I Saw What You Did - Cabbage Patch Core - Dear Movies, I Love You

Episode Transcript
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Speaker 1 (00:10):
Hey, everybody, welcome to another episode of I Saw What
You Did.

Speaker 2 (00:13):
My name is Millie to Jericho.

Speaker 3 (00:15):
I'm Daniel Henderson, and.

Speaker 1 (00:17):
Yeah we're here with y'all. Last couple laps.

Speaker 3 (00:22):
How you feeling feeling good?

Speaker 4 (00:24):
I'm very dark today. I'm in a closet recording. Oh
at my new place. So hopeful that your bedroom, Yeah,
but hopefully. This just sounds like a voice from the dark.
I'm like ragged sounding today. I didn't even do anything
fun last night. You're hungover, but I didn't do anything
fun last night.

Speaker 2 (00:43):
Big reveal, I'm hungover today.

Speaker 1 (00:47):
You look like you You look like you were in
you were This is like a movie about you having
an extramarital fair, and it's like the morning after where
you've been processed saying like what are you going to do?

Speaker 2 (01:01):
Like are we going to tell the husband? Or you know,
like the soft betting.

Speaker 3 (01:06):
There's like a soft.

Speaker 1 (01:07):
Betting behind you and you're kind of like front. It's
like front of camera, So.

Speaker 4 (01:13):
I'm gonna reveal all And the answer is yes, Fuck everybody,
I'm kidding.

Speaker 3 (01:17):
I'm kidding.

Speaker 2 (01:19):
Well, I think we it looks like we've both had
a night.

Speaker 4 (01:23):
I think that's what I mean that I had an
old person night of just ragged sleep and now my
glasses are fogging up on the bottom, yeah, which means
like my face is really hot for some reason. So yeah,
we both were both in it.

Speaker 3 (01:40):
Yeah.

Speaker 1 (01:41):
Well yeah, I decided to go out last night, very
last minute. I had, actually I have a lot of
responsibilities that I needed to attend to, and I was like,
I should just stay home and like, you know, prepare
for things that I'm doing, and you know, like I
don't know, just get the like get the week started early,
which is so sad because it's like, I don't know, Yeah,

(02:01):
anytime I use like a weekend to prepare for the
next week, it makes me want.

Speaker 3 (02:05):
To I know, I'm alive myself, you know, I know,
so I'm.

Speaker 1 (02:10):
Like, God, what is my life? But then at the
last minute I decided to go out because I'm friends
of mine were like where are you?

Speaker 3 (02:15):
Where are you? Which is.

Speaker 1 (02:18):
I cave to that very quickly.

Speaker 3 (02:22):
I don't know if you do.

Speaker 1 (02:22):
If somebody calls and is like where are you at?

Speaker 3 (02:24):
Where are you at?

Speaker 1 (02:25):
How come you're not here? I bet you you don't
leave the house. I bet you just stay like a
normal life stay.

Speaker 4 (02:33):
If someone is like, where are you at, it's usually
nighttime and I'm usually I'm ready for bed at six pm.
Let's just say that, like, you got to get me
early in the day if you want me to go
out at night, if you want to like where you're at?

Speaker 3 (02:45):
Where you at?

Speaker 4 (02:46):
I'm like, I'm I'm where I'm supposed to be. I'm home, yeah,
and ready for bed. My night routine is done, the
retainer is in.

Speaker 1 (02:55):
Yeah.

Speaker 4 (02:56):
But I don't know that's that's country Danielle. City Danielle
might be a different person. If someone's like where you
at it, you know, eight o'clock, I might be able
to rally, but usually I stay home because I live
in the woods.

Speaker 3 (03:09):
Yeah.

Speaker 1 (03:10):
Well, and this is the thing too, is so like
I just I think I'm just very you know, I
have a little bit of fomo in me. Where somebody's
like where are you?

Speaker 2 (03:20):
You're missing the greatest type of old type.

Speaker 1 (03:21):
And if especially if it's like multiple people, like if
it's multiple friends at the same thing and they'll text you,
I get so I'm like, fine, I'll just fucking get
out of my pajamas. But I will say this, it
doesn't now. I just kind of go as is. I mean,

(03:42):
I'm not wearing pajamas, but I'm also like not putting
on the ritz.

Speaker 3 (03:47):
Yeah.

Speaker 1 (03:48):
And it was funny because in my twenties I was
always like out and I would see sometimes a middle
aged person, mostly men, who just looked like disheveled, like
guys in like their car heart outfits, like I don't
know if they just came from work or whatever, and

(04:10):
they were not like they were the only person in
the club that wasn't like kind of dressed up in
some kind of way, Like they just looked like they
came off the factory line or you know. And now
I know why.

Speaker 3 (04:23):
Because their friends dragged them out.

Speaker 1 (04:24):
Yeah, they had fomo as a middle aged person decided
to just go out because they wanted to experience whatever
it was. But they didn't want to get ready or anything.
They were just like I'm just gonna wear my fucking
sweatsuit and have not coat my hair. I'll maybe brush
my teeth, but that's about it. I'm not doing anything else.

Speaker 3 (04:44):
You got me?

Speaker 1 (04:47):
Yeah, I rolled out last night like no no makeup,
Like I just was like I put some lipstick on,
no makeup. I put on a wool cap I look
like Mike Nestsmith from The Monkeys just was like whatever,
and I was like rolling around like and it was.
It was one of those nights too, where you know,

(05:09):
it was a it's a fall evening in Atlanta. Everybody's out.

Speaker 3 (05:13):
Yeah, it's crazy.

Speaker 2 (05:16):
Like there's like a dude.

Speaker 1 (05:19):
In, you know, like a Michael Myers mass like shredding
on a guitar with his ant like on the corner
on the street. Corner there's like people making out on
the street, puking in the street.

Speaker 3 (05:32):
Oh my god, I love this for Atlanta. I know.

Speaker 1 (05:35):
No, it's East Atlanta Village, which it's I think we've
been there, like East Atlanta Village. And I'm not just
saying this because I'm an East Atlanta gal. Is like
if a Bourbon Street was punk rock, Like it's nice.
It is absolutely a mess. It's a mess, but the

(05:57):
people that go there are cool as fuck, if that
makes sense.

Speaker 3 (06:04):
So it's not like fucking perfect.

Speaker 1 (06:06):
Yeah, it is like truly kind of perfect, and it's
like super rough around the edges, like, but it's like
the cool like it's it's this like beautiful mix of
like different races, different genders, different ages, but there's like
no frat boys.

Speaker 4 (06:23):
If you have a corner of your city where you
can go out and if you're a drinker, if you
can drink or just hang out with your friends, and
it hasn't been infiltrated by a frat boye that keep
it protected, gate, keep it, lock it down. That is
the pinnacle of wonder.

Speaker 1 (06:42):
Yeah, And I think that's because because it retains a
little bit of its crime. But like all the bars
in that neighborhood are like kind of punk rock, heavy
metal bars. There's like a lot of black clubs down there.
There's you know, obviously Mary's, There's you know, a bunch
of places to see concerts. So it's just like cool neighborhood.
And then when it gets like lit, like when the

(07:03):
magic the alchemy of the of the fall night happens,
and it gets just insane. It really feels like anarchy,
but in the best way.

Speaker 3 (07:14):
That is my favorite.

Speaker 4 (07:15):
I've only experienced it a few times, but that is
my absolute favorite kind of night out.

Speaker 3 (07:20):
And I bet you looked cool as shit.

Speaker 4 (07:23):
And I say this not just because I know that's
true that you look cool as shit, but I have
to believe that anyone who is comfortable, looks great, because
that is my entire m o.

Speaker 1 (07:37):
Ye.

Speaker 4 (07:37):
Like, I'm to the point where, while I'm here in La,
I'm considering hiring a friend of mine who's incredibly stylish
to like teach me how to be a person again,
Like how do I how do I dress to look nice?
And I've never known how to put on makeup, so
I might ask her to help me learn how to
put on makeup because I just feel like, all right, girl,

(07:59):
your forty evan. You don't have to change who you are,
but if you would like to look more awake when
you leave the house, there are ways that you can
do that.

Speaker 1 (08:08):
I mean, I'm just gonna tell you lipstick that's really
the only thing you need. Honestly, that's like that's what
I'm wearing right now. I have nothing on my face
except for lipstick. Really, oh yeah right, it's like the
one thing that I figured out makes me look awake,
Like I'm just like, oh, I'm up for the day.

Speaker 2 (08:27):
I don't know what it is, it really is the secret.
Sauce and European woman for generations have believed this.

Speaker 1 (08:34):
So and you have perfect skin, so it's like, just
wear a little lipstick and you're fine. And it's not
even about now vanity or anything. It's just a no,
it's just even a bomb, like a bomb just to.

Speaker 4 (08:46):
I'm gonna i'll I'm gonna dig back in a little
bit of You might see me at an Alta or
a Sephora around these parts.

Speaker 3 (08:52):
Yeah, but I don't know.

Speaker 1 (08:55):
You should look at your nipple and find out what
your perfect nude shade is? What?

Speaker 2 (09:01):
Yeah, that's like how you find out what?

Speaker 3 (09:05):
Ww do people just know this shit? What are you
talking about?

Speaker 4 (09:07):
I mean, I'm awfully looking at my nips, but for lipstick.

Speaker 1 (09:11):
Well, that's that's like this whole They say that the
perfect nude shade or the perfect lip color for your
face is what the color your nipple is.

Speaker 4 (09:21):
See now, the deftly know so much about people out
in these streets, like everyone I meet. Now I'm gonna
be like, so that's what your nips look like. I
don't hear any of this shit.

Speaker 3 (09:32):
I miss all of the.

Speaker 2 (09:35):
Is it or is it?

Speaker 3 (09:38):
You'll never know, boys, you'll never know.

Speaker 4 (09:42):
I love when when people wear bright red lipstick. I'll
be like, all right, there's some issues going on.

Speaker 3 (09:47):
I know.

Speaker 1 (09:48):
I sometimes I go for that like I used to
there was like a period of like nine months where
I wore only hot pink lipstick and people I used
to get complimented all the time. But then I was like,
I don't know, that just felt like a moment and
I don't feel like that's a long term look for me.
But yeah, yeah, listen, I'm always gonna advocate for if
you just want to you know, a little a little

(10:09):
feel good, you know, just throw it in there. It's
not no commitments, but honestly, like being comfortable going out
is absolutely crucial, totally everyone.

Speaker 3 (10:20):
Who, everyone who looks who.

Speaker 4 (10:22):
I remember when I used to go out who I
was like, wow, they look fucking great, effortless, comfortably cool.

Speaker 1 (10:29):
Yeah yeah, I think so too. And like I I
think it's because of when I was young and I
was going out, I was so you know, like wanting
to be in the mix and was really self conscious
about like wanting to impress, like especially older people. I
was always like, oh my god, like I like older
people and like wanting to like fit seamlessly into their scene.

(10:53):
So I was always so concerned about whether or not
I looked cool enough or like was able to occupy
the space so sad, but it's true, that's what your
twenties are for. And now I'm like, oh no, I'm
the fucking dude in the car, heart against the wall,
not giving a fuck, and everybody's like, whoo, who is this?

(11:14):
Like what a cool customer.

Speaker 3 (11:18):
For for real? For real? And this is where I
feel like I'm also.

Speaker 4 (11:23):
I've got like lifelong dirt bag problems, maybe because I've
just never I've done that like twenty year old where
like you know, the tight thing and the victorious secret underwear,
and like I've tried that and just instantly decided it
wasn't for me. So I feel like I've just maybe
never outwardly expressed how cool I feel inside because I
think I'm pretty cool, but on the outside, I.

Speaker 3 (11:46):
Look like what is that? What is going on there?
So I feel like I just want them to match.

Speaker 4 (11:51):
Yeah, now not like changing my style, but I want
them to match because I think I've just been a
lifelong dirt bag. Yeah, and I have no reason to
change if I when I live at home, but then
I have to come out in the wild like this,
and I'm like, oh, I've been wearing the same T
shirts for twenty five years.

Speaker 3 (12:07):
It's literally a T shirt I had twenty five years
ago because I buy all my T shirts huge. Yeah,
So yeah, I gotta.

