:18):
Fugit is a sure doing .
Thank God, nobody will knowLatin.
Thank you for joining us onthis episode.

Speaker 4 (07:24):
I'm going to show you what I'm going to do.

Speaker 5 (07:26):
What you do see with your cocktail stuff is you stir
it and then you pour it over abig cube and then you garnish
express.

Speaker 2 (07:33):
And it apparently tastes like big leechew, which
I'm going to give it a littlesample here as we move on.
So who knew, who rememberedwhen I got?
Oh yeah, here you go.

Speaker 4 (07:42):
Cheers, cheers, cheers everybody.

Speaker 2 (07:45):
When it came off on the title card music by Hans
Zimmer, I'd never clocked it,never noticed.
It Might be the least HansZimmer store of any Hans Zimmer
movie.

Speaker 5 (07:55):
It's really interesting because when since
this was only the third episodeof our podcast that we did we
ended up adding a category, atool, because our podcast is
grading baseball movies on the20 to 80 scouting scale use for
baseball prospects for the scoretool.
But we didn't have it for thisone, so we didn't end up talking

(08:16):
about it.
But I do remember clocking thatand listening across the film
and being like where's the HansZimmer in all of this?

Speaker 3 (08:27):
Where those inception ?

Speaker 5 (08:28):
Yeah, exactly, or like the gladiator.

Speaker 2 (08:31):
you know the classic the Enya voice or whatever.
That's what this film needs.

Speaker 4 (08:37):
I mean it's crazy, because he did Thelma and Louise
and Radio Flyer, which is also,that's also Penny Marshall,
right?

Speaker 2 (08:43):
Yeah, I didn't know that he also did Thelma and
Louise.

Speaker 4 (08:46):
So I guess she was like hey, before you go off and
do that Christopher Nolan stuff,could you give me one more
little?
You know sweet romp.

Speaker 2 (08:54):
So this is 92.
Where does this come inrelation to the Lion King?
Lion King was before 92.
No, no Latin was 92.

Speaker 4 (09:02):
So that would put Lion King right after Little
Mermaid was 89.

Speaker 2 (09:06):
So, theoretically, when he's working on this, the
next thing he might have donemight have been go and make oh,
the Lion King 94.
94.
So that's up.
So yeah, man, he might havemoved directly from this, which
you know.
I don't even remember the music, because there music in this
movie.
Yes.

Speaker 5 (09:22):
There is it's nice.
It's nice.
It's not quite as exceptionalor memorable as some of his
other work.

Speaker 4 (09:29):
There is a, there is a great moment when it's and of
course it's the duo, whenthey're doing the battling
signals and, like Dugan, finallywakes up.
And if you listen, their motifsgo back and forth, you know to
reflect them.
That was like one little moment.
I was like oh okay, there he is, and there's some really good
kind of like big band swingtimey stuff that appears like

(09:52):
some of the montage and also thelike.

Speaker 3 (09:53):
the dance sequence I think that the score, such as it
is, is pretty good.
One of the only things that I'mlike oh, this movie feels a
little bit dated are some of thesong choices, oh, yeah, there
is that there's that song thatis right at the beginning, when
like older is on the way.

Speaker 2 (10:13):
How dare you?
Is timeless, I was about to say.
I thoroughly disagree, sir.

Speaker 3 (10:19):
I don't know, like it feels a little bit of its time.
I don't even want to say thatit's bad, but it's one of those
things that you're like oh yeah,this was made in 1992.

Speaker 2 (10:27):
Yeah, you say it's bad and we will be fighting in
here.
What are you talking about?
Carol King is incredible.
No, Carol King is amazing.

Speaker 5 (10:34):
I have Eric on this one.
I think that the film isbookended by two songs that
don't go with the rest of themovie.
I'm not even saying thatthey're bad songs, I'm just
saying they don't go with therest of the movie.

Speaker 3 (10:44):
Yeah, because there's the Madonna song as well the
she's a good man yeah which isso like kind of melancholy for
where the end of the film endsup.
Like it, just it tonally, Ifeel like just doesn't quite
sure what the movie's doing.
It's a good song.

Speaker 2 (10:59):
I don't disagree with the.
I don't disagree with that.
I just am finding the openingwith the Carol King.
I think it's perfect.
It is taking you to ruralAmerica.
The next thing we get is theopening with the baseball game
and the cow fields.
And that's true.
John Lovitz, pound for pound,the best character in the film,
which is hard to say in a filmthat is filled with amazing one
liners.
Is there a line that JohnLovitz can't make funny?

Speaker 3 (11:21):
Seriously, I laughed at every single one.
Every single one is a gem.
Yeah, like, and he makes.
I mean he's out of the movie.
Like 20 minutes into it andyou're like he's out, he's gone.
I just think this isunbelievable, oh my God, yeah,
they're like.

Speaker 4 (11:37):
thanks for the special glimpse into her life.
Yeah, he's talking aboutmilking cows.

Speaker 2 (11:42):
It's like the first.
I mean, they're just so funny.
He's like doesn't that hurtthem?
It doesn't seem to.
That would bruise the hell outof me.
And the reaction shot of thecow, I mean this is like Penny
Marshall, like you got me anactual.
I was watching this on a planeand I have to admit to a couple
of things.
I was watching this on no plane, on a plane home, and I've seen
this movie 10 times.
I love this movie and I got tothat scene and I laughed out

(12:04):
loud, but I'm not sure I was inthe most like controlled mental
state because I was like flying.
I cried twice in this movie inthe middle of an airplane.

Speaker 3 (12:12):
This is not a tearjerker.

Speaker 2 (12:13):
I don't, I'm just, I'm not sure I'm mentally
equipped.

Speaker 3 (12:16):
It tugs at those hard strings a couple of times
though.

Speaker 5 (12:20):
This last time that we watched it, I cried four or
five times probably.
Wow, I was also a littlesurprised by how many times I
cried, because I don't.
I just remember it being reallyfun yeah.

Speaker 4 (12:31):
Exactly.
I think it is a differentexperience now because I I'm the
same way.
No, granted, I'm, you know.
I would just want to point outand note Steve did mention that
he cried and I love that.

Speaker 2 (12:42):
Yeah, I'm not embarrassed now.
I was only embarrassed sittingbetween the two 250 pound men
who were going to give me theside eye.

Speaker 5 (12:49):
Especially when they could obviously see that you're
watching illegally on their own.

Speaker 2 (12:53):
Yeah, it's not like I turned on.
You know the English paintExactly.

Speaker 3 (12:57):
You know and I'm also crying you want an airplane.

Speaker 2 (12:59):
Yes, like one of the times I'm like crying is like,
whenever they're like, oh, butthe league's going to close down
.
It's not the appropriate moment, you know.
It's not when the husband diesor anything.

Speaker 1 (13:09):
Oh bring it in.

Speaker 2 (13:10):
George.

Speaker 3 (13:11):
George Spaghetti.

Speaker 4 (13:12):
Before we get away from it.

Speaker 1 (13:14):
Oh, george Spaghetti, so you think his name was
actually George Spaghetti,because she's Betty Spaghetti.

Speaker 2 (13:19):
But I said the whole time I was like, is that her?
That's her nickname, so what'sher actual name?
I don't know.

Speaker 3 (13:24):
Does it get mentioned ?

Speaker 5 (13:25):
ever it might in the original montage.

Speaker 3 (13:28):
Oh yeah, george Spaghetti.
All right, george Spaghetti.

Speaker 5 (13:32):
Coloquially around the house.
We call him George Spaghetti.

Speaker 3 (13:35):
At least he never has to learn that his baseball card
got ripped up.
It's true.

Speaker 4 (13:40):
Oh, that is true.

Speaker 2 (13:40):
That is true.

Speaker 4 (13:41):
Very funny too.

Speaker 2 (13:43):
Like you know, like they do such a.
So I think the world isdepraved from more, say no more.
There we go Full stop from morePenny Marshall movies because
she didn't make a whole.

Speaker 3 (13:55):
No no she really didn't.

Speaker 2 (13:56):
This movie is fabulously made, directed, I
mean it just is like the whole,every step from like even the,
the reaction shot to the cow, tothe performances, to the way
they introduce not Maud thewoman from Colorado.