Speaker 4 (12:16):
I just want the outside to match the inside, and
the inside is cool as shit.

Speaker 1 (12:19):
So yeah, and listen, I'm like, I'll tell you right now, kids,
kids will worship you.

Speaker 3 (12:27):
They will like.

Speaker 1 (12:30):
One thing that I have figured out, and this is
no slight to gen Z or to anyone younger, is
that you know, y'all are really into core, right, I
think that's been established, is that y'all are into bank core. Yes,
the aesthetics of things blank core, car hardcore, yeah, lipstick

(12:55):
only core, whatever the fuck you want to call it.

Speaker 3 (12:57):
Cabbage catch core, cab.

Speaker 1 (13:03):
And most people our age had to really commit to
a subculture, right. We had to, like, we had to
commit and we had to we had to like go
through the motions of going to the club and be
worried about whether or not older people were gonna like us.
You know, now, I think these young kids don't have
that as much as we did. There was no like

(13:23):
gate keepers that we needed to like, you know, right
to uh to they had to buy into us or whatever.
But when it comes to the style part, like they
don't y'all know what y'all are doing. Y'all are just
doing the aesthetic. There's no commitment to the lifestyle. Yet
we got the commitment to the lifestyle. We have like

(13:44):
the track record of all the fucking Triple xl T
shirts that we had to like fight for and these concerts,
and we were like really living it. So it's like
when when y'all see somebody in gen X that was
like a stone cold fucking real head, They're like they

(14:04):
will walk up to you and be like, oh my god,
you are so hocus pocus core, like really live it.
You're beautiful. They were like, thank you, Yes, I existed
before hocus Pocus. By the way, did you know that
goth existed before hocus Pocus and people were dressed in
like fucking witches for a very long time? Oh my god,
we really lived that fucking life.

Speaker 3 (14:27):
Oh for real.

Speaker 4 (14:27):
I was this is I was in a parking lot
the other day and I was backing up and it
was a really tight squeeze. So I was backing up
and there was a like this red SUV behind me
and I was fine.

Speaker 3 (14:41):
I was completely fine. I wasn't even just completely.

Speaker 4 (14:44):
Fine, and the guy in the car like came out
of the store and was like just kind of looking
and it wasn't He wasn't angry about it. He was
just like, uh, wish I get because LA drivers are
fucking nuts. And when I finished my little three point turn,
I rolled down my wind and I was like, you're cool,
like I didn't hit your car, and he's like, no, no, no,
It's like I came out because I wasn't worried you

(15:05):
were gonna hit my car.

Speaker 3 (15:06):
I was just impressed that you were able to do that.

Speaker 4 (15:09):
And I was like, oh, well, I learned how to
drive in like the eighties and nineties, so I don't
even use these cameras, like it's all it's all fucking visual,
Like I'm.

Speaker 3 (15:16):
On, I'm turn that head. I'll even turn that buckinghead.

Speaker 4 (15:19):
So he was like, oh, he's like eighties and nineties
and he was like, but you look so young, and
I said, well, you got to keep it tight, but
I'm old as shit, and then I just drove away.
It was the funniest and coolest fucking moment of my year.

Speaker 3 (15:35):
Probably Listen.

Speaker 1 (15:37):
I literally just came off of a TikTok where I
watched Jack Carlow, the rapper Jack Carlow talk about he
only likes women who were born in the seventies, and
I was.

Speaker 4 (15:48):
Like, my man, like Jack Carlow knows what's up because
he was just.

Speaker 3 (15:52):
Like twenty five.

Speaker 4 (15:53):
Like I was like, right, listen, oh my god, no,
I was just like this this young man was just
like I'm impressed by and I'm like, if that's all
it takes, then ask me out, because I know he.

Speaker 3 (16:04):
Was like fucking plummixed.

Speaker 1 (16:07):
That's I think the thing about and this is all
going to pull back to eventually what I'm going to
talk about today, even though we've gone about.

Speaker 3 (16:16):
Twenty minutes already.

Speaker 1 (16:18):
That is the thing that's so hard to figure out
as you get older, is like, what's my value in
the world, Because the world doesn't value anymore.

Speaker 2 (16:26):
They put you out the pasture, they throw you away
in the fucking dumpster.

Speaker 1 (16:29):
Yeah. But like, the thing that I have to remember
is that younger people have no confidence, that they have
no way to navigate. Uh, you know, simple things like
we do right, like our lived and experience, our toil
is equals authenticity to them, and they will always worship

(16:52):
us for that. For the most part. Like unless you're
absolute goblin and you're a horrible person. For the most part,
like most cool individuals will, you know, lean towards authenticity
and real people, you know, I did when I was
in my place, like you think I was like riding
around like trying to find the car heart guys to

(17:12):
be like can I hang with you against the wall exactly?
You know, Like I wanted that when I was their age.
So I feel like now we're just the baton has
been passed. You know, go out with no fucking makeup on.
Do whatever you've got to do. Do not use the
rearview cameras. You can do it yourself. People will literally
come out of a store and wish it for it.

Speaker 4 (17:35):
So it was I just I it was definitely a
moment where I realized that some kind of baton had
been passed. Yeah, because he also at one point when
I said like, oh, I learned how to drive in
the eighties and early nineties, and he was like, I
was born in the eighties, And I was.

Speaker 3 (17:50):
Like like, oh, okay, okay, I gotcha.

Speaker 4 (17:56):
But like a baton has been passed for sure, and
I'll take that baton. But I just if that's all
it takes is me just being real. Well, I can't
do anything but be real, So just saying I'm old
as shit and zooming away and leaving this man standing
there like staring after me. I just felt like I

(18:17):
was like I was getting on a horse and running
off into the sunset after like robbing a saloon.

Speaker 3 (18:22):
It felt great.

Speaker 1 (18:22):
Oh yeah, it's like the fucking like Smooth Criminal by
Michael Jackson plays.

Speaker 2 (18:29):
Doom Doom, Do do.

Speaker 1 (18:33):
That's you?

Speaker 4 (18:36):
Well, yeah, you did have something else that you want
to talk about, though, So I don't want to get
too meyered down and how cool we are now that
we're older.

Speaker 1 (18:44):
Well this will glie gently into another round of serial killers.

Speaker 4 (18:52):
Oh hell yeah, it's probably our last round.

Speaker 1 (18:56):
Maybe maybe oh my done one of these you fail.

Speaker 4 (19:04):
Since I failed fucking miserably because I hadn't hung out
with you in so long, I didn't realize you were
the kind of bit you put fucking lawn ornaments all
over her shit anymore.

Speaker 1 (19:17):
You were like, this is a fucking betrayal, and I'm like.

Speaker 5 (19:20):
Man, crumple our relationship for Jesus, No, it was it
was a stark realization that, like I need to hang
out with you more than we did, so I fixed it.

Speaker 4 (19:31):
But like that was the true betrayal. Everyone's like, oh,
your chernobyl answer was the betrayal. No, the true betrayal
is merely becoming a whole different person in between rounds
of serial Killer or Self Care.

Speaker 1 (19:44):
Well, you know we throw surprises at each other. We
can't know each other completely, right. You gotta keep a
little mystery and the keep it spicy.

Speaker 3 (19:51):
You know all about a mystery.

Speaker 4 (19:53):
I'm angling towards becoming more mysterious as I get older.

Speaker 1 (19:57):
Uh, well, you're already again, like you just said, fucking
people coming out of stores trying to figure you out.
I think you're doing a good job.

Speaker 2 (20:06):
Okay, so there's five five of these.

Speaker 1 (20:08):
Are you ready for five?

Speaker 3 (20:09):
I'm ready. I got my coffee, I've got water.

Speaker 1 (20:12):
Okay, good, I'm ready hydrate.

Speaker 3 (20:14):
I am treating this like a sport.

Speaker 1 (20:19):
Okay. So maybe some of this won't make sense, but
I don't care a fuck. We're ending the podcast Son
Cares serial Killer Yourself Care question one googling liquor while
you're standing at the bar.

Speaker 3 (20:39):
Okay, for you self care?

Speaker 1 (20:44):
Absolutely correct?

Speaker 3 (20:47):
For me?

Speaker 4 (20:47):
Serial killer move that person is looking how to poison
you or get you as drunk as for you. You
want that information about how to level that drunkness out.

Speaker 1 (20:57):
Okay, here's my because you know, people get there's like
so people get like super crazy about bar rules about
like how if you don't like, don't approach a bar
unless you know exactly what you want, like you know
all this stuff. Fuck you, Like we're all just you
know how much alcohol is there is right now in
the world. Okay, I will admit something is that I

(21:21):
do not know shit about alcohol.

Speaker 4 (21:24):
Yeah, I mean either because we didn't. That wasn't the
goal when we were coming up.

Speaker 1 (21:28):
No, no, there are no None of my friends were
curatorial about drinking whatsoever. Nope, everybody was just like, give
me a handle of mister Boston's, we will figure out
a hundred different ways to drink it, you know, like
there was no I mean, first of all, there weren't
even a ton of liquor brands. I think it's kind

(21:51):
of my thing is that people like you're out and
you're like, oh, let's get you a Tito's and soda,
and I'm like, and I know what Tito says. Okay,
But like back before I knew what Tito's, like Tito's
and soda. I'm like, what the fuck is it?

Speaker 3 (22:05):
Tito's right, we didn't order by the brand.

Speaker 1 (22:08):
Yeah, I'm like is that tequila? Is that whatever? Yeah?
And I'm just like, I don't know these So I
don't know the brands. Number one for sure, I'm actually
unclear about what is even what like the difference between
bourbon and whiskey and cognognac. How do you I don't
even know how to say cognac.

Speaker 2 (22:28):
How do you saying.

Speaker 3 (22:29):
Konnac connac konyak?

Speaker 1 (22:32):
Fuck? I don't even know how to say that. So
that's to that point. So the other night I went
to the Hawks game. Oh, season opener of the Hawks.
No big deal, we won, okay, my boys, my boys
or my boys. So we go to the Hawks game.
I'm hanging out with you know, we're in this big

(22:53):
group and I'm hanging out with one of my friends's
brothers who was in town or whatever. And we go
to the bar and this woman who who's the bartender,
was like, do you want to put a couple of
shots in this lemonade? It's like frozen lemonade. And I
was like, do people do that? And She's just like yeah,
and uh he goes. My friend's brother goes, why do

(23:14):
you pour some Hennessy in there? And I was like,
I certainly heard of Hennessy because I like rap music,
but do I even know what Hennessy actually is? So
I turned, I turned to you know, the side, and
googled Hennessy because I was like, I'm even not clear
what hennessy is.

Speaker 4 (23:34):
Ah, I am surprised I didn't get you kicked out
of Atlanta.

Speaker 1 (23:37):
Well, I'm like, that is to your point. So then
my other friend walks up and she sees my open
browser on my phone with like Hennesite, and she goes,
did you just google Hennessy at the bar? And I
was like, yes, I did, because I don't know what
the fuck Hennessy actually is.

Speaker 2 (23:57):
So there you go. I'm gonna admit that to everybody.
I don't know what it is.

Speaker 3 (24:00):
We're so overwhelmed. Koyak coniac kyak Crown Royal, Hennessy, fucking cognacs.

Speaker 2 (24:10):
Okay, you know how many times had drank Crown in
high school?

Speaker 1 (24:13):
I didn't even know what it was.

Speaker 3 (24:15):
This is the thing.

Speaker 4 (24:16):
Your commitment to ordering a drink depends on when you
were what era you were born in, We did not
have brands. Yeah, when we started drinking, it was the drink,
like I want a tequila and soda, I want this,
I want and it was basic shit.

Speaker 3 (24:33):
When fucking cocktail.

Speaker 4 (24:35):
Came out, we were young, we were in our you know,
ten eleven years old, but yeah, we were floored that
somebody could flip that cup around and not just pour
it directly into the fucking glass. Like, we came up
in a way that was not brand related. So now
when people are like I want cosamigos, and I'm like,
why do you want George Clooney specifically to give you tequila?

(24:58):
Because I know that all tequi it comes from the
same fucking area of Mexico. It's only one plant, yeah
and every but so they just put their name on
it and now it's a different liquor to you, Like
what is happening? Yeah, I'm with you there, and there's
so many fucking celebrity brands and.

Speaker 3 (25:14):
Like, yeah, I can't do it.

Speaker 4 (25:16):
I want I don't want to put lemonade in a
drink and it's this. I'm the same way with coffee
where I'm like get it to me straight, like do
not You don't have to fancy it up if my
goal is to get fucking rocked.

Speaker 1 (25:27):
Yeah, well, I'm like, and I I appreciate people who
are very knowledgeable about it. Yeah, Like I'm like, hey,
you know, if you're into whiskey and you got like
crazy opinions on it, that's fascinating to me.

Speaker 2 (25:44):
Tell me more about passion or whatever.

Speaker 1 (25:47):
But like, I'm also trying to be a real person
at Like, I'm like, I don't know. I simply do
not know. You don't mess call. That's not a thing
that existed when we were in high school.

Speaker 2 (25:58):
Like, I had never heard of mess call. Into moved
to LA and I.

Speaker 1 (26:01):
Was basically like, oh, I guess people fucking with mescal
is kind of like a tequila I suppose, but I
never heard of that shit until. I Mean, that's the
thing is that, like the it's gotten so complex that
my you know, high school brain has to like catch up.
So that's why I'm googling head to see at the fucking.

Speaker 3 (26:17):
Barn self care, I'm with you.

Speaker 1 (26:22):
Thank you, Okay, just try to educate myself. Do not
embarrass me exactly. Okay, So you got one right, ting
ting ting all right? There were more serial killer is
self care? Not paying people for working your events?

Speaker 3 (26:44):
That is a serial killer move.

Speaker 1 (26:46):
Hell yeah it is, and you know it is, and
you know who you are.

Speaker 2 (26:49):
Serial killers, murderers.

Speaker 4 (26:52):
No hesitation, you're a serial killer. Someone's doing anything for
you pay them.

Speaker 3 (26:56):
Yo.

Speaker 2 (26:57):
It's like.

Speaker 1 (27:00):
We got a problem. There are so many people who
are out here being like, hey, will you DJ my
work party? Will you you know, come and host a
thing for my job in front of people? This is
public facing shit. You always us to shit, and you're
not paying people to do that in any kind of way.
Like no, you don't even give me one hundred dollars

(27:20):
gift card to Applebee's nothing.

Speaker 4 (27:23):
No, that is no longer the move we put a
I say we, but I think that's actually a gen
z possibly millennial move where they're like, we're not doing
unpaid internships anymore. Like high five to them for being like,
uh no, my time is valuable, you got to pay me.

Speaker 3 (27:41):
They shifted the tide.

Speaker 4 (27:44):
So if you are still out here not paying people
to work your event, not only are you revealing how
old you are in your heart, but you have no
there's no conscience, Like there has to be something that
pay doesn't always have to be financial. It should be
it should be financial, but like you said, you have
to offer something.

Speaker 1 (28:06):
Yeah, And I will make this distinction as well, because
it's like they're also okay, I think it's deplorable that
if you're gonna go work for somebody and you're doing
like physical labor, right, if you're like cleaning dishes, if
you're organizing, if you're doing stuff you that is a
payd job period like that is Yeah, if you're not

(28:26):
paying people to do that, then you're an absolute monster.
But then there's this type of job where it's like, oh,
it's forward facing like that. It's like something where they can,
you know, be in front of people, and.

Speaker 2 (28:39):
Maybe that's the reward. Like the reward is me standing.

Speaker 1 (28:42):
In front of people and like talking about whatever, like
a movie or you know, some kind of concept or
like a DJ thing or something like that, playing albums.
I'm like, why is that not a job to you?
Why why do you think that, especially somebody at my
age and my level of the game or whatever. I'm like, right,

(29:03):
you think it's easy for me to like constantly just
go in public and talk and like I gotta you know,
it's like, as much as I am kind of okay
with being a public speaker, but it's like it still
takes a lot for me to prepare, for me to
figure out what my nipple color is so I can
wear the corresponding lipstick, so I could like do my hair,

(29:24):
take off my car hard, put on a fucking church dress,
like whatever. It is, Like that is part of it.
That's part of the labor of this thing.

Speaker 3 (29:34):
And I find that.

Speaker 1 (29:36):
People really don't pay for that shit around here, especially
here in Atlanta. They're not really doing in LA, but
they were doing like they don't pay for that here,
and I'm just kind of like, you know what, Like
that's work.

Speaker 4 (29:48):
So I will say simply as simply as possible. My
life and career changed when I started saying no to
things that people wanted me to do for free.

Speaker 3 (30:01):
Yeah, just say no.

Speaker 4 (30:02):
I'm not even going to get into it about like
you're not paying me, why don't you pay? Nope, I
ain't doing it. If you want me, my time is
worth something. If you want to ask, oh, would you
consider doing it if we pay, Yeah, then we can have.

Speaker 3 (30:14):
A negotiation, we can talk.

Speaker 4 (30:16):
Yeah, But if you just flat out come at me
with do this thing for free?

Speaker 3 (30:20):
Nope?

Speaker 1 (30:20):
Right, And if you're a for profit business, like I mean,
if you're a nonprofit, you know, if it's a charity thing,
of course, what the fuck course do that all day
every day.

Speaker 3 (30:29):
But if they're very heavy.

Speaker 1 (30:30):
Money for your business and you're not paying people for things, man,
come on, like.

Speaker 4 (30:35):
Oh, they just have me all the time when I
was a freelance writer, like, oh, you can do this
for the exposure, And I'm like you, mam, are l
magazine like someone getting paid.

Speaker 3 (30:43):
Yeah, I ain't doing nothing for the exposure.

Speaker 1 (30:47):
Yeah. Well, I just had to throw that in there.
I knew you would agree with me, so you got
that one right too. Oh my god.

Speaker 4 (30:54):
I will never charge to do an event that involves charity, children, libraries,
things like that. But the rest of all, I better
come with something. Even if I just donate the money,
you better come with something.

Speaker 1 (31:06):
I mean, a shrink wrapped gift basket goes a long way.
I'll just throw that out there. Okay, So two for two.
Third or self care question scheduling a meeting while you're
currently in a meeting.

Speaker 3 (31:24):
That's a fucking serial killer all around, Ding ding ding ding.

Speaker 2 (31:29):
That is absolutely right. Oh my god, gotta tell you.

Speaker 1 (31:33):
One of my biggest pet peeves in the world is
being in a meeting with somebody and then there's.

Speaker 2 (31:38):
All of a sudden, it's like ping ping pong.

Speaker 1 (31:40):
And then you're like, what you just scheduled another meeting
with me as you're talking to me right now.

Speaker 4 (31:44):
No, that is that is pure psychosis. That is that
is someone who's had too much of the sauce, the
corporate sauce. Because my real party line is there are
too many meetings.

Speaker 1 (31:56):
Absolutely, one hundred percent there are.

Speaker 4 (32:00):
I shouldn't be meeting with people more than depending on
the job, but more than once a week.

Speaker 1 (32:07):
I have to agree with you. I feel like there
we're in an epidemic of too many meetings. And I
don't know if it's because there's this perceived like disconnection
feeling from COVID that is kind of still happening where

(32:27):
people are like many people are working from home. Still,
there's people spread out around the world. We got to
over compensate for it by having meeting after meeting after meeting,
because otherwise we'll just drift away into you know, unproductiveness.
And I'm like, nah, bitch, the fucking meeting sometimes is
the problem? Like nothing is getting done A lot of times, Yes,

(32:50):
it's just talking to talk, And I'm like, there's like
just because we're not meeting every day about something does
not mean that people aren't working. And I just feel
like sometimes the meeting is just the pump and circumstance
that needs to get kicked out the door.

Speaker 4 (33:08):
Well, there's also there seems to me to be a
new layer of the corporate structure. And I don't know
when it happened, when it came in. I've seen it
become more prevalent over the last like five years, I'll say,
but there's a new level where on this level, the
person's job is to justify having their job. Yeah, so

(33:30):
they are setting meetings all the time so that it
looks like they're doing their job or that is the
job or whatever. There just seems to be this new
layer of like my job is to prove that I'm
doing my job.

Speaker 3 (33:44):
I don't need it. I think what makes me.

Speaker 4 (33:46):
Probably a great boss, because I have been told by
some writers and I'm like the best boss they've had,
or like it's the best room they've been in, is
because I hire the best people possible, and then I
let them do their fucking job. Yes, I'm available to
you for questions, failable to check in. I will let
you do your fucking job. We will have a meeting
if there is something that I need ten people to
know at once. Otherwise it's an email like what are

(34:10):
we doing? Yeah, hire the best people, let them do
their fucking job.

Speaker 1 (34:13):
Yeah. I agree. That's the best kind of boss to
have is somebody who kind of just leaves you alone.
I I haven't been a boss very rarely in my life.

Speaker 2 (34:24):
Like I think I was a boss when I was
in my twenties.

Speaker 1 (34:27):
Actually, like I think my one of my first like
jobs out of undergrad I worked at a marketing research
firm and I was technically like a supervisor or like
a keyholder or something like that.

Speaker 2 (34:39):
But I never want to be in one's boss.

Speaker 1 (34:43):
I don't want to tell you what to do. I
don't want to be responsible for your life. I don't
want you to clock, you know, hours with me. I
don't want to give you goals, none of that. I
just want us to all be like free floating, you know,
we can all It's like a a socialist dream of
everybody's in charge.

Speaker 2 (35:04):
And we just kind of figure things out, you know,
in that way.

Speaker 1 (35:08):
I know it's a dream, but I'm just saying I
don't want I don't want a boss, and I don't
want to be anybody's boss because of this, because of
the weird kind of like communication styles, like trying to
figure out like what best way of you know, being
in touches, and some people do it too little, and
then some people do it too much, you know, so

(35:29):
it's like finding a balance is probably the key. But
it's like man meetings.

Speaker 3 (35:34):
Also, I gotta say, I love being a boss.

Speaker 4 (35:38):
And if you are a boss and you're like experiencing
some of this and you want to stop having all
these meetings and feeling like this, I'll see. I will
also just offer this unsolicited advice. Ask people how they
like to communicate before you when you're interviewing them, how
do you like to communicate you if we have a
pressing need, like you know, would you text me, would

(35:58):
you call me?

Speaker 3 (35:59):
Would you say a meeting?

Speaker 4 (36:00):
You know, ask them how they like to communicate, make
a note of it, and then do that.

Speaker 3 (36:08):
Like that's truly all it takes.

Speaker 4 (36:10):
If I tell you, like, look, I just need you
to be available that if I have a question, I
can get it answered within three hours.

Speaker 3 (36:15):
Done.

Speaker 1 (36:16):
Yeah, well, and that's it. Like it's so hard too,
as you know, like I said, I just said I
didn't want to be a boss, but it is hard
to know because there's certain people that really really need
a lot of feedback and really need to be handheld
and they want that and so and sometimes those people
will pretend to not need that and then you figure
it out much later or advice ors. You know, I

(36:38):
get that it's hard to figure it out, but but yeah,
I think that's a good plan, is to just sort
of check in with people. And I would say, check
in with people like not just in the interview, but
after they've been hired, and give them some time to
settle in and be like, all right, so what's your
vibe now? You want to hear from me?

Speaker 2 (36:54):
You don't you don't want me to use your personal
phone number, duly noted.

Speaker 4 (36:59):
You don't to ever use your phone at all. You
let me just just email. That's fine, that's fine.

Speaker 1 (37:06):
All this is to say, you got another one, right,
Yes I did.

Speaker 2 (37:11):
And you know that that's serial killer.

Speaker 1 (37:13):
Move Okay. Question four, We're almost done. Question four Serial
Killer self care, being cringe self care absolutely correct.

Speaker 2 (37:29):
Ah, do not give a fuck about being cringe.

Speaker 3 (37:33):
Cringe doesn't exist. It doesn't exist. I mean, cringes is
only our friend.