Speaker 1 (14:09):
Marla.

Speaker 2 (14:09):
Well, I mean everything is just crushing.
It is timed perfectly.

Speaker 3 (14:15):
Yeah, and also, I mean I guess it's sort of like
worth mentioning.
I don't know if it was this orif it was big, but I think that
those two films were some of thehighest grossing films, and one
of them I can't remember whichone was the first to gross over
a hundred million dollarsdomestically for a woman
director.

Speaker 4 (14:33):
Yeah, a league of their own, I think.
That's what I thought.
It's also like the highestgrossing baseball movie as well.

Speaker 3 (14:39):
Oh, that makes sense.
Yeah, because it's worthmentioning in a world of.

Speaker 4 (14:43):
Even outside that.

Speaker 3 (14:44):
Yeah, yeah, yeah, but in the, in the summer of Barbie
, you know.

Speaker 4 (14:47):
Fred and.

Speaker 3 (14:47):
Gerwig runs because Penny Marshall walked.

Speaker 2 (14:50):
That's a fact.
I thought I wrote it down but Iguess I don't have it.
But you're right, I think thisis like the two largest grossing
movies, yeah.

Speaker 4 (14:57):
Yeah, you're right, though.
We are depraved, deprived,deprived.

Speaker 3 (15:03):
We are depraved because we have been deprived,
repraved and deprived.
I'll drink to that.

Speaker 5 (15:07):
Hey, I'm not a West Side Story lyric.
Yeah, it is Deprived on account.
I'm deprived, exactly, exactly.

Speaker 2 (15:14):
So I just want to call out, since you guys are
such big baseball fans, that canwe talk about the disrespect in
the first game and the veryopening of the film that they're
giving Jean to Davis becausethat outfield is so close in,
like they're playing halfway into the infield and then she just

(15:34):
crushes it over the top of them?

Speaker 5 (15:37):
Well, I just feel like we see that this is what
advanced scouting and analyticshave done for the game.
Right Like they?
Just they didn't have iPadsback then.
They didn't know exactly, youknow, what her power alley was.
They just didn't know.
They didn't have theinformation.

Speaker 2 (15:51):
They weren't pulling out the cards every two seconds
from there.
The little business cards are areminder which team they play
for.

Speaker 5 (15:56):
Yeah, exactly, they weren't looking up, you know,
dottie Hinson onbaseballsavantcom to see how
often she barrels the ball.
They just didn't know.

Speaker 2 (16:05):
I am learning so much just every time you do like
baseballsavantcom.
What is this?

Speaker 5 (16:10):
Oh, my goodness oh here we go.

Speaker 4 (16:11):
Oh, yeah, yeah.

Speaker 5 (16:13):
Baseballsavantcom.
That's a comfy chair.
What is it?
You're not going to go.

Speaker 2 (16:16):
James is.
James is waving at me from theboard, seems you're out of time.
No, seriously, seriously, whatis it?

Speaker 5 (16:23):
Baseballsavantcom is MLB's public analytics that are
available right so so anybodycan go up there and see, you
know, the spin rates on theAaron Knowles curveball or you
know, just as an example, justas a totally hypothetical
example or you know top levelstuff.
Yeah, how often JT Realmeatobarrels the ball, just as

(16:46):
another total hypothetical, yeah, I mean.
But I mean you can see there'sall kinds of stuff on there that
is beyond even the things thatI understand, if I'm totally
honest.
And you know there's, there'slots of things where you can see
exactly what a pitcher'sarsenal is and like what they
threw in a particular game, andyou know how much they're using

(17:07):
this pitch versus that pitch.

Speaker 3 (17:09):
Yeah, yeah.

Speaker 5 (17:10):
Yeah, and now a lot of this information is actually
also on the site pitcherlistcom,which is not associated with
MLB, but they also have some oftheir own statistics and so on
that they've come up with that Ithink are even better, so I'm
also likely to go there as wellfor for that kind of thing, and
they get their information fromMLB as well.

Speaker 2 (17:32):
I love talking to you about baseball, ellen, just
because it brings out and I saythis is all the love.
But at the time I've knownyou're like already a pretty,
you know, interested, in factsort of person.
This brings like to a new level.
This like brings out you know,I can see middle school Ellen
with like a new book.
You know what I mean Like I'mso excited about this.
So today the spin rate on NOLAhas gone up.

Speaker 5 (17:54):
Yeah, that's, oh my gosh, it's so exciting.
Yeah, I mean, one of the thingsthat's really exciting on
pitcherlist is that they'vethey've created this new thing
called like PLV, pitch levelvalue, and it's it's essentially
grading not how good a pitch isby result, which is the crappy
old way that people used to doit but just how good it is by,

(18:14):
like, the actual stuff of thepitch and the pitch location.

Speaker 2 (18:18):
It's amazing, oh it's going to change the world.
That's the perfect timing,because bringing up our newest
sponsor on the podcast, plv.

Speaker 4 (18:26):
PLV Yep Next time.
You are just waiting forresults to tell you how well you
did.
Let's just go to pitcher pitchlevel.

Speaker 5 (18:37):
Well, there goes our sponsors.

Speaker 1 (18:38):
It's all blown.
It was good.
Well, last I'll see you in thevalley.

Speaker 4 (18:43):
I think we have to give.

Speaker 2 (18:44):
we have to give two of these mics back now, yeah.

Speaker 4 (18:47):
I'll be back at Lucas .

Speaker 3 (18:48):
State.
So one of my favorite thingsabout Ellen is that they're very
like very, very, very, veryoften that this will be um, like
Protesting all the time aboutterrible number and math related
knowledge.

(19:08):
But as soon as it is applied tobaseball it becomes this like
Stephen Hawking thing where,like these very complex
equations related to this orthat, just kind of like pull off
the tongue.

Speaker 5 (19:23):
Isn't that complicated guys?

Speaker 4 (19:25):
Yeah, like yeah.

Speaker 1 (19:26):
I think it's a little more than that.
Those stats is like.

Speaker 4 (19:28):
Penny Marshall going what I can just toss off another
$100 billion blockbuster,exactly.

Speaker 2 (19:34):
So they're back in their little farmhouse and I
just want to call out didanybody else get hungry?
Looking at the bread loaf Causelike they had like the most
luxurious, luscious bread loaf,they pulled out and like start
slicing for dinner and I waslike man, I want me a sandwich.
That's a good I had.
I did not.
Go back and watch, go back andwatch Another thing you might
not have noticed.
Sorry, I'm just trying to getus back on the movie.

Speaker 1 (19:54):
Oh, that's right.

Speaker 2 (19:55):
Another thing, do you guys?
There was.
I had to turn on the captionsfor this because I didn't want
to miss any of John Lovitz.
So they're in the train, andthen here come Gina Davis and a
kid I can't remember the actor'sname, but then they're running.
Lori.
Petty, lori Petty, our secondLori Petty movie by the way,
like they're running towards thetrain to like get on.
And then here's John Lovitz andhe like goes over and he walks
over to the side of the trainand he bumps into him and he has

(20:15):
a line and it's definitely liketimed to be a joke and I've
never heard it in my life.
Do you guys know what it was?
You remember it?
No, like, have you heard the?
It just happens pretty quick.
But, it's definitely a joke.
I like it, yeah.
So I had to pause and I go back, and because I couldn't
understand what she said and Icouldn't understand what he did,
he like runs into a woman, he'sleaning over in the train.
She goes sir your knee and hegoes like it and then looks out

(20:37):
the train.

Speaker 4 (20:41):
Which is right after he gets up and he's just like if
I had your job I'd kill myself.
Let me go see if I can go digup a pistol Exactly.

Speaker 3 (20:47):
Oh my gosh, it's so great.
I mean, what a Titan of playinglike very vain, low status
characters.

Speaker 2 (20:57):
I mean absolutely.

Speaker 3 (20:58):
Like this businessman .
It sounds like he's probablygot a better job than Ernie
Cappadino does.
Yeah, but he's just sodisgusted by it and I just love
the vanity that he can bring soeffortlessly to literally
whatever role he's playing.
Right, it's incredible.