Speaker 4 (37:37):
Sarah Brown's former diary reading series that she wrote a
fantastic book about in two different countries. That's what cringe
is to me, Sarah Brown, Cringe.

Speaker 3 (37:47):
Look it up.

Speaker 4 (37:48):
Otherwise it does not exist. I'm not going to I'm
not going to absorb this cultural notion that I should
be upset about everything I do.

Speaker 1 (37:58):
Fuck off, and then at a certain age you are
just cringe and you gotta let it go. Yeah, like period,
point blank. No.

Speaker 2 (38:08):
That's the thing is that like.

Speaker 3 (38:12):
You.

Speaker 1 (38:12):
To me, I refuse to be like you can tell
me that I'm cringe, and I'm talking to you kids,
right because you're you're the people that I'm mostly addressing
in this Calling me cringe you know about some shit, fine,
but I reject it. I do not listen to it.
I do not give a shit. It doesn't exist. Like

(38:34):
I am who I am.

Speaker 4 (38:36):
Cringe to me is just somebody saying I'm uncomfortable with
how little you give a shit about this. Yeah, and
you're never going to make me give a shit about
something I fundamentally don't give a shit about.

Speaker 3 (38:48):
And that could be the way I look, the way
I talk.

Speaker 4 (38:51):
If I'm not harming someone actively fuck off, cringe doesn't exist.

Speaker 1 (38:57):
Yeah, I mean, like it's it's just another word for
being uncool.

Speaker 3 (39:03):
Yeah, I'm like.

Speaker 1 (39:05):
I at a certain age that literally never enters my mind,
Like it never enters my mind to be to be cool,
to walk out of the house and be cool. You
know so.

Speaker 3 (39:17):
Well.

Speaker 4 (39:17):
No, I haven't thought about it since I was a
fucking teenager.

Speaker 2 (39:20):
Yeah, I'm glad you got that right your fourth floor.
Are you ready for the last one?

Speaker 1 (39:27):
Potentially the hardest?

Speaker 3 (39:28):
Oh god, this is so tense because I've been doing
so well.

Speaker 2 (39:31):
Okay, the final question for serial killer or self care
ending this podcast?

Speaker 3 (39:40):
God, damn you. I think self care.

Speaker 1 (39:47):
Okay, I'll give you that to you both. That's a
true question.

Speaker 2 (39:52):
It's both.

Speaker 4 (39:57):
I thought you might say serial killer, but I know
it's self care. We just talked about it when we
told people we were ending the podcast, like it's self care.
I would have rioted if you said serial killer. I
know you're trying to throw me. It's self care. I'm
five or five.

Speaker 2 (40:15):
No, going out like that absolutely correct?

Speaker 3 (40:17):
Okay, ain't going out like that?

Speaker 2 (40:19):
Of course, of course you've got a perfect score.

Speaker 1 (40:22):
I'm just saying if you would have said serial killer,
I would have said it was correct to It's just
you know, and I mean this, I mean, obviously this
is a joke, but I mean this is the best way.
I mean it is like both sad and happy. I mean, oh,
it really is. I mean there's gonna be stuff like
this that we're not gonna do anymore, which is which

(40:42):
I'm gonna miss, and ending it feels like a serial
killer move. But then it's also self care to end it. Yeah,
like we're happy, we're in a good place about it.

Speaker 4 (40:51):
So true, And I'm laughing because it's like, oh wait,
that's every decision I make in my life where everyone's like,
why are you stopping? I stopped doing feminist Ryan Gossling.
They're like, why not keep this going for forty five years?
And I'm like, oh no, I'm done with it. Serial
killer moved to just walk away from something successful that
makes you happy.

Speaker 1 (41:11):
No, there are no water signs on this podcast, not
a one. So we're not getting sentimental about shit. Once
it's done. It's done. We're like the bye, like please,
even Casey's a cap record, he couldn't care less cut ties,
no problem, move on.

Speaker 3 (41:28):
Well.

Speaker 4 (41:28):
Also, it's kind of fucked up in a way because.

Speaker 3 (41:35):
We're not going anywhere.

Speaker 4 (41:36):
I'm not gonna be missing out anything, but our listeners
will be, which I'm sad for them. But I feel like, oh,
nothing's gonna change because we will still be able to
talk to each other and talk to Casey and have
our thing. So that is a serial killer move to
be like, yeah, nothing's gonna change, and then your whole
audience is like, yeah, everything is changing for us. You're
fucking psychos. You're not gonna be here for us anymore,

(41:58):
these cringe bitches. No, I gotta learn how to walk away.
It is the most valuable lesson in your life. Learn
how and when to walk away from things.

Speaker 3 (42:08):
Yes, we know how.

Speaker 1 (42:10):
To fold them for sure, or we know when to
fold them. I should say, Okay, so you've got a
perfect score. Yeah, do you even handle that curveball I
threw at the end very nicely?

Speaker 3 (42:24):
So you really tried it? But I ain't going out
like that.

Speaker 1 (42:27):
No, No, you're absolutely not. Should we start this podcast?
Or what are we doing whatever?

Speaker 4 (42:34):
I mean, we're like an hour in so why not
when I talk about a movie or two?

Speaker 1 (42:44):
Okay, so we got a theme stressful. This is stressful.
But I was gonna ask if you would tell people
what it is.

Speaker 4 (42:55):
I would love to tell people what it is, because
our theme this week is eat the Rich. We're talking
about modern class warfare.

Speaker 1 (43:03):
Yeah, two thousand's style. Would you say, wait, actually it's more.

Speaker 3 (43:08):
Like twenty well yeah, more like twenty twenties.

Speaker 1 (43:11):
Twenty twenties style.

Speaker 4 (43:14):
Mine came out in twenty nineteen, but it's on the CUSP.
But yeah, like last five years, last, you know, six
years of Beat the Rich mentality.

Speaker 1 (43:23):
Well, and we have been talking about wanting to do
your movie for a while. Yes, and I haven't seen
it since it came out, and glad I saw it again.
Obviously it's a great, great film.

Speaker 3 (43:35):
Oh, masterpiece.

Speaker 1 (43:37):
Yeah, this is an interesting like I was actually kind
of trying to figure this out a little bit when
we were doing research for this week, because I'm like,
these are two movies that came out relatively close together,
kind of like post Obama, maybe pre pandemic or at

(44:01):
least you know, at the heels of the pandemic, and
they're kind of addressing the same thing.

Speaker 4 (44:11):
Yes, there's so many parallels now that I've watched I've
watched each of them obviously separately before now that I've
watched them together, there are some very interesting parallels in
our films, which we'll get into when we talk about them.
But it's it's also nice. I think it's a nice

(44:31):
shift culturally that there are now so many ways to
look at and confirm that we should be eating the
rich and engaging and paying attention to modern class warfare
at least. And I say this as a person who
in a recent episode commented on how my lifestyle is
possible because I'm making more money. I'm not rich, I'm

(44:53):
not I'm not the people we're talking about. I'm just
I've got a good job. But what I and personally,
and this is maybe a bridge too far in validating myself,
but I don't need that much. So when I make
a certain amount of money, I give the rest away.
Drives my business manager crazy, But I don't need that much.
I just give it away.

Speaker 1 (45:13):
Yeah, I mean, honestly, I think that there's generational wealth
that's happening when some of the characters in these movies
this week, which gotta say not my experience, I got
none of that.

Speaker 3 (45:29):
And I don't think generational wealth should exist.

Speaker 4 (45:31):
I think spend your fucking money, let your kids spend
for themselves.

Speaker 3 (45:34):
What are you doing?

Speaker 4 (45:35):
Yeah, generational wealth does not create instantly create better people
as far as I'm concerned. It creates hoarders and people
who then become, you know, generations later, the kind of
people that we live with now, who think because their
money isn't earned, that it's better and that they deserve more,
or that there's their lives are somehow more valuable.

Speaker 1 (45:56):
Yeah. Well, and yeah, and I just you know, I
think it's really interesting because it really does feel like
these two movies this week are kind of united by
this idea of everybody in the world is fighting each
other at the feet of extremely wealthy people, right, And
why are we doing that?

Speaker 3 (46:18):
Why aren't we in fighting them?

Speaker 1 (46:20):
Yeah?

Speaker 3 (46:20):
And why.

Speaker 1 (46:22):
Have has the tone shifted? I was reading this one
article about my movie in reference to like a bunch
of like there's like a lot you know. I think
the obvious, you know, parallel to my film would be
something like White Lotus, where there's this kind of like
Recent and Glass Onion and all these movies about like

(46:45):
rich people on yachts and things. Yeah, there's this kind
of like which is so true, like resort, Like how
there's this double message happening where it's like, yes, we
are trying to deconstruct and criticize this wealthy you know,
elite class and their bullshit and there you know, the

(47:08):
ways of which they navigate the world and make everybody
feel like shit.

Speaker 2 (47:10):
But we're also like fascinated by their world.

Speaker 3 (47:14):
That's what locks me up is like it's aspirational to people.

Speaker 1 (47:17):
Yeah, and about how can these things exist at the
same time. Is it pleasure to watch people drinking expensive
champagne on you know, super yachts, uh, saying bullshit while
like the people below the deck are like serving them

(47:39):
while also criticizing it, Like is there like a double
thing about it? And I'm like, yeah, I don't know,
because I texted you when I I hadn't watched my
movie since it came out, which wasn't that long ago.
Halfway through it, I had to fucking stop the movie
and I text you and I said, I'm too, I'm
about to have a panic attack. I'm so mad at
rich people right now that I have try the movie off, and.

Speaker 4 (48:01):
I want to know when we get to your movie,
I want to know exactly what scene that was or
what moment that was. But I completely agree that I
find it genuinely physically sickening to watch a gross display
of wealth. It is physically sickening to me that people
feel comfortable, ye like having those resources and using them

(48:23):
to become worse, like more terrible people.

Speaker 3 (48:27):
And yeah, it makes me.

Speaker 4 (48:29):
It makes me fucking sick to see the excess and
the wiste and the just the focus on things that
do not fucking matter, like the clothes and the jewelry
and the fucking things.

Speaker 3 (48:40):
Yeah, it just makes me fucking ill.

Speaker 1 (48:43):
But yeah, and like, what is the psychological moment where
people are like this is like like ooh, like I
love watching Jennifer Coolidge be a fucking rich bitch in
a resort, but I also hate rich people and wish that,

(49:06):
you know, our current form of capitalism would disappear. Like
I guess I just don't understand what the worship and
the hatred is happening at the same time, because it
feels like I can't do that. I have to just
hate them, and so I don't know. I think that
that's that really gave me a lot of food for
this week. And then these two movies of course, same thing.
It's like, you know your film in particular, I will

(49:27):
not shut up about snow Peak. We're gonna get to
it now. But I'm like, these motherfuckers are iced out
in snow Peak camping gear, and that's all I gotta
say about that.

Speaker 4 (49:40):
The water in their refrigerator are several bottles of vas.

Speaker 3 (49:46):
It's that kind of shit, Like I get glass bottles.

Speaker 2 (49:50):
I don't even know if they're plastic, they might be glass.

Speaker 3 (49:52):
I've never even touched one of those bottles. They look
so rich. They's not water for me. This is not
water for my dumbass.

Speaker 1 (50:00):
Only the first time I ever drank one of those
boss bottles was what I went to. I went to
a rap show like a long time ago. It was
basically like Ti Twista and the guy that's saying the
hook on I like the way you move by Big Boy,
and it was like it cost like fifty dollars to
get into the club, and then they were serving that

(50:20):
water and I was like, what's this water? Why is
it so chic and slim, and I immediately was like, oh,
it's because this it costs fifty dollars to get in here.
That's why they're so very stupid water and now it's
just everywhere, but like, especially in You're a movie.

Speaker 3 (50:36):
Makes me sick.

Speaker 4 (50:37):
So I was reading I like to read on the
on the Strategist that like things I can't live without,
celebrity shopping kind of thing, just because it's interesting to
me to see what people buy, right, And I think
it was on one of those where I saw someone
who couldn't live without a four hundred dollars note book

(51:01):
that they wrote in with a two hundred dollars pen.
Hell no, And I'm like, this is where I lose
the plot completely and become apoplectic, like what are you
fucking you can live without that shit? You can get
a mead notebook for a dollar if you had to,
and a fucking ten cent bigpen.