Speaker 2 (21:18):
He's walking them on the field.
A normal actor, performer,you'd be given a line like
you're walking into the stadiumand if you say, like all right
girls, here's your big shot, runout there and show them what
you got, you know, make me proud.
You know what his line is.
He says, hey, cowgirls, seethat grass, don't eat it.

Speaker 3 (21:37):
Just as like expert, I do also think, because it
seems to me that some of thesejokes were kind of like added in
ADR and I sort of wonder ifLowell Gans and Bubblu Mandel,
who did such an amazing jobwriting this, were like
continually acting to like punchit up even after the fact.

(21:59):
Because it just it feels soperfect and I just I can't
imagine how many jokes they wentthrough to get to this like
perfect, perfect, perfectcharacter.

Speaker 4 (22:11):
I gotta go get my wife the pickle.
Pickle, you know, like God, hejust like some of them were just
, you see, the train moves, notthe station.

Speaker 3 (22:18):
Station.

Speaker 5 (22:20):
One of the classics.
Oh, it's how it works.
Eric shared with me when we didour podcast that that moment,
when he is yelling at the cowbehind him, he's like shut up.

Speaker 3 (22:31):
Will you shut up?
Yeah?

Speaker 5 (22:33):
Apparently, the cow was in the process of giving
birth to a little baby cow.
And that's why the cow wouldn'tshut up.

Speaker 3 (22:40):
Yeah, the story is that it was ad-libbed in
response to this cow that wouldnot be quiet.
And then I think I readsomewhere else that the farmers
who you know were looking afterthat cow named the baby cow
Penny after Penny Marshall.

Speaker 2 (22:55):
Oh, that's amazing.

Speaker 4 (22:58):
That's so cool.
That's so cool.
See that grass Don't eat it.

Speaker 2 (23:04):
So this is what I was talking about.
Like you remember, ShirleyBaker.
Shirley Baker doesn't reallycome up again in the film,
except in the thing, but they goto the end of the tryouts Right
, and the tryouts are great.
And then they go up to the listand there's all the people on
the list and again, expertlydirected scene where two things
are happening the guys, like youknow, pontificating to all the
teams and be like you guys gotto be on this.
I'll be running the rescene,you know?

(23:24):
Whatever, it's a new guy, Allright, girl, if you're not on
the list, get out of here.
And there's like this woman,Shirley Baker, standing at the
thing reading the list andtrying to go up and down and up
and down the list.
And she's like well, just readyour name and you're I'm sorry
for all the cut list.
You got to get her.
This is one of the scenes thathad me tearing up, I knew it, I
knew it.

Speaker 3 (23:39):
And then you're like instantly yeah, 100%.
I was like oh, she can't read Iwas like how sad.

Speaker 5 (23:45):
I also cried.
I also cried.
I don't know that I've criedevery single time I've watched
this movie, but that was thefirst time that I was like what
are these on my cheek?
What?

Speaker 3 (23:54):
is this moisture?
It's raining on my face somehow.

Speaker 4 (23:58):
PLV somebody quick, Give me a good PLV.

Speaker 5 (24:03):
Just need some advanced baseball.
I don't know if it's gonna feelbetter.

Speaker 3 (24:06):
There's just like there's so much good like
friendship in this movie, likeso so much good like teammate
stuff, because you also thenlike later on and this also goes
to like how I don't know howthey did it that there are so

(24:26):
many characters that have theselike complete arcs to them and
are very like deep and complex,and so they have the time for
May, for all the way, may tolike have the scene where she's
like teaching her how to readlater, and that's like a really
beautiful moment in and ofitself.

(24:46):
But then, like, when you put itwithin the context of like the
other things that we see of Mayand all like it, just it paints
such a full picture.

Speaker 4 (24:55):
It's so satisfying and it's very similar with Rosie
when she's talking about herand they have a conversation
about why she's, with who she'swith, and there's a great moment
where it's like is that photoblurry?

Speaker 3 (25:09):
And he's like no, it's just like that it's just
happy.

Speaker 2 (25:13):
So I think it's Madonna's is one of her.
She's done quite a few moviesup to this point and had decent
amount of success, although theyweren't sure they wanted her in
the film, apparently.
But I think this is RosieO'Donnell's first major film.
Like I don't know that she'sdone anything before this and it
is just such a quintessentiallyRosie O'Donnell role.

Speaker 4 (25:30):
Yeah, it's just literally.
We're like, of course that'sRosie, and yet that's her first
film.
Yeah, it's kind of crazy.

Speaker 3 (25:36):
Yeah, I think that we had read somewhere that part of
the kind of like epicfriendship that ended up
developing between RosieO'Donnell and Madonna had to do
in part with the fact that RosieO'Donnell was like one of the
most athletic of all of thepeople, like portraying a peach,
and Madonna kind of like leanedunder a little bit to sort of

(25:56):
like get up to snuff, and RosieO'Donnell had never really been
in a movie before and Madonnawas already like had been in
movies and was a big pop star,and so they were able to kind of
like lift each other throughthat and it helped this
beginning of this likefriendship that I think is still
ongoing.

Speaker 2 (26:17):
Yeah, reportedly they're still friends.
But also I know that like onset, rosie would come in and
sing like a Madonna song, likeon set to Noir, and Madonna get
really like apparently she didit the first time.
Then Madonna got really annoyedand said never sing another one
of my songs and the next timethey showed up she sang all of
Vogue.
What is it?

Speaker 5 (26:36):
Whoa what is it?
Rosie O'Donnell is amazing.

Speaker 4 (26:39):
Yeah, she really is.
And it's like the penny evensays that when she was that
Madonna was so big when she wason set nobody knew what kind of
even how to deal with her.
But it was Rosie who was like,well, I don't care.
And then that really tookMadonna by surprise, caught her
off guard and it was just moreauthentic.
Yeah, you know theirrelationship.

Speaker 3 (27:02):
One of the things that I always like to talk about
when this movie comes up in anyconversation is the fact that I
was living in Evansville,indiana, and was like nine, 10
years old around the time thatthis was filming, and there was
a friend of my mom's who had herhouse rented out for the
filming, and it was Madonna whorented her house, and the thing

(27:26):
that I just like the little kidversion of me, was like, oh my
God, this is amazing is thatMadonna wanted a pool and this
house didn't have a pool, and soshe just like put a pool into
the house.

Speaker 2 (27:43):
In Evansville.

Speaker 3 (27:43):
Illinois, and yeah, in Evansville, indiana, in
Evansville, and I just like itblew my mind as a kid like it's
possible for Madonna to justlike rent your house and put a
pool into it and you've justlike got a pool.

Speaker 2 (28:00):
I don't think that's in the standard lease.

Speaker 3 (28:02):
Yeah, I think they maybe had to do some sort of a
pop star writer for that.
But man that sent myimagination flying for like
months.
That you could just put a poolinto somebody else's house, yeah
, and if that was your house,when you like, come back to your
house and you've got this likea sweet pool.

Speaker 5 (28:20):
That's also the notion of like having enough
money to just be, like.
I'm gonna be here for a coupleof weeks but I want a pool while
I'm here Also while you'refilming, because you don't have
any time while you're filming.

Speaker 2 (28:30):
No Right.

Speaker 4 (28:31):
Definitely not, and it's not gonna take the amount
of time you're on set for it toactually be built.

Speaker 2 (28:37):
You know that's what's Right.
Yeah, that's the other thing Imean.
I don't know.
This is Indiana where they canjust pull back hose out of left
and right Fair.

Speaker 3 (28:44):
They got four or five guys to come pour concrete
tomorrow.

Speaker 2 (28:46):
You give me a hole, I'll give you some concrete.

Speaker 4 (28:48):
Yeah, it's true, show me a hole, I'll show you a pool
.
Exactly right.

Speaker 3 (28:53):
I just want to go back to that very first game
really quickly and say that onething that I noticed this last
time watching it there is thatguy who likes Kit who gets like
crapped on so much, so hard byboth of them and he seems like a
perfectly nice guy who's reallyreally supportive of Kit's play
.

Speaker 2 (29:10):
Yeah, like Dottie says like you know, I'll, you'll
be with Mitch Swaley.
And then she says Mitch Swaleyis one step up from dating a pig
.
That's some real heat they'rethrowing at Mitch.

Speaker 3 (29:19):
Yeah, and he says an important step, which is funny.

Speaker 2 (29:22):
Yeah.

Speaker 3 (29:22):
But he seems like a nice guy.

Speaker 4 (29:24):
He's a good guy.
What do?

Speaker 2 (29:25):
we make on.

Speaker 4 (29:25):
Mitch for yeah.

Speaker 3 (29:27):
Yeah we do I don't like this Mitch yeah.

Speaker 4 (29:30):
I'm glad you went back to it.

Speaker 2 (29:32):
We need justice for Mitch.

Speaker 1 (29:33):
That's what.

Speaker 5 (29:33):
I'm saying that's exactly what needs to happen.
Right, but does justice forMitch need to be being in a
relationship with Kit?

Speaker 2 (29:40):
Like that's not fair.
No, he just doesn't need to getdragged so hard.

Speaker 5 (29:43):
That's fine, that was fine.

Speaker 4 (29:45):
That was the missing scene, which was the
conversation at the end, wherehe sat down with Doddy and said
you can go back, but you have todrop the ball.

Speaker 2 (29:57):
So, speaking of missing scenes, this film has a
few missing scenes from it,reportedly.
One of them is a scene betweenobvious chemistry between Gina
Davis and Tom Hanks like thewhole time.

Speaker 1 (30:09):
I mean they just electric on screen.

Speaker 2 (30:11):
They had a scene where they kissed apparently.
I wondered it got cut outbecause apparently people are
because her husband's off at waror whatever and that was
offensive or people didn't likethat.

Speaker 3 (30:21):
I don't know if it didn't test well, or whatever.
Yeah, and then I think, like inthe story of it it happened.
And then one of the next thingsthat happens is when she's like
packing up and like leaving.

Speaker 2 (30:31):
Right Leaving, yeah, that would be where it have to
go.

Speaker 3 (30:34):
Right, I mean structurally.

Speaker 2 (30:37):
I mean it doesn't have before game one.
You know what I mean.

Speaker 4 (30:40):
And that happens there Time out.
Come see me in the dugout.
No, I don't know if that'swhere it would happen.

Speaker 5 (30:45):
I'm so glad that it's not in this movie.

Speaker 4 (30:47):
Yeah.

Speaker 5 (30:47):
Me too, and the reason isn't any sort of
moralizing about oh she'smarried, but simply because I
think it would actually cheapentheir relationship and their
mutual respect for it to beabout sexual attraction, and
what I like so much is that it'ssimply based on his, I mean.

(31:09):
I think there is perhaps someattraction there for both of
them, but it's based on arespect for the other person as
a person.
Sure.

Speaker 3 (31:17):
Totally.
It feels like this situationwhere it's like two people who
like can just like really seeeach other Right.

Speaker 2 (31:24):
I mean it would be so ?
Yeah, it would be so let's goahead.

Speaker 5 (31:26):
Oh, I was going to say so much of his journey right
is about from going from notseeing the women as ball players
, from only seeing them as girls.

Speaker 4 (31:36):
Right.

Speaker 5 (31:37):
To seeing them as ball players, right, and he uses
that particular word a coupleof times, right.
So there's that moment in themiddle of some montage where he
offers Dottie some two, becausehe's like a lot of ball players
use it, right, and it's likethis subtle little way of being
like I consider you a ballplayer, exactly.
And then at the end, I meantowards the end, in his sort of

(31:59):
impassioned speech, he's like Ithought you were a ball player,
right, and so I think that's soimportant and so it's sort of
like if he's also sexualized herin terms of literally going so
far as to kiss her.
Yeah, it just it cheapens allof that.
And I think so much of the filmis about how these women are
trying to just be humans and,like, do something that is not

(32:22):
defined by their gender role atthat time, but that the world is
continuing to put that on them,right, you know, whether that's
like having to wear the littleskirts or having to go through
charm school, or, you know,dotty realizing, in order to
save the league, I'm going to dothe splits, right, I'm going to
do something that makes, eventhough we're just trying to be

(32:45):
kind of, I mean, I almost wantto say, like gender neutral
people just doing a job, likeplaying a game that we enjoy,
we've got to make ourselveswomen in order for it to be
marketed, and you know that juststill rings true.
So, yeah, I feel like if, forin some ways, it's the most
important relationship, well, no, no, no, no.

Speaker 2 (33:04):
Obviously there's one relationship this movie, that's
the Keystone relationship, andthat's between the sisters.

Speaker 5 (33:09):
Yeah, no, I was going to say that's the most
important relationship in thestory because it's like that's
the, that's the, that's what thestory is really built about.

Speaker 3 (33:17):
Like like it's.

Speaker 5 (33:18):
If you were to summarize what is the story of
the movie, it's really aboutlike two sisters who are always
in competition with each otherfind a way through through
playing baseball together, youknow to to live in more harmony
with that, I guess.

Speaker 4 (33:33):
Yeah, mule in a nag makeup.

Speaker 5 (33:35):
Mule in a nag makeup.

Speaker 4 (33:36):
And I let that.

Speaker 3 (33:37):
It's not.
It's not like a problem thatgets solved, it's like a dynamic
that they just sort of likelearn more about and become more
accepting of.
But it's not like we get to theend of the movie and suddenly
it's like oh, now everything'sperfect between us and like like
it's.

Speaker 2 (33:56):
No, that's the, it's the more mature version of it.

Speaker 1 (33:59):
Yeah.

Speaker 2 (33:59):
Like.
This is something we alwayshave.
This will always be here.
We've just learned how to notlet that be the dominant factor
in the relationship, totally.

Speaker 5 (34:06):
Yeah, anyway, but but I do think that, like that's
that the, the relationshipbetween Dottie and Jimmy Dugan
is the second most importantrelationship and it's like the
new relationship in the movie,as opposed to the one that that
carries us through the wholething.

Speaker 2 (34:20):
I mean, I think that he's supposed to represent, even
as like, rundown and sort ofyou know out of the main world
that he is, I think he issupposed to represent success
and permission and acceptance inthe metaphor of the movie Like.
So that's what makes it strongwhenever she chooses not to
engage with him, she chooses tochoose her own path and not be a

(34:41):
part of the league, but youknow, she comes back and like
and then she leaves, ultimatelyafter one season.
I think that that's what makes,because that's what they're all
fighting for and in many waysshe's the only one that can kind
of achieve it and she choosesher own path instead, and I
think that's sort of the powerof that character.

Speaker 3 (34:59):
Yeah, yeah, yeah, although I do, I do go back.
You sort of mentioned in theintro like there is something to
be said about how Gina Davislike I don't know the like, the,
the, the lasting, like thefriend stuff of just being there
in one season, like there is aninterpretation of this movie
that like she's pretty cold toher teammate.

(35:20):
For sure, yeah, yeah, yeah, yeahEven at the beginning, when
she's like I don't care, I don'twant to go, it was only one
year.
Blah, blah, blah, blah.
It's like yeah, but like thiswas an important thing and
history didn't keep in touchwith any of these people.
You were like my husband's back.
Peace, bye, guys.

Speaker 1 (35:38):
Well, if Bill Pullman rolled in looking like Bill
Pullman, then I mean I'm notsure I'd hate.

Speaker 2 (35:43):
I think I'd be out too, yeah, and I'm just saying
commitment to you guys righthere in the room, but young Bill
Pullman walks to that door.
I think I might be out.

Speaker 3 (35:50):
Hey, right now, yeah, yeah.

Speaker 4 (35:54):
Exactly Good Good point, bill Pullman.
Right now, no questions asked.

Speaker 5 (35:57):
We think we're all think, we're all on there,
that's perhaps the only personhere who's been in a room with
Bill Pullman like would agree.
Yeah, that's true, yeah.

Speaker 4 (36:06):
Yeah, go ahead.