Speaker 3 (51:21):
Yeah, like you might be.

Speaker 4 (51:23):
And I understand that the whole concept of that is
basically to be like these are the things I like
the most, which, okay, fine, I get it. I also
have a favorite pen, but a four hundred dollars notebook
You're going to act like that's normal.

Speaker 1 (51:35):
Yeah, no, no, no.

Speaker 2 (51:36):
The only time and I like reading it too.

Speaker 1 (51:39):
The only times where I actually like, like am like
yes are when the celebrity reveals like it's like when
they are using like a very simple thing that exists
at like the drug store. It's like Charlie XCX uses
like an old man foot powder and it's just like
four dollars at Walgreens. Like That's the only time where

(52:02):
I'm like this, this should exist, like I care about
a celebrity's products is when they're just like real simple,
boring show when they do. Yeah, when you do get
the one where it's like I only you know, eat
like strawberries that were you know, picked from the fucking
base of the Himalayas or whatever the fuck, you're.

Speaker 3 (52:21):
Like, you've lost the plot.

Speaker 1 (52:25):
Yeah, man, and now everyone knows you have because you
just set it in an interview.

Speaker 4 (52:31):
And that and truly, truly like Debbie Masars is the
best one if you ask me, if you go look
up Debbie Mazar when I can't live without or I
think they even did one that's like one hundred products.
I love because she leaves in Italy, so she's like
got a real mix of high low. Yes, but she's
also like a down home New York girl, so she's
got like a real mix of high low. But it's

(52:52):
for me. It's also a way to gauge, like how
out of touch a celebrity is or how.

Speaker 3 (52:56):
Much money they make, because I'm like, oh, you can't live.

Speaker 4 (52:58):
Without something that costs four hundred dollars that will be
done in three weeks, You'll be done using it. You're
you're you make so much money that you literally have
are not in touch with reality anymore?

Speaker 1 (53:11):
Yeah, oh yeah, it's it's shocking. But oh my god,
I cannot wait to talk about your movie. Like, all right,
it's gonna be a good, stressful week, but I'm ready.

Speaker 3 (53:25):
Let's get it a good and stressful week.

Speaker 4 (53:31):
My film was released in twenty nineteen. It was directed
and written by Bong June Hoe. Han Jin Moon also
did the screenplay with Bang June Hoe. And my movie
is called Parasite.

Speaker 1 (53:50):
Little Renois.

Speaker 3 (53:55):
Now I fucking love this movie.

Speaker 4 (53:56):
I'm gonna give you the one sentsin synopsis, a family
down on their luck infiltrates a rich family one by one.
Nailed it, of course, So that is just the premise,
and I'm only going to walk you through about half
of this film because if you have not seen this

(54:18):
movie before, I want you to watch it at some
point and if I explain to you what has happened
what happens in this film, it will not be the
experience that I had when I first watched the movie.
So I'm just gonna say that. I know people would
love for us to spoil it, but guess what, we
got two episodes left and we're still not doing it.

Speaker 3 (54:38):
Get over it, get over it.

Speaker 4 (54:42):
Got made it four years, not spoiling ship for you
most of the time, and happening now either. So what
I love about this movie and I do think it's
a fucking masterpiece and it blew me away. And it's
such a rich and layered and unique story that is
simultaneously so funny and so terrifying. So the film itself,

(55:04):
taking these shifts between humor and like abject terror, is
just a master stroke. Bang June Hoe is an incredible
director in that way he did you know Memories of
Murder and Oak John He's He's made a lot of
unbelievable films. This particular film won so many awards, like

(55:26):
so many awards. It won the a bunch of Academy
Awards for Best Picture and Best Directing. In twenty twenty,
it won the fucking Palm d'Or at Can. It won
the Golden Globe like anything it could win.

Speaker 3 (55:40):
It won that year.

Speaker 4 (55:42):
And Bong Juneo is also delightful to watch accepting an
award if you haven't seen any of his acceptance speeches.
But I think this movie really spoke to people in
a big way. And again I think it's the way
that that Bang Juno was able to direct and present
it that helped with that. But the story itself is

(56:03):
it's so well written, so I just love it. And
it's really the story of two families. So we first
have the Kim family. Chun Suk who's the mom, Kai
Tech is the dad, Ki Wu is the son, and
Ki Jung is the daughter. And forgive me if I'm
mispronouncing those because it could be Kei Jung. But and

(56:24):
I was listening closely in the movie and I listened
in some interviews, and I think it's Kei Jung. So
that's the family that we're starting with, who is completely
down on their luck, like poor, poor, poor, poor, poor
sub level poor, and it's really demonstrated in the film
how poor they are by looking at their surroundings. So
they live in a they call it a semi basement apartment,

(56:46):
so it's kind of half underground half above ground. Let
me put it this way. Their toilet is the is
higher than their living space. Their toilet is kind of
on a pedestal that goes above where they sleep and.

Speaker 3 (57:01):
Eat and live.

Speaker 4 (57:02):
Yeah, so that metaphorically and visually is just a way
to kind of construct how how low they are societally.
And then you have the Park family, and the Park
family is dong eke yon Ko. Dong Ek is the dad,
Yanko is the mom, Da Song is their youngest child
who's a boy, and Dahi who's their daughter, teenage daughter.

(57:26):
They also have three dogs, Zuni, Berry, and Fufu, all
these tiny little dogs running around, so cute. And the
first scene in the movie is the Kim family in
their apartment which is kind of drab, and they can't
get Wi Fi because they've been surfing Wi Fi from
a neighbor and the neighbor put a password on it.

(57:46):
So just again conceptually, to live in a world in
twenty nineteen, twenty twenty where Wi Fi is not available
to you, or that digital divide is so stark that
you cannot do anything without the Internet, to the point
where the the mom chunk suk has been waiting for
information on WhatsApp about a job that she applied for
that now she can't access because they don't have Wi Fi.

(58:09):
And again it's a small apartment. Drunks come and piss
right in front of their window.

Speaker 3 (58:15):
You learn it. They're peeling mold off of old bread.

Speaker 4 (58:18):
They're surrounded by stink bugs again, and it's for people
living here. So they're waiting to hear from the pizza
pizza generation business because the whole family is going to
make pizza boxes for money. And then the fumigation truck
comes by and dad decides to leave the windows open

(58:39):
so that their apartment can also get fumigated. I mean
the pizza boxes are also getting fumigated now. But that
is where they are in life, where they're like anything
that we can get for free that we don't have
to spend money on we will take because no one
is working, we're all down on our luck. The kids
can't afford to go to college. And again these are
incredibly smart people. As we watch the film, that becomes

(59:01):
more and more prevalent that everyone is so smart and
they're pushed to a place where they have to use
their intelligence in devious ways because of where society has
placed them. Yes, so they don't do a good job
on the boxes. And there's this one scene where like
the whole family kind of and it's right at the

(59:22):
beginning of the film, so that's a very interesting tone
because the pizza women comes to collect the boxes and
she's like half, like a quarter of these are not folded. Well,
I'm going to dock your pay ten percent. But then
the whole family kind of slowly starts to surround her
so that Kiwu can ask for a job. He's like,

(59:42):
you know, I know that the reason you're in this
position is because your box guy didn't show up, So
why don't you just hire me? And then his sister
kind of comes in and is like, yeah, you should
hire him, and then the mom kind of comes in,
and that is the tone of the whole movie. How
one by one this family is going to surround someone
of means and get everything they can from them and
try to influence them so that again a small scene

(01:00:05):
that to me is masterful and as a way of
explaining what this family is willing to do to make money.
So then the movie really kicks off when a friend
of Kiwu's comes by. His name is Min and he's
got this rock, it's called a scholar's rock that he's
got for Kiwu's dad, Kai Tech, and it's supposed to

(01:00:28):
be like, you know, this great prestigious thing that he's
presenting and his grandfather gave to him. And he's obviously
been a friend of the family for a while, and
Kiwu is really upset that he came into the house
because he's embarrassed by where he lives. But also Men,
even though they're friends and of the same age, Men
is doing much better clearly, so they go out for drinks.
Men is in college, he's about to study abroad, and

(01:00:51):
he tells and Kiwu tells him, like, you know, my
whole family's out of work, were struggling, And Men suggests
that Kiwu take over for him as a tutor for
a rich kid while he's studying abroad.

Speaker 3 (01:01:03):
So the reasoning for this is a little fucked.

Speaker 4 (01:01:05):
He's like, I want it to be you because I
actually am in love with this teenage girl who's a
sophomore in high school. But I'm gonna wait until she
goes to university to ask her out. And I don't
want any of these like frat boy assholes like hitting
on her while I'm gone, and I know that you
ki Wu would never pose a threat. Essentially, yeah, he.

Speaker 2 (01:01:28):
Negged him pretty good, I have to say.

Speaker 3 (01:01:30):
Right, he nagged him into a job.

Speaker 4 (01:01:32):
So you're like, oh, this is a weird, like you're
helping him, but also huh. So Keiwu is like, all right,
but I'm not a college student. He's like, I'll have
to pretend to be a college student, and men, to
his credit as a friend, is like, well, you're smart enough,
you just don't have the piece of paper. And he
does say that eventually to his parents after his sister

(01:01:52):
Kijun doctor's up a fake degree. He's like, well, I'm
gonna go to this university next year. I just printed
the degree early, which is like a stunning rationalization. So
then you watch him literally climb up from their apartment
to the house. Because one thing I also love about
this film is you are constantly going to be questioning

(01:02:14):
who is the parasite, right and a parasitic relationship in
general is one where you know, a parasite is viewed negative.

Speaker 3 (01:02:23):
It's a negative thing.

Speaker 4 (01:02:24):
It's something that is like affecting you or your life.
So you're watching them kind of climb up and replicate
these parasitic bug like moves where they're climbing into it
to a territory that they don't belong in, right, And
the difference in the living spaces is so vast because
when he gets to the Park's house, they have like

(01:02:44):
a bamboo lined front entry. They have a huge yard,
there's tons of sunlight. The inside of the house is
glass and it's you know, bright, and it's designed by
a famous architect. And they have a house keeper who's
like a house manager that they meet, and you know,
those kind of these perfect photos of the Park.

Speaker 3 (01:03:02):
Family on the wall.

Speaker 4 (01:03:03):
The reality of the Park family is a little different.
Park family is a little bit of a mess. Mom's
passed out on the table when Kiwu first arrives, just
like head down, fallen asleep on the outdoor picnic table,
and he meets his he meets his student da Hi,
and he crushes it. Mom wants Mom is very discerning.

(01:03:24):
She wants to sit in on the first lesson. She
kind of wants the best for her kids, and you
can tell that her job is to kind of create
the perfect family and make sure they have everything they
need to be the perfect family. And she's very naive
and very easily influenced, which we will come to find out,
but she wants to when we first meet her. She's
got a backbone and she's discerning and she wants to
sit in on the first lesson. Blows everyone away. She

(01:03:47):
starts calling Keewu Kevin, which is I think culturally in
wealthier families in Korea, because this movie takes place in Korea.
I think it's common if you're learning English to kind
of replicate English names. When I used to teach college classes,
I would have you know, international students, and they would
always give themselves or have been given a more European name,

(01:04:12):
and I always ask, like, you know, like I can
pronounce your name like like.

Speaker 3 (01:04:16):
If you prefer.

Speaker 4 (01:04:16):
But I think that it's a way of assimilating essentially
A lot a lot of times.

Speaker 1 (01:04:20):
Those rich kids come to Canada or America or you know,
English speaking countries like New Zealand and Australia to learn English.
Right or to go to school, and they get exactly
they get Americanized English names.

Speaker 4 (01:04:35):
Yeah, so we're already kind of engaging in this this
wealth disparity where you get to choose your name, you
get to kind of choose how how you are in
the world, and you have a little bit more, a
little bit more of a pathway to respectability because you
have money.

Speaker 3 (01:04:50):
And so as Kiwu is leaving Das.