Speaker 5 (36:07):
Well, eric and I were talking about this last night.
I mean, what's what I think is?
It's not just young BillPullman looking like young Bill
Pullman Sure, it's in that scene.
We like rewound it and watch itagain.
He's so incredibly active inthat whole scene.

Speaker 3 (36:23):
Yeah, you look at the , you look at the scene or you
you watch the scene and and yousort of like see the lines on
paper and like he like it's notlike he's saying anything like
super special, but it's so fulland so alive, like it it feels
like a very like this sceneneeds to happen to tell this
part of the story.
Like he's like yes, we werecaught under sniper fire.

(36:44):
They got a bunch of otherpeople before me.
You look beautiful, you'reamazing.
Like it's a lot of like I don'tknow it's it's not necessarily
the most like poetic orbeautiful writing, by any means.
It's like this kind of tightlittle scene and it's so alive
and it's so full and I think alot of that's because some bills
pretty good at his job.

Speaker 5 (37:05):
Right, bill's obviously very astonishing, but
we were also talking last nightabout, I think, both of us,
although Eric can disagree.

Speaker 4 (37:15):
Oh yeah, oh, here we go.

Speaker 5 (37:17):
Kind of take issue with the fact that Doddy leaves
before the series.
It's another week, dude.

Speaker 1 (37:26):
Right yeah.

Speaker 5 (37:27):
Like quit at the end of the season, for sure, but
like, especially because herhusband seems like he's pretty
into it.
It's not like and I think thatthis is important like I would
not like a version of this inwhich he is like well, you know,
you got to stop doing that, manstuff now, now that I'm back,
Right, because I think it's veryimportant that we see Doddy as

(37:48):
such a strong person, reallywith her own agency, that it is
always her own choice that shemakes, because that's what she
wants to do and she doesn't wantto do this with her life.
But still, yeah, like juststick around for another week.

Speaker 2 (37:59):
Yeah, I'm just saying , if you do that, you don't have
the movie, because the wholething is, she chooses to go
because that's what she saidshe's always going to do and
that's what she's doing andnothing's going to sway her.
And then, by leaving, she makesthe choice to come back and
that shows the growth.

Speaker 1 (38:12):
Yeah, just saying Structurally.

Speaker 3 (38:13):
I mean, you know, if you really want to know the page
of the vaginales Exactly,especially when you think about
how the dynamic between thesisters is that classic like one
is the head and one is theheart kind of person.

Speaker 4 (38:23):
And like not to say that kid is not smart and that
Doddy is not passionate, butthat does seem to be like kind
of the thing that we're playingOne leads, yeah yeah, and it
just so happens to be the partof the structure, is it's a,
it's a seven game series.
So I mean, like that's howyou're telling the story.
If it's a one playoff, that's adifferent thing.
Yeah, yeah, and I think thatwe're supposed to believe that,

(38:43):
like I don't know, maybe ifDoddy were there the whole time,
yeah, they would have liked it,they would have smoked racing
it's it is weird, though, thatthey chose the peaches and then
like, apparently historicallylike they were the worst team in
the first year.

Speaker 1 (38:58):
Oh yeah.

Speaker 4 (39:00):
Like the Racine Racine, I'm from the south, not
the Midwest.
What are what they were?

Speaker 5 (39:06):
the Racine bells bells they won.

Speaker 4 (39:10):
They were in the actual World Series, but the
peaches didn't even make it.
They were the worst.
Now I think they ended up likethe next season in the World
Series or something.

Speaker 2 (39:17):
But I just thought it was just such a good name.

Speaker 4 (39:20):
It is.
You know, I mean for a team youjust got that's perfect right.

Speaker 2 (39:23):
Gotta go with that.

Speaker 4 (39:25):
I'm not disagreeing.

Speaker 2 (39:27):
Can we talk about the , the dad sending Marla off?
And that one scene cried, cryedagain.
I also cried.
Maybe I cried there four times.
What we're gonna have to getdown to the bottom of this,
that's amazing performance.

Speaker 3 (39:41):
God when he's like nothing's going to happen here,
you've got to go out there wherethings are happening.

Speaker 2 (39:45):
His performance was so impactful that when they cut
ahead like 45 minutes and nowwe're at Marla's wedding, I'm
like where's the dad?
Where's the dad?
I'm looking for the dad in theshots because I was like he's
here, right, he didn't die.
And he's there.
He's in one shot when he puthim in the car, oh yes.

Speaker 5 (40:01):
And Megan Kavanaugh is also amazing in that scene,
like both of them.

Speaker 2 (40:05):
Oh my gosh, they are working so hard to make her look
bad, like they're like reallyworking like the staging and the
costume.
So I was like is she, is shenot attractive?
I hate these roles in films.
Like honestly, it always makesme the first, it always takes me
out.
It's like the kid and littlegiants when they're like.

Speaker 4 (40:24):
I mean to make it fun of them being like a fat kid.

Speaker 2 (40:26):
I'm like God, a kid had to do this and see this.
So, like the actor is what I'vebecome concerned about.
I'm like what is your selfconfidence after you shoot this
scene?

Speaker 4 (40:36):
Well, and there's something to the fact that and I
think Little Giants does thistoo they doubled down on it to.
I think personally, from awriting standpoint, too often
like, just say it and I'm likeOK, I get it, that's yours,
that's the world you're livingin, this is the way they see you
.
Cool, you know.
And then we don't.
But they just keep like no.

Speaker 1 (40:56):
But seriously, have you seen her, have you seen him?
Like it's just like.

Speaker 4 (41:01):
I get it.
You know, somebody give me JohnLovett.

Speaker 5 (41:05):
I obviously can't speak for Megan Kavanaugh, but I
feel like if you look at whatshe's doing in all of the charm
school montage scenes, she'shaving a great time she knows
what she's doing.

Speaker 2 (41:19):
She's living it up for sure.

Speaker 5 (41:21):
My recommendation to anybody who hasn't seen this
movie in a while is, when you'relooking at those scenes, just
look for her and what she'sdoing, even if it's like a wide
she is doing something sohilarious and so specific and so
good, oh my God.

Speaker 4 (41:36):
I mean honestly, it's a great point because she's
just living it, she is.

Speaker 5 (41:40):
She is.
She is eating it up.
It's incredible.

Speaker 3 (41:43):
One of the iconic shots from this film is in the
try out at the whatever HarveyPark, the sort of like Wrigley
Field stand in, yeah, and whenthey're doing the try outs
there's that like incrediblemoment where Rosie O'Donnell
like throws the ball and GinaDavis like barehand grabs it,
right Like the thing about thatshot is, directly behind Gina

(42:07):
Davis is Marla Hooch liketotally ready to grab the ball,
and it's so perfect and it'sreally really funny.
But it's, I feel, like a detailthat sort of like gets lost in
kind of like the tapestry of themoment.
But if you watch that, justlooking at her, she's doing
amazing stuff.
It's so funny and just perfect.

Speaker 2 (42:30):
Just drill down on that.
I remember that moment and Iwas thinking just drill down on
that moment for a second.
What is Rosie O'Donnell'scharacter's mission in that
moment, like, what is her goal?
She wants to pick up the ballin cons, like in cohort with
Madonna and being Gina Davis inthe face with it.
That's what she's trying to do,right, she's trying to.
She's aggressively throwing theball at her and she grabs it on

(42:52):
the middle air and then ourfriends are like yeah.
I mean, yeah, it's not a not agood look, and now we're like
best friends and we like them.
It just is this one of thosemoments where it's just like,
because of the way it turns outin the movie, the motivation of
the character totally just getswiped away.

Speaker 3 (43:07):
And I love how, in that moment also like it's a
really it's a very good pointbecause at at minimum, she's
trying to like yeah, come inlike a very high yeah.

Speaker 2 (43:17):
Honour, at minimum she's trying to like intimidate
her.

Speaker 3 (43:19):
Yeah, yeah, no, I think it's a moment of like
trying to dominate and then, assoon as it happens, they, they,
they get over her.
And then when, when she says,whatever it is something going
on the lines of like oh gosh, webetter go practice.

Speaker 5 (43:34):
I just feel like any actor who's been to an EPA
recognizes this right, Like theperson who that's an equity
principal audition.

Speaker 2 (43:45):
Yes, yes, yeah.

Speaker 5 (43:46):
And it's, it's been a while, but but like, I feel
like later career actors knowthat you're not actually really
competing with the person nextto you, right, like it's just up
to are you the guy or not?
This time, right, that's thephrase that I say to myself.
I'm not kidding, I'm like am Ithe guy?
Anyway, but yeah, when, likeyoung actors, you'll see them

(44:09):
like trying to intimidate theother people in the waiting room
with them, not not sort ofrealizing like that's not really
the game, right, but yeah,that's how I read, that moment
is at the, at the very, at abaseline.
Yeah, she's just kind of tryingto like take somebody down a
peg so that then they're intheir head and like they don't
do as well and then she's got abetter chance of making the team

(44:29):
.

Speaker 4 (44:30):
She really miscalculated to, because she,
if she'd have done that to Kitt,she would have been fine, it
would have been totally fine.

Speaker 2 (44:35):
Because we can all agree that Kitt is like
serviceable.
She's definitely not like theworst player on the team at all
Like, but she's not the bestLike.
She's definitely here for, likeyou know, because Gina Davis
said, no, I won't go without her.

Speaker 3 (44:48):
It's funny because she is clearly a good pitcher,
but there aren't necessarily alot of moments where you're like
, wow, she's something specialright with her pitching.

Speaker 4 (44:56):
They're not telling that story of how the talented
she is in that.

Speaker 3 (45:00):
Yeah, although I do really like the.
I do like how there is thissteady thing of like she's a,
she's a complete sucker for thelike high fast ball, yeah, and
then the hit that she gets thatultimately wins the championship
.
Is her winning it her way, itis her swinging High fastball
yeah.

Speaker 2 (45:19):
I do like that those details are in there, because in
the opening scene too, don'tlay off the high fastballs.
Two high fastballs in a rowswinging strikes one inside.
They call it right down themiddle.
It was inside.
Perfect power home run fastball.
Let me check the POV on that.
Strike out, no swing.
I was like that's again, that's,that's a strong choice.
Like that's baseball, thatmakes sense, like it's not.

(45:41):
Like sometimes you watch, youknow airbud and I'm not throwing
shaded airbud too hard, but I'mlike you know they where they
put the ball yeah, you know whatI mean To where he shoots it.

Speaker 3 (45:50):
Steve, there's nothing in the rulebook that
says that a dog can't playbasketball.

Speaker 2 (45:53):
I understand that.
I'm just saying I personally amagainst.
You know like.

Speaker 4 (45:58):
Teen Wolf there's no rule.

Speaker 3 (45:59):
Yeah, right you know well, we watched airbud seven
thinning fetch multiple times,for our podcast that's our
longest ever podcast.

Speaker 5 (46:08):
It's true, we talked about it forever.
We talked about it for a very,very long time because we were
trying to get to a logicalconclusion.

Speaker 3 (46:15):
We're trying to create a grand, unified theory
of what happens when the playersin field of dreams go into the
cornfield, and we did ultimatelydecide that they enter the
airbud seven thinning fetchuniverse.

Speaker 2 (46:28):
Oh, wow, wow, you really condemned them to a death
possibly worse than hell.

Speaker 5 (46:33):
Yeah, it's, it's it's why they're so happy to be in
the field, right.

Speaker 4 (46:37):
That actually tracks?

Speaker 5 (46:38):
Yeah, they've been trapped on that basketball court
Because wherever they werecoming from.

Speaker 3 (46:42):
It wasn't heaven and there wasn't baseball there,
Right yeah?

Speaker 5 (46:45):
Anyway, yeah, yeah, which sort of concerns us for
James Earl Jones at the end ofthe movie.
Anyway, that's a field Back toany martial amazing filmmaking.

Speaker 2 (46:55):
There's one.
This also knows what it says,because in so many times the
directing just becomes sort ofinvisible.
Right, it becomes totally.
But then when she wants to doit, she can absolutely do it and
she can, she crushes.
I'm thinking about that promoseries where they're doing like
all the women's baseball is hereand doing this and on this and
on here's going on the Queen ofDiamonds and Marla Hooch.

(47:16):
This is enormous wide shot.
It's just so funny and it likeif I were outside of context.
That's what makes it so brave.
You take that outside ofcontext of the story.
Not funny at all.
It's just kind of like OK, likewhatever.
In context of the story it's alaugh out loud joke.

Speaker 5 (47:35):
It's so good.
It's so good.
My only real problem in termsof yes, I think that this is an
incredibly smart baseball moviefor things like pitch sequencing
and, you know, hitters, hot andcold zones and so on.

Speaker 3 (47:49):
And just thinking about, like, what's happening in
the game.

Speaker 5 (47:52):
I have two main problems.

Speaker 2 (47:54):
Oh boy, I'm ready, Marla.

Speaker 5 (47:55):
Hooch is a second baseman, please.

Speaker 2 (47:57):
Also treat.
Yeah, all right, that makes nosense at all.

Speaker 5 (48:00):
Obviously a corner infielder.
Yeah, she, obviously she's thefirst baseman, for sure.

Speaker 2 (48:04):
And.
But they put Amran and Ramseyon first and she is a second
baseman.
How else are you with that?
The way she's built, the wayshe moves, the way she plays
when you see her I'm like she'sin second base, so I can play
with you I tracked both of those, yeah.

Speaker 5 (48:18):
And then the second one, also Marla Hooch related in
the, in the scene where Dottieand Jimmy are arguing about
whether or not Marla should bunt, they're both wrong.
Marla is a switch hitter andshe's batting righty against a
righty pitcher what?

Speaker 4 (48:36):
Yes, we've already established that she's an
amazing switch hitter.
I mean she is the princessbride, if you will, of which
hitting?

Speaker 2 (48:43):
Amazingly seen when they entered All right now lefty
and all the guys go.

Speaker 1 (48:47):
And there's a great line.

Speaker 2 (48:49):
This is one of your ADR jokes.
At the end of this scene on theedit out, the whole group is
kind of like I got my heads downand I'm walking away and
they're just kind of mutteringto each other.
But if you listen, the pitchergoes.
I gave it everything I had.

Speaker 1 (49:02):
It's just again, it's a perfect edit line.

Speaker 2 (49:05):
Oh God, that's so good, Like just just to cut out
on that.
And then they cut to that mostheartfelt scene in the train
station.

Speaker 3 (49:12):
Oh, so sweet, I had read somewhere that in the
original, like in the you knowsuper long OG cut of the film,
that there was a, there was asequence where Marla Hooch was
married and pregnant but tryingto keep it a secret, and then,
like there was like a hard slideinto second that like hurt her

(49:35):
and she got carried off thefield.
And there was this like oh no,the baby.
Like is the baby OK?
The baby was OK in this.

Speaker 2 (49:43):
Fictional scenario.
And so we had speculated thatmaybe, like that was the logic,
like that there was storytellinglogic for that reason for her
being in the position, but like,in the absence of that, it is a
little bit confusing for sure,in the overall writing of the
film there's only like onesection, like there's one line
that really stood out and it'sactually at that audition to me

(50:06):
that I'm like interesting andI'd like and this is which, so
like they're talking about it.
It's just a couple of lines andI'm thinking this probably only
stood out to me because I havea little girl now and it may be
because he says yes, name.
And they throw out there thatlike he's like it's my fault, I
raised her like a boy, don'tpenalize her for something that

(50:27):
I did.
And I was like wait a second,can I raise my little girl to
like in the way I raise her isgoing to make her look like a
boy?
I was like I don't know that.
That totally tracks.

Speaker 4 (50:41):
That totally stuck out to me.
I don't even have a kid, as faras I know.

Speaker 2 (50:44):
Like I get the sentence, I get the sentiment,
but you know what I mean.
I'm like I don't think Iprobably have a whole lot to do
with that.

Speaker 3 (50:53):
Yeah, I think it did sort of like trying to be the
like.
Look, it's not her fault thatshe's a tomboy, it's my fault,
right, but like also like whichthey could have just said.

Speaker 2 (51:02):
You could have just said that.