Speaker 4 (01:04:56):
Song, the little boy comes in and his mom is
very concerned that he's not focused. He thinks he's like
this eccentric, genius artist, but he's really the kind of
kid who just like lays around with an arrow in
his butt. And Keiwu is like, oh, you need an
art tutor for him. I've got the perfect person. And
he lies and says that this person was an art

(01:05:18):
school with his cousin and it's actually his sister.

Speaker 3 (01:05:22):
It's actually Kijun.

Speaker 4 (01:05:24):
And there's a really funny scene where he looks at
one of the kid's paintings and he's like, it's a chimpanzee, right,
And the mom just says, oh, a self portrait. They
know nothing about art, they know nothing about any of this,
but they are absolutely he's going to get his sister
a job now, right, because he's zoomed in on the
fact that this woman needs things for her children that

(01:05:45):
is her pride and joy. So he suggests his sister
and when she arrives, his student to Hie is already
jealous of Keijun. He thinks she doesn't know that their
brother and sister obviously, and she already has a crush
on Kiwu, but she's also pissed off because she's like,

(01:06:06):
my little brother is pretending to be an artist. He's
pretending to be this total weirder when he's just a
fucking freaky little kid. But they kiss and they kind
of have a moment, and you know, you can tell
that things are going to get started for them. But
everyone's trying to be respectful of the fact that she's a
sophomore and wait till she's in university to make a move,
but like already making the moves, and I'm like.

Speaker 3 (01:06:27):
I don't know about this, guys, I don't know about this.

Speaker 4 (01:06:31):
But basically, the sister is hired and her given name
is Jessica by the mom whose name we don't know yet,
by the way, interestingly enough, and it turns out that
Kijung is so adept at crafting this psychological story about
her own abilities that she makes it seem like it's

(01:06:55):
her decision to take the kid on and not the
other way around. So she's like eventually when she's talking
to her parents, she's like, Yeah, I just read some
shit about art therapy and like I googled some stuff.
And then like this woman was mesmerized, and her parents
are actually kind of proud. They're like, oh, in another life,
she would have been such a great cot heart. But
she's like worked her way into this family by focusing

(01:07:18):
on the thing that the mom is most worried about,
that her kid is like having some kind of psychological
issue that he's expressing in art, and she does kind
of say that something happened to this little boy in
first grade. We later get the story and there is
a reason for what happened. There's an explanation for what happened.
He saw something and there's an explanation for it, but

(01:07:39):
she's just like super concerned. So this is how this
family starts working their way in. So basically, at this point,
we've got Kei Wu is working three days a week
in the house two hour sessions for tutoring, and now
Kijung is working four days a week in the house
during two hour sessions, so they're basically like full brother
and sister are full time in this house.

Speaker 3 (01:07:59):
Then we get to meet the.

Speaker 4 (01:07:59):
Dad, dung Eke, and let me just tell you this
cast is also so fucking hot. Lee Soon Qune, who
plays dung Eke, is so handsome handsome.

Speaker 3 (01:08:11):
Yeah, unreal.

Speaker 4 (01:08:13):
Also, I gotta say I kind of like key Wu
Choi wu seek is very very cute. If you're not
going to be a British Man, you should be for me,
you should be Choi woo sikyah very cute. So the
dad comes in and he's like, you know, he's exactly
everything you think it like. He has like this uh,
like this firm that he runs, like this business and

(01:08:35):
it's a very nebulous business. You don't know what it is,
but it's something with tech or whatever. And he's like
very poised and confident, and you know, kind of walks
into his house and just owns the space. So, by
the way, yeah, died like super young, like right after
this film too, right.

Speaker 1 (01:08:54):
Yeah, I mean he he unlived himself. I don't know
if there's a better way to say that, But yeah,
it's actually sad. And I mean then this is like
a larger issue I think that's happening within the South
Korean entertainment industry is just the amount of pressure that

(01:09:14):
exists for famous people in that country where they're kind
of expected to be these like perfect people, you know,
and you know, by all accounts, I mean, this is
just you know, stuff that I've read on the internet
without doing like a huge dive into it. You know,
like he cheated on his wife perhaps and you know,

(01:09:35):
maybe did some smoke some weed and some other types
of drugs. But it became this huge scandal to the
point where you know, I think that you know, obviously
felt the pressure of it to the extent of which
he you know, basically committed suicide. And it just and

(01:09:55):
now that I'm kind of like paying attention a little
bit more, I think to that entertainment industry, that seems
like a very like common thing that happens there. I mean,
I'm not saying it's super common in the extent that,
but it's happening more there than I think here where
I think just the celebrity culture there is just so

(01:10:18):
tied into respectability, politics and you know, honor and all
the stuff where I just think that the pressure gets
to certain individuals. They can't live real lives, you.

Speaker 4 (01:10:30):
Know, absolutely, which is another facet of wealth and class.
Like if you reach a certain point in this culture,
you have to act a certain way and kind of
fall in line, and if you don't, there are consequences
one way or the other, by your own hand or
by our hands, so to speak.

Speaker 1 (01:10:46):
Yeah, and there's a there are pockets of very toxic
fantom culture like in that country too. I mean, they're
are all over the world. I mean, just generally, I
think that fandom obviously is kind of has reached kind
of a fevered pitch of talks the city in terms
of just the ways in which certain people feel like
they own celebrities, right. I mean this guy was pretty

(01:11:07):
much our age. He was forty eight when he died,
and he couldn't be like like in a way, it's
it's this feeling. I mean, you know, whether or not
we don't know his personal life, if he had addiction
issues or if he was really struggling with mental health.
But it's like I'm sitting here, go this guy, you know,
was just sort of living a private life and then
you know, people criticized him to the point where it

(01:11:29):
felt like he I don't know, I just think that's
so I don't know. We got to examine that as
a culture, like we got to figure out why that's happening,
and especially there where it feels like it happens a
lot more, you know than regular So.

Speaker 3 (01:11:42):
Which is it is? It's a shame.

Speaker 4 (01:11:44):
And I know that people, especially young women aren't in
America at least, you know, famous young women are starting
to speak at about toxic fan culture thing oh like
Chapel Road.

Speaker 1 (01:11:55):
Yeah, I even saw like a thing with Tyler the Creator,
Like I think that Tyler the Creator, you know, the
rapper's he's got like a new album out and he
is basically like, listen, I don't owe you anything, Like
I am a celebrity, but I I don't know you shit,
Like you're my fan. You can like the music, but like,
I'm not a role model. I'm not trying to like
give you access to my personal life like it ain't happening.

Speaker 4 (01:12:18):
So you know, good, Yeah, we need good for them
and we need to address it in a much bigger way.

Speaker 3 (01:12:23):
Yeah, And you're right, and it is an international issue,
international issue.

Speaker 1 (01:12:28):
Sorry to sidebar, but I had to know so important
sidebar Lisa and Kune.

Speaker 4 (01:12:33):
So so basically we do meet the dad, like the
patriarch of the family, and he has this driver June,
who comes in with him when he comes home, and
Une gives Ki June a ride home, like the family
insists that they give her a ride home, and he's

(01:12:54):
being a little he's just being very friendly, you know,
he's really a friendly driver.

Speaker 3 (01:12:58):
It's kind of chatting with her.

Speaker 4 (01:13:00):
But Keijun gets an idea while she's sitting in the
back of that car, and she takes off her underwear
and leaves it under the seat, And at.

Speaker 3 (01:13:11):
First you're like, what the fuck is going Like what
is she doing?

Speaker 4 (01:13:14):
Because this guy wasn't mean to her or cruel to
her or anything, like what is she doing? But dong
Eek finds the underwear and he thinks you and is
like a total scumbag who's having sex with women in
his car. So then they like he and his wife
start speculating about like the kind of woman that he
slept with, like who would forget her own underwear? She
must be an addict, Like it's amazing to watch them

(01:13:35):
spiral out. It's so hilarious. Yeah, but he basically asked
his wife to let the driver go, which is another
one of her duties as the person who manages the house,
to let her let this driver go. And then, as
you know, after she does it, she says to Kijung,
you know, is he weird to you or forward in
any way? And Keijung is like, no, he was a
perfect gentleman. He was great. She's like, oh, it sucks.

(01:13:57):
It's like we had to let our driver go and
that's why. Or she jumps in and she's like, oh yeah,
my uncle had a driver that was really great. And
because now mom doesn't trust anyone, but somehow she trusts Jessica.

Speaker 3 (01:14:09):
Again.

Speaker 4 (01:14:09):
It is this really interesting conversation where she's like, I
don't trust anyone anymore. My faith has been so rocked.
I only trust people I know. And I'm like, but
you just met her, you just met her. But again,
wealth blinds you to things when people are being nice
and helpful to you, I guess. So Kijung is basically like,
I got the driver for you, and who comes in.

Speaker 3 (01:14:33):
It's Pops.

Speaker 4 (01:14:34):
Yeah, right, it's Kai Tech. So Pops comes in and
he's the driver.

Speaker 3 (01:14:41):
Now we now have three people.

Speaker 4 (01:14:45):
In this family in this house, and then they all
together decide to set their sights on the housekeeper. So
the housekeeper, we eventually learn her name is Moon Gwang
and she's been there the law longest. She was actually
the housekeeper for the architect who built it, so she
came with the house essentially, and the family, the Kim

(01:15:09):
family doesn't like it because, like, well, she acts like
she owns the house and basically, if anyone's gonna find
them out, it's gonna be her. So they find out
through Dahai and she's tutoring, you know, in this tutoring
session with Kiwu, and she's like, oh, I wish I
could have peaches, but you know, our housekeeper is allergic,
so we can never have peaches. They fucking jump on that,

(01:15:29):
start shaving peach fuzz off of peaches and just kind
of sprinkling it around moungwog and just giving her all
these like allergic reactions. Dad takes a picture of her
at urgent care. He's like, oh, I was there for
my annual exam and I heard her say she had tuberculosis.
And then the next and then he tells the mom

(01:15:49):
of the family like, oh, yeah, I heard her say
she had tuberculosis. Like I don't say anything. I'm so sorry,
but like you should know, and just this whole act
that they're practicing with each other, like how to talk,
wild to watch, and they sprinkle peach fuzz near her.
They cut when they're coming home one day, So the
mom and Kai Tech come home one day.

Speaker 3 (01:16:14):
As soon as the housekeeper's.

Speaker 4 (01:16:16):
Mongwong starts coughing, Kai Tech goes to the garbage can
and sprays hot sauce on her napkin that she's just
thrown away so it looks like blood and holds it up,
and the mom almost passes out, so she's gone. Like
now housekeeper is also gone, and who comes in? Dad suggests, oh,

(01:16:36):
I've got this card for this high class service, you know,
because you know Don Eek is like, well, I really
miss her old housekeeper, like she knew how not to cross.

Speaker 3 (01:16:45):
The line, which was very important for him.

Speaker 4 (01:16:47):
Which is another thing to discuss about this movie in
terms of class and wealth disparity, is they don't mind
being around people who don't have as much money as
them as long as they don't cross the line, which
to him is specific, but it feels like everyone kind
of has their own definition of what that is for
them when they reach a certain level of wealth.

Speaker 3 (01:17:07):
So he really misses the.

Speaker 4 (01:17:08):
Housekeeper and he's like, oh, I've got this perfect person.
There's the service that was trying to actually, you know,
head hunt me before I started working for you, and
they just they just have veteran greed help to vip
clients like you. So now everyone, the entire Kim family
is working in the park House and there is a

(01:17:32):
moment where Da Song, the little boy kind of sniffs
the dead and sniffs the sister and he's like, oh,
you all smell the same, because they basically all smell
like the basement they live in. So again it comes
back the importance of how they smell and the fact
that it's discernible. It's something that you know, this wealthy

(01:17:54):
child can can pick out as a discussion point or
something to just know. Is that people smell different from me,
and they don't smell good to them.

Speaker 3 (01:18:04):
And that does come back.

Speaker 1 (01:18:06):
Not enough people talk about smell as being an indicator
of class.

Speaker 3 (01:18:15):
Yeah you know what I mean, I do, But keep
going the way in.