Speaker 3 (51:04):
I feel like they, almost I feel like they were
trying to do that in partbecause, like, as gorgeous as
they are, like one could arguethat like Gina Davis and Lori
Patty, working at a dairy farmare also tomboyish Sure, so like
they needed to do somethinglike in addition to or more than
that.

Speaker 2 (51:21):
You could maybe write something like you know.
You just write it.
The alt would be very simple.
It'd be something like I mean,she always does, this is what
makes her happy, this is whatthe things, and I always let her
do it.
I never told her that shecouldn't until she only now
she's gotten old enough that shefind that she can't do a job
doing this and look, there's onechance here.
So come on, sir, you can'tpenalize her for something she
can't control, or same thing.

Speaker 5 (51:40):
Or even I disagree, because I feel like what he said
is very 1940s Right.
Like obviously if it's todayyou can't say that.
What he's right, or I mean notthat you can't say that, I'm
sure somebody out there could,but I think that it's

(52:01):
essentially by being able tolike a man taking agency for it,
sure, the only way that it cankind of be acceptable to another
man?

Speaker 2 (52:12):
OK, yes, yeah, I don't know.

Speaker 5 (52:14):
I don't know that he necessarily believes that, but I
think he sees, because I thinkhe loves her exactly the way
that she is.
But I think he sees that likethis is a way to connect with
this guy and to make an excusefor her.

Speaker 2 (52:28):
Sure OK Fair.

Speaker 5 (52:29):
And like, and also, I think, because we go on to see
the term school sequence and wego on to see all of these ideas
about femininity that I thinkare very much have to be put on
somebody right, or are obviously, like, not something that is
necessarily innate.
Gender is a construct, anywayso yeah, I think that that is

(52:52):
also like another example of hedidn't know how to teach her the
term school things, and thoseare the kinds of things that
were expected in order to makesomebody into a car.

Speaker 4 (53:02):
Yeah, and he's using the tools or his own
conditioning in order to expressthat.

Speaker 3 (53:07):
Yeah, that makes sense.
One of the things that themovie is.
This goes back to like what wewere talking about earlier in
terms of, like, Jimmy Dugan'srelationship with Dottie.
But they're the movies full ofthese moments where there are
men who sort of have this like Idon't even I don't want to call
it like an aha moment because Idon't want to give it like too

(53:30):
much Sure but these momentswhere a male character sees a
player not as a woman but now islike, oh, this is like an
athlete.
I mean, maybe the first time ithappens is when John Lovett
grabs Kit's arm to sort of likegive her a pat and then is like,
oh dang, she's pretty strong.

Speaker 1 (53:52):
Yeah.

Speaker 3 (53:54):
And and.
As funny as, as iconic asalmost every line that John
Lovett says in that film, thereare also a few moments where you
see him kind of like quietly,softly, sort of like
reevaluating the thing that hewas looking at, right, and I
think that one of those momentsdoes happen, in the wake of

(54:19):
Marla's father's plea to sort ofbe like, look, don't take this
out on her Right.

Speaker 2 (54:25):
So, as we kind of start wrapping up in our last
few couple things here, we haveto talk a little about Tom Hanks
, because we haven't talkedabout him at all which is great.
I don't know that anybody elsepulls this role off the same way
.

Speaker 4 (54:35):
No, because it was supposed to be what Belushi.

Speaker 2 (54:38):
Yeah, and Gina Davis was supposed to be.
Gina Davis supposed to be tomeet more.

Speaker 4 (54:42):
Oh, and even before that it was Deborah Winger.
Really yes, she left Again,like as Madonna.

Speaker 2 (54:48):
I mean again these work, but Demi, Demi, more to
your point.
I mean I mean sorry, yeah, well, let's keep on Tom Hanks here
for a second, because I don'twant to run out of time on this.
Well, you said we hadn't talkedabout him.
So yeah, no, Exactly so welland he like I mean there's a
line in there like the, forinstance, like this like
somebody said, married twice Anychildren yeah, one of them was

(55:10):
only Tom Hanks.
Only Tom Hanks gets away withthat line.
Think about Gary Buseydelivering that line.
Yeah, I know.

Speaker 3 (55:16):
You know, what I mean .
That is not I'm going to beable to think about now.

Speaker 2 (55:19):
Yeah, Exactly like you're never going to get away
with that.

Speaker 5 (55:23):
It's because there's something, so yeah, like boyish
about him.

Speaker 3 (55:28):
Yeah.

Speaker 5 (55:29):
And and so charming, but yeah, but charming in a very
baseball kind of a way.

Speaker 4 (55:35):
Yeah, yes, and he'd.
And I mean it's not like he'sthe Tom Hanks we already know,
he's the Tom Hanks we'rebeginning to know.
I mean, like he had just doneJoe versus the volcano, vanityne
, the bomb fires, and like, andbosom buddies, like he didn't
Howard Turner and Hooch and theBurbs, you know, and big
obviously was his was rightbefore.
So it's yeah, yeah, yeah.

Speaker 3 (55:55):
But he wasn't, he wasn't quite the like.
Yeah, yeah, yeah yeah.

Speaker 5 (56:00):
I really want to respect, I think, both the vocal
work and the physical work thathe's doing, like his crushing
very specific and also like he'sactually kind of tearing up his
voice.
Yeah, the whole movie and Imean it's it's like a really
good choice, but I was like gosh, like you couldn't, you
couldn't do that for a play.
No, yeah, yeah.

Speaker 2 (56:21):
The only thing I take issue in the performances in
the whole film is actually oneTom Hanks moment, and it's
because Tom Hanks is so goodthat I can just I can call this
one moment out in the very end.
He's like limping over to thecar, something to man.
He's really milk in the walkLike he's like.
It feels like something theyshot early on while he was
trying to figure it out.
Yeah, like how messed up am I?

(56:43):
Because really the only thingis wrong and he's got bad knees,
but that is sort of dismissedas like a yeah, you were a drunk
and you fell out of a hotelwindow.
Like you have bad knees, butyour problem is the entire
equipment.
Like your.
Your physical issues aren'tyour issues really.
You know what I mean, like, andI think that.
So I think that had to havebeen early on, while he was

(57:04):
figuring out what he was doing,but it definitely stood out,
because nowhere else does hereally have like a crazy, crazy
limp, but it was super deep.

Speaker 4 (57:11):
It is true, like because of that standing out and
also with what you were sayingabout his physical work, holy
crap, I think it does go.
It's kind of like PennyMarshall is directing, like it's
so good it just disappears, youforget.
I mean, we'll circle back towhere we were, where we started
this, which was, you know, thepissing scene and the honestly,

(57:35):
the take after take after takethat you would have to do on
that, and then his physicalityof that entire is just hilarious
.

Speaker 2 (57:42):
It's hilarious, I mean beautiful.

Speaker 4 (57:45):
It's.

Speaker 2 (57:45):
It ends all the same way it's such a tense scene and
he kneels down to pray and theprayer is beautiful, pits the
prayer he gives at the end sointense.
Lord, I'd like to thank you forthat waitress in South Bend.
You know who she is.
She kept calling your name.

Speaker 4 (58:01):
I mean just again Tom Hanks crushing.

Speaker 5 (58:04):
I also hot take.
I feel like the the the scenethat is the completion of the
famous no crying in baseballscene, is it's much shorter?
I actually think it's evenbetter acting from Tom Hanks
than the previous one.
Because he doesn't.
He doesn't actually have, youknow, a lot, of a lot of text in

(58:28):
that scene.
He's just trying to hold in howangry he is and figure out a
new way to talk to Evelyn.
Yeah, it's, it's astonishing,it's so good.
I mean, I think part of whatmakes the no crying in baseball
scene is actually thejuxtaposition of him.
I think that the actor who'splaying Evelyn whose name I
don't remember and I apologizeis also doing a great job in

(58:51):
that scene.
So I think having actually bothof them completely killing it
is part of what makes that sceneso good.
Yeah, but yeah it's a greatpoint yeah.

Speaker 3 (59:00):
I think it's it's really, really helpful to have a
Tom Hanks in this role, becauseyou know he's like he's like a
scoundrel and he does and sayssome bad things, but like you
still want to root for him, youstill believe that there is like
something to be like saved inin his person and in his life.

(59:24):
And I do think that with theknee stuff like it hits really,
really hard.
It hits harder, harder, the thethe more that I watch this and
the older that I get.
The scene on the bus wherethey're talking about the
military, and I think this mightbe the scene where Gina Davis
shows him the picture of thehusband and he says that he

(59:47):
didn't serve because he has nocartilage in his knee and that,
plus his baseball stuff he saidI can't remember exactly what
the line is, but he's like howdid I become so useless so fast?

Speaker 2 (59:58):
Oh, yeah, oh, my God, god, I wrote down somewhere in
there.
I wrote a.
I'm way too emotionallyvulnerable for this movie.

Speaker 1 (01:00:04):
And I wrote this on the plane.
I blame you, Ellen.

Speaker 2 (01:00:07):
God damn it why does a baseball movie have to hit me
so hard?
We should end all baseball.
So I just want you to knowThanks, Ellen.
This is how I was feeling.
Ellen, it's all your fault.

Speaker 5 (01:00:15):
You're welcome.
You're welcome for the feelings.

Speaker 1 (01:00:19):
Last.
Thing.

Speaker 2 (01:00:20):
I've got and I want to hear any last thoughts you
guys got.
But the last thing I've got,there is a moment in this movie
which I, on this watch, found soextremely over violent.
I just couldn't almost handleit.
Oh, it's because you nevernotice it, because it's in a
deep, wide shot, but it's named.
It's when we're talking aboutour drink, like where, who's Lou
?
Oh yeah, and Lou's walking awayand the chaperone ladies

(01:00:41):
following him right, and then hepicks up a pile of dirt and
throws it in her face so hard.
I was like that is downrightviolent, like that's really
upset me.
It's like, and then she cameback and we're like having a
bunch of jokes at it and I waslike it happened in a wide shot.
So I guess I've always acceptedit, but man, that was super
violent.

Speaker 4 (01:01:02):
That's a really it's a really good point.
And to your I mean how?
It's in a wide imagine.
That's Penny's like.
We got to take this in a while.

Speaker 2 (01:01:09):
How much I mean that's like what makes the only
reason it works.
How imagine like being in ascene that's like a tight tour
and over and over, so he justpicks up a dirt clot and throws
it in your face like four feetaway.

Speaker 4 (01:01:19):
Yeah, bye, bye comedy .

Speaker 2 (01:01:20):
Yeah, it's not funny at all.

Speaker 5 (01:01:24):
I continue to believe that there is a tragic short
film about the day that thePeaches Chaperone has when the
bus breaks down to make thismovie and then also she's
poisoned Right.
And there's like the, the yesClimb.

Speaker 3 (01:01:40):
That's like I've never seen somebody throw up
this much in my life, and alsoJimmy Dugan like wakes up and
kisses her that day.

Speaker 5 (01:01:46):
Yes, Nonconcentrally, yes, and then is totally
grossed out, right, and thenmakes a wicked witch of the West
reference that I did, so we'vegot to make this short.

Speaker 4 (01:01:56):
Why have?

Speaker 2 (01:01:56):
we not?
Why has this not been made?
They're 100 percent has to bemade.

Speaker 3 (01:02:00):
It's really the most problematic relationship in the
film is Jimmy Dugan with the,with the chaperone it's the one
that you're like.
this is this this is notactually super good, yeah, yeah.
Well, although he does, youknow he does to Jimmy Dugan's
credit, he does say that he, youknow, he like turns down the

(01:02:20):
triple A to the job because he'salready got a job and that's
managing the peaches.
And I think in that moment hesays something to the chaperone
that makes me feel like they'veworked their things out.
But we don't really see that.
We just see these kind of likeproblematic moments.
That's true.

Speaker 4 (01:02:39):
I'd say I'm trying to think if there's anything else
that comes close to that kind ofviolence in that, but honestly
it'd be Rosie throwing thebaseball.
Yeah, maybe you know, but wedon't see it because she
succeeds Right.

Speaker 5 (01:02:50):
Still well, does get hit in the face with a baseball
glove, but he's such apsychopath yeah, he's so insane,
You're willing, which is insaneto say about a kid.

Speaker 4 (01:02:57):
but yeah, I'm ready for it, oh yeah, gustus Gloop
the dude, and that raspberry Isreal.
That is nasty.

Speaker 2 (01:03:07):
Oh yeah, the bruise, it's real.
Yeah, yeah, that's real.

Speaker 5 (01:03:11):
It's like not makeup.
I mean because, many times Iwatch this movie and thought
like wow what it looks reallygood Is real.

Speaker 2 (01:03:19):
Oh my gosh, that's really good.
She earned it.

Speaker 3 (01:03:22):
I think I read somewhere that it took like a
year for her to fully recoverfrom it because the bruise was
so deep.
Oh, that was I mean it was.

Speaker 4 (01:03:30):
I mean it was an open wound.

Speaker 2 (01:03:31):
Yeah, it had like a section to it.

Speaker 4 (01:03:33):
Oh man, I mean there was just like a little alien
crawling out of it.
I mean it was a whole thing.

Speaker 2 (01:03:37):
So, to wrap it up how we always do, let's go down on
a gross note.
Well, go ahead, go ahead.
I was going to say we asked youis this movie hold up for you?

Speaker 3 (01:03:46):
guys.
Yes, 100 percent it's.
It's still like the one to bein terms of maybe, if not the
best.
It's definitely in there forthe best baseball film, but I
think it is far and away my mostfavorite and beloved and I
could just kind of watch it overand over again Same it is also
my favorite baseball movie.

Speaker 5 (01:04:06):
It's one of my favorite movies period and I
again, I think that sugar.
If people are looking for agood baseball movie, a baseball
movie is perhaps the bestbaseball movie, but I don't want
to watch it again and again andI do just want to watch this
movie again and again.

Speaker 4 (01:04:25):
For you too, matt.
Yeah, I think this isdefinitely when I watched it the
first time as a as a kid.
It hit me.
I watched it so many times I'veI don't know how many times
I've watched it so, yeah, it'sone of my favorite sports movies
, but it is definitely.
It absolutely holds up, and forme, part of the reason it holds

(01:04:46):
up is and this goes back towhat they cut out, think
thankfully is a lot of therelationships and how they honor
the central relationships.
To me, that's where it holds up, and even because it's
underplayed and we just made ajoke about it at the top, I
think Zimmer's score really doesa beautiful job holding all of

(01:05:07):
this tension of like it's aperiod piece and we're we're
also talking about memories andwe're but we're being very
relevant, and so there's a bunchof lines that are being walked,
and so for me, yes, itabsolutely stands up.
Steve.

Speaker 2 (01:05:22):
Sam Matt.
I think it definitely holds up.
I love this movie.
I'm probably have to watch itagain with my wife this week, so
it's a good thing, I like it.
I want to watch it again.

Speaker 3 (01:05:29):
There's so many.
There's so many good characterswith so much good attention to
detail and so much arc to them.
It's so we haven't even talkedabout it's so well shot.
There are so many like justbeautiful images to look at in
the midst of all of this greatstorytelling Amazing.
Yeah, we didn't even get toSUD's bucket, that entire dance

(01:05:51):
sequence you know, or the shotof them throwing the luggage on
the train.
It's incredible.

Speaker 2 (01:05:57):
It's awesome, it's great and pace so well because
they let it develop for so long.

Speaker 4 (01:06:01):
Yeah, sir, yeah, yeah , yeah your knee.

Speaker 5 (01:06:04):
I like it.

Speaker 4 (01:06:05):
Thank you.

Speaker 2 (01:06:10):
That's like what are we talking about?

Speaker 1 (01:06:16):
Happy Hour Flicks is a framework production produced
by Laurie Kay and James Alodex,hosted by Stephen Pierce and
Matt Mundy and found whereveryou listen to podcasts, and that
music you're hearing is byJohnny Minio.
Remember to subscribe.
See you next time.

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}A League of Their Own | with guests Ellen Adair & Eric Gilde (Take Me In To The Ballgame)