Speaker 1 (01:18:21):
Which people can be really compelled by that notion to
not smell bad, to not want to smell poor. Like
I don't know why. When I was watching this movie again,
I really thought about that, you know, right, And I'm
just like I'm sitting there going like, yeah, I mean,

(01:18:42):
what an indictment of poverty to just smell bad, like
to have that, you know, Like for them, there's a
scene which I don't know if you'll get to whether
under the table we're basically like they're forced to listen
to these rich people like talk about the way in
which he smells right, and it just crushed me, Like
I was just like.

Speaker 3 (01:19:02):
It's felt humiliating.

Speaker 1 (01:19:04):
So humiliating, and felt like that the kind of it's
so primal, Like I remember that being such a huge
issue when we were like in middle school. Like for yeah,
we're like people would make fun of other people because
they smelled poor or something, and you're just like, what
is that is just such a crazy concept to me, I.

Speaker 3 (01:19:25):
Got made fun of. Oh my god, this fucking fitch.

Speaker 4 (01:19:28):
I will never reveal her name, but I know her name. Yeah,
And one day out of nowhere, she's she's like, you
smell you smell bad? And I was like rocked to
my core. Yeah, because I'm like, I don't think I do.
Like I bathe every day, yeah, like I washed my clothes.

Speaker 3 (01:19:46):
I don't think I do.

Speaker 4 (01:19:47):
But I also live with like two heavy chainsmokers, and
yeah we're poor.

Speaker 3 (01:19:52):
So maybe I do. I don't know.

Speaker 1 (01:19:53):
Yeah.

Speaker 3 (01:19:54):
Yeah.

Speaker 1 (01:19:55):
It was a way to like hurt people's feelings, especially
when we were kids. Like even like ways in which
like they like you would be wearing perfume, but it
would be like the shitty like the what like electric
youth or something. Yeah, And I'm like, I'm sorry, you're
in seventh grade? Should I be wearing Tom Ford right now?
Like what the fuck are you thinking? Like, oh, you
smell like CBS. My god, what a bitch. I just

(01:20:20):
feel like, say that good lord. By the way, like
some of that shit still hits, okay. If I smell
a guy, if there's a guy that walks in, he's
warn't curve from Dwayne Reid.

Speaker 2 (01:20:33):
I'm like, hello, I don't know what thirty bucks.

Speaker 4 (01:20:38):
I don't even know what anything smells like because I've
never been able to afford good perfume. Like I don't
know what anything smells like.

Speaker 1 (01:20:43):
Like it's crazy it's crazy, like how people get so
caught up and like the smell thing as an indicator
of so of people's worthiness.

Speaker 4 (01:20:53):
And it's also it's beyond your control because there is
there is a scene where the family is talking about it,
and it's before the humiliating scene and they're like, well,
maybe we should each use a different detergent so we
don't smell like each other. And then finally it's the
sister who says that none of that matters. It's because
we live in this semi basement apartment. It's the building

(01:21:13):
we live in, like, we will never get rid of
the smell as long as we live here.

Speaker 1 (01:21:17):
It's a lifestyle.

Speaker 4 (01:21:18):
Yeah, it's a lifestyle. So it's fucking wild. It's wild.
So the family again, Kim family is all in. Park
family has hired all of them. They're all like thrilled
they're making money, like they're happiest.

Speaker 3 (01:21:34):
Shit.

Speaker 4 (01:21:35):
Then the Park family decides to go on a camping
trip for Das Song's birthday, and this is where you
see the car full of snow peak shit, and they
overpack like you wouldn't fucking believe, and they have of course,
their housekeeper is doing all the packing but they are
like jamming this car full of the most expensive shit

(01:21:56):
you've ever seen in your life to take like an
eight year old on a camping trip for his birthday.

Speaker 1 (01:22:01):
I just put in the chat a link to the
snow Peak website where they sell a pair of chopsticks
for fifty dollars. If you wonder what kind of what
kind of shit we're talking about? Like, I mean, when
I saw like their entire house, like they have this,
you know, I guess a storage area which plays very

(01:22:25):
heavily into this. At some point they got like Snowpeak
boxes up there. They filled the car out with SNOWFG.
I was like, yo, this is like this is just
leisure camping equipment, Like this is not year round use.
This is like, oh, we decided to go camp in
a couple of times a year, and y'all are putting
fifty dollars chopsticks in the car like and that's how

(01:22:47):
which these people are.

Speaker 4 (01:22:49):
There are things on this website that are sold out
that are over seven hundred and fifty dollars for a tent,
and I am rocked to I feel like I shouldn't
even be I'm not even I don't make enough.

Speaker 3 (01:23:02):
I didn't even look at this website.

Speaker 2 (01:23:04):
Yeah, it's it's beautiful.

Speaker 1 (01:23:06):
I will say that I have sadly been in pursuit
of a couple of these items, and I actually have.
I have the grill, Like there's a fold a foldable
grill that I've used my ARII dividend to buy because
I was like, I'm gonna get that grill.

Speaker 2 (01:23:28):
It was the last thing I do.

Speaker 1 (01:23:30):
You know, I need a little piece of Japanese design EXPECD,
like I need some luxury in my life. You know
how many times I use that thing? One time will
and then I got stressed. I used it because I
was like, it's probably now there's burnt charcoal residue. It's

(01:23:50):
beautiful grill.

Speaker 4 (01:23:52):
I'm looking at a three hundred and nine dollars recycled
cotton denim jacket that looks very stylish, and if you
ever see me in one, that's how you know I've
made it.

Speaker 1 (01:24:03):
Yeah, I know.

Speaker 4 (01:24:04):
But also this is the kind of website where they
do not show you the prices.

Speaker 3 (01:24:08):
You don't know the price, so you click through.

Speaker 4 (01:24:10):
They're like if you don't, if you have to be
worried about the price, you shouldn't even be on this
fucking website.

Speaker 3 (01:24:14):
Yep.

Speaker 1 (01:24:15):
Well that's how they go, and.

Speaker 4 (01:24:17):
That's how it is in this family. They don't even
think about the money they spend. They just have so
much of it they don't even think about it. So
they pack this fucking car full of like you said,
one use items a year maybe, Yeah, and they pack
it fucking full and go away for the weekend.

Speaker 3 (01:24:34):
And it's unreal.

Speaker 4 (01:24:36):
It's unreal to watch them and their expensive car from
their fancy house and this that's just again markers of
wealth everywhere. Yes, but the Kim family is like, yes,
they're gone, and they take over the house and it's
pouring rain and they get drunk and it is so
fucking funny, yeah, to watch them in this scene. But
they're also kind of speculating because now Kiwu is like, oh, yeah,

(01:24:58):
I really like d and I think I'm gonna marry her.
So now they're speculating like, well, if I do, I'm
gonna have to bring in actors to play my mother
and father since you already work here. Yeah, And they're
kind of like spinning this tale about how much more
embedded they're gonna get in this family. But they're also
talking about the family itself and how gullible the parks are,

(01:25:20):
and the mom at one point is like, yeah, rich
people are naive. Money irons out all the creases. They're
just kind of aware of what they're doing. And again
it's kind of parasitic what they're doing, but then they're
also and you don't have to make a direct parasite
like metaphorical shift here to understand the film. But it
is interesting is if you watch it more than one
time to kind of start to make these connections. But

(01:25:42):
they're having a great time until the old housekeeper comes
back because she has left something in the house that
is directly tied to the basement room that we've seen
with all the plumb extract and equipment and you know,
just stuff that this family has. And I gotta say,
when she comes back, all hell breaks loose.

Speaker 1 (01:26:06):
What does it?

Speaker 4 (01:26:08):
The movie shifts into something remarkable, and then the family
comes back because it's been raining and they're like, they
give an eight minute eta, So now everyone is trying
to like clean up their drunken mess, deal with this
housekeeper that's come back and all the shit that she's
bringing into the end of the fray.

Speaker 3 (01:26:28):
They're hiding under the table.

Speaker 4 (01:26:29):
They're like, it's just I don't want to go beyond
that point to describe this film because it will ruin
the movie for you. Just know that when the housekeeper
comes back, all hell breaks loose and you will find
yourself questioning who the parasite really is in this movie.

(01:26:52):
And I don't think that wealth prevents you from being parasitic.
But it's just stunning. It's a masterpiece. It's a stunning,
stunning movie. Incredible topic, incredible presentation. I could obviously talk
about it forever. It is also over to Both of
our movies are almost two and a half hours long,
so you're in for like a five hour masterclass on

(01:27:12):
wealth disparity if you watch both of them back to back.
But I fucking love it. I love this movie. I
think everyone should watch it multiple times and different times
in their life.

Speaker 3 (01:27:22):
It's stunning.

Speaker 1 (01:27:23):
Yeah, I mean it won the Oscar, it won everything. Yeah,
like and was the first am I wrong? It was
the first South Korean film to ever win Best Pictures.
I mean this, You can't really, honestly, you cannot overstress
the importance of how this movie, like this was a
period I think too where South Korean culture was coming

(01:27:49):
into America in a huge way, you know, because it
wasn't just parasite. It was like, you know obviously like
stuff like BTS and Squid Game and you know, K
dramas and you know, all this stuff was coming. But
this movie kind of to me when it won the
Oscar felt like, okay, like now we're in this cultural

(01:28:09):
moment where you know, these kind of self created exports
are now coming in America and getting like critical acclaim
and it, you know, which is very interesting to.

Speaker 3 (01:28:19):
Me, you know, And.

Speaker 2 (01:28:22):
I think obviously like this movie is saying a lot
about class in this very specific, you know, time period
that we're living in, I think we're still living in.
And there's so many like little layers to it that
I just really enjoy it. Like I saw after seeing
it again, I was like, oh, yeah, this movie is
really textured, and there's a lot going on here in

(01:28:42):
the ways in which like, yeah, how do people like
navigate class? Because you've got like, you know, the obvious
story where it's like, you know, you've got these you know,
poor people infiltrating this rich family. But then there's the
old housekeeper and that story and how those people clash
and you're kind of like, Okay, so now these people

(01:29:04):
who are both effectively poor, how do they fight each
other for the you know, to stay in the lives
of this rich family.

Speaker 1 (01:29:12):
And you're just like, yeah, man.

Speaker 3 (01:29:15):
And it also becomes a really interesting as does your film.

Speaker 4 (01:29:20):
When you're talking about class, you also can't help but
talk about power. So it becomes a really interesting study,
or at least examination of power dynamics as they relate
to class dynamics. Because someone in the Kim's position gets
a little bit of money, suddenly they're treating some people
a little bit differently, or they act a little differently,

(01:29:42):
or they kind of start to again aspire to this
role of wealth to the point where it changes who
they are and how they treat people.

Speaker 1 (01:29:49):
Yeah. Yeah, that is a huge topic in my film.

Speaker 4 (01:29:56):
Oh yeah, which I also loved. I did not know
anything about your movie when I watched it the first time,
and I was riveted.

Speaker 1 (01:30:07):
Yeah, you want to talk about it a little bit.

Speaker 3 (01:30:10):
I want to talk about it a lot of it.

Speaker 1 (01:30:12):
A lot of it.

Speaker 3 (01:30:19):
All right.

Speaker 1 (01:30:19):
Well, My movie for the theme Eat Oho Riitch is
from twenty twenty two. It was written and directed by
Ruben Ausland and it's called Triangle of Sadness.

Speaker 3 (01:30:35):
Pain for the tickets not better though, So what do
you do?

Speaker 1 (01:30:39):
I sell suit, No, it's really funny because you would,
like you just said that you didn't know anything about
this movie too, one of the funnest things to figure out. So, okay,
when I when I first saw this movie, I knew
it was a Ruben Auslin movie. He did like force
majeure in this in the Square is may I yeah,

(01:31:02):
and like and like to that point, like, you know,
I think he specifically is a director that's very very
much making provocative films that are you know, kind of
addressing class and the economies of people rich and poor.
And there are some people that I know that think

(01:31:25):
that he's you know, like that is kind of like
an eye rolly, like oh this another Like, especially when
Triangle of Sadness came out, I had quite a few
friends who are like, oh, really, like this is so obvious.
I'm like, listen, I'll take it. I will take the
deconstruction of you know, capitalism in its modern form right now.

(01:31:48):
I spent I've spent the last year listening to K pop.
Do you think there's any critical thinking happening in that
world mostly for the most part, like Sabrina Carpenter's and
the Ariatic Grandees God bless you. But do you think
that they're deconstructing like class in a very like deep
and interesting way.

Speaker 3 (01:32:09):
No, Nope.

Speaker 1 (01:32:11):
So like let this.

Speaker 2 (01:32:12):
Guy cook, Okay, what the fuck?

Speaker 1 (01:32:14):
Why are we getting so caught up? And like, oh,
it's like so obvious when he's trying to say, like, oh,
it's like people on a like yeah, there's like nobody
out here making that kind of shit right now, just
let me have that.

Speaker 4 (01:32:25):
Also, the things that Ruben Auslin is focusing on is
the nuances that go along with that. That is what's
interesting to me is it's not just its overall statement
about wealth. He's looking at the nuances and things that
you can find within yourself that you replicate that could
eventually make you one of these people.

Speaker 1 (01:32:44):
Yes, yes, Like this isn't like I know it's that
super punk rock to be to this movie isn't super
fucking punk rock. And I trust me, I am capable
of that type of thinking. But like, sometimes you just
have to accept the market are doing its like little
form of resistance and just let it go and move on.

(01:33:05):
Like it's at least in the right it's at least.

Speaker 2 (01:33:08):
Fighting a good fight, you know what I mean, Like
the exactly.

Speaker 1 (01:33:10):
Cinophiles with your fucking opinions.

Speaker 4 (01:33:14):
Anyway, ran over, not for long because we had a
lot of talk about.

Speaker 1 (01:33:22):
So yeah, so this is kind of in the trilogy
about toxic masculinity, which again I will take all day
long love a takedown of toxic masculinity. Like, I don't
care if it swings for the fences, it doesn't matter.
I'm in. So when this movie came out, I didn't

(01:33:44):
know anything about it and I just I saw the
the poster in it was a boat, right, So I thought,
triangle of sadness? Are they talking about Bermuda triangle? Perhaps?
I don't know. I didn't know what that meant. But
the best part is when the opening moments of the
film where you find out what that means, what is

(01:34:04):
that's in reference to, which is so funny. And I
was like, I didn't even realize that was a thing
that people said. And what a stupid thing, What.

Speaker 3 (01:34:13):
A stupid.

Speaker 2 (01:34:17):
What a stupid phrase for the stupidest thing.

Speaker 1 (01:34:21):
So the trigle of sadness, if you haven't heard, if
you've not read the Internet. It's basically a section of
someone's forehead that makes you look old and shitty where
they can like botox that shit out and all of
a sudden, now you're popular and hot. That's base.

Speaker 2 (01:34:41):
That's basically what it is.

Speaker 1 (01:34:46):
And it's like an industry term for like I don't know,
plastic surgeons and models and other people that care about
that stuff, where it's like basically the old looking part
of your forehead that you can.

Speaker 3 (01:34:57):
Fix, which I never heard about until I watched this.

Speaker 1 (01:35:00):
Yeah. Yeah, And that is kind of the you know,
the sort of undercurrent of the film, right because you've
got this model, actually we've got two models. You've got
the lead of this film, who is played by the
actor Harris Dickinson. Okay, Harris Dickinson's having a moment right now,

(01:35:24):
having a moment culturally but also in my brain. Most recently,
he there's been a lot of articles about his new
movie that's coming out with Nicole Kidman called Baby Girl,
which is supposed to be like an erotic thriller, older woman,
younger man type of scenario. Gotta say, I will probably

(01:35:48):
watch that film. I also recently, because of that press
junket I suppose that that they're on for this film
or whatever is happening promotion for the film. I saw
an interview with Harris Dickinson and Andrew Garfield where he
reveals that he's an old man skateboarder. Really both they

(01:36:12):
both skate, and then because they're old, they now switched
to surfing because the bodies can't take the you know,
constant falling on the ground and shit. And I was like,
did you just tell me that Harris Dickinson is a skateboarder.

Speaker 3 (01:36:26):
And Andrew Garfield is a skater? I know?

Speaker 1 (01:36:29):
And they were like the ways in which they're swapping, like,
you know, like Old Guy Skate Stories. I was like,
I'm gonna need a moment here, Wait.

Speaker 4 (01:36:38):
A minute, Old Guy Skate Stories a movie about an
older woman, younger man.

Speaker 3 (01:36:42):
I feel like I can make this happen.

Speaker 1 (01:36:44):
I mean, I'm not saying that I like looked him
up on the internet for hours one night, ah, but
I mean honestly, like I remember him. This is the
first time I ever saw him is in Trial with
Sadness Sadness, But then he was also in The Iron Claw,
you know, so I just was like, he's kind of
in he's in the in the moment. Yeah, he's like

(01:37:06):
in his late twenties. He's hot, he's a skateboarder. He's
now he's gonna be in the you know, the Sleeping
with Your Intern movie that we're all gonna watch because
we're horning old people. I don't know, I like him.
Let's just say that I like him really. So essentially
in this movie, Harris Dickinson's character is, uh, he's a model,

(01:37:31):
and and the thing about it is that I read
that Ruben Auslin's wife is a fashion photographer, and so
he has a lot of you know, firsthand knowledge basically
about that industry and about you know, this concept that
male models do not make as much money as female models. Right.
And this is again going back to this concept of

(01:37:55):
like the triangle of sadness, the way in which we
have to like get this you know a or old er,
you know, unsightly thing away from us, Like we're always
in this pursuit of being young and beautiful. Right, it's
like one of the only industries where male males make
less than women.

Speaker 3 (01:38:12):
Right.

Speaker 1 (01:38:13):
And this is like his anxiety is that he's not
he's basically treated he's kind of in a feminized position
where he's being treated, you know, in a way in
his industry that like he's being debased.

Speaker 3 (01:38:27):
I suppose.

Speaker 1 (01:38:29):
He's got this beautiful girlfriend who is also a model.
His name is Karl, her name is Yayah. She's played
by Charleby Dean, who sadly also passed away very young. Right,
But that kind of the thing about both of our
movies this week, right, is like very sad deaths of

(01:38:50):
some cast members.

Speaker 3 (01:38:51):
Yeah.

Speaker 1 (01:38:52):
And the crazy thing about her she died of sepsis,
which I almost died of sepsis. So I feel like
I have something in common with her. And it was
because and I noticed this in the film. She has
a scar that I have. Oh, that's right, So she

(01:39:13):
I mean, you can see it's kind of noticeable, but
it's like, you know, basically like a scar that runs
down the middle of her body. And I read that
she had her spleen removed many many years ago, and
because of that, she was more susceptible to like bacterial infections,
and that's eventually what killed her, is a bacterial affection.

(01:39:33):
And so I don't know, like, you know, obviously, like
anytime I hear somebody having a bacterial affection and almost
dying from it. I'm like, I feel connected to you
because I went through it. It was awful, but but yeah,
she unfortunately passed away and she was only thirty two,
so good. Yeah, oh, I know, very tragic. But so

(01:39:54):
in this film, basically, you know, Carl and Yaya a couple.
He is clear really try to navigate this relationship where
she makes more money than him. She is definitely about
that influencer life. You know, she takes pictures of herself
or the jokes are like so funny, like you know,
she's in a restaurant pretending to eat pasta. She did

(01:40:16):
eat pasta, And it's also wild because of her status
as a model slash influencer.

Speaker 4 (01:40:23):
They're having this interesting discussion about wealth disparity. Yeah, between them,
the two of them in their industry and just in
their personal lives.

Speaker 3 (01:40:33):
And she gets everything for free.

Speaker 4 (01:40:34):
So her concept of generosity is like, well I gave
you this shirt, and he's like, you got the shirt
for free. Well, I took you on this trip. You
got the trip for free. You're not being as generous
as you think. Could you make so much more money
than me that you are never spending yeah.

Speaker 1 (01:40:49):
And like they have a very uncomfortable conversation at the
beginning about paying for dinner, you know, where it's obviously
she makes a lot more money than him, but she
expects him to pay all the time, and he kind
of wants, you know, parody between the two of them,
and she's just kind of like, what, like you gotta
pay or my boyfriend type of thing. And it just
really triggers me because I'm like, my whole life has

(01:41:11):
been about making my own money. I never want people
to pay for me. And I think it's just because
I have this, like, really it's a deep seated self
sufficiency that sometimes I need to work on. I gotta
let that shit go. Sometimes you've got to let people
pay for you. It really it really slightly, you know,

(01:41:33):
But in those moments when I watch this film, I'm
just like, oh God, this is so uncomfortable. Fuck, like,
get me out of here. I just so that's this
beginning of the stress. This is when I started getting
really stressed out about watching this film. Again.

Speaker 3 (01:41:47):
Was this the text moment?

Speaker 1 (01:41:49):
No, no, no, The text moment comes, you know, it
was fairly soon after. So basically, like you alluded to,
she gets this free cruise on this like luxury yacht,
you know, and it becomes so the first part is
kind of about them, you know, sort of navigating their
model influencer relationship, right, which is obviously very ridiculous to normal.

Speaker 3 (01:42:11):
People like us.

Speaker 1 (01:42:12):
Right, then it moves onto the boat, and then the
boat section is it's all kind of contained universe, because
then it becomes a sort of like you know, you've
seen it in a below deck. It's kind of like
an upstairs downstairs type of feeling, right, because you've got
like the guests who are all rich, wealthy industrialists and

(01:42:32):
models and influencers, and then the people who are working
for them, and then even beyond that, you've got like
the the top of deck, and then you've got the below,
the guts, the yeah, you know, which is like you
got the white, pretty people who are the staff, you know,
and then you've got the people working below who clean
toilets and cook and our mechanics.

Speaker 3 (01:42:52):
And whatnot, and they're all brown people.

Speaker 1 (01:42:56):
Listen, all Filipinos down there, all Filipinos. And we'll talk
about a very important one in just a second, but like,
so basically, you know, you've got this scenario where all
of these different people of these different social statuses and
wealth uh statuses are interacting with each other. Right, So

(01:43:17):
what ends up happening is you're just really really honed
in on the ways in which like rich people suck.
And this is the this is where I started get
stressed out. Where there's a scene where Karl and Yaya
are interacting with it's like much older couple. There's an
older guy who is kind of this like Russian uh
shit salesman as he calls himself. He's kind of like

(01:43:38):
an industrialist who sells fertilizer and his wife and his girlfriend.
I believe that's kind of where he's he's on the
trip with never explained.

Speaker 3 (01:43:48):
But completely explicit.

Speaker 1 (01:43:50):
Yeah. Yeah, So you know, these guy and his his
you know wife and his girlfriend are kind of hanging
out in the boat. So there's a scene where I
guess it's his wife is in the pool, yes, and
she basically is sitting there while this like young fresh
faced white girl in her you know, sailor's outfit is

(01:44:13):
basically pouring her champagne and this woman is basically like,
you're so wonderful, get in the pool, and she's like,
I can't. I'm working, and this woman absolutely insists that
she gets into.

Speaker 3 (01:44:24):
The pool well and not take no for an answer.

Speaker 1 (01:44:26):
This scene is so deeply uncomfortable because you're literally watching
this girl like trying to, you know, basically do her
job while this woman is forcing her to do something
that she feels. Is this like a galitarian statement, like oh,
we're all one, we can all swim in the pool together.
And this girl is like, absolutely can't do that, and

(01:44:49):
you're making me do it because I'm supposed to be
serving you.

Speaker 3 (01:44:53):
I'm supposed to say yes to anything you want.

Speaker 1 (01:44:56):
Yeah, And then it becomes so ridiculous that this woman,
this older woman, forces the entire boat to go down
the water slide.

Speaker 4 (01:45:07):
It is like a death march watching them go towards
this slide. If not that part made me stressed out too,
because I'm like, oh, this is not this is this
is not enjoyable for anyone. And she's you know this,
this Russian rich woman is getting some sense of pride
but also generosity that she is the one who's giving

(01:45:31):
these hard working people a day, a moment of fun.
And I'm like, you're actually fucking dinner, You're fucking the
whole ship, right, nobody wants to be doing this. You're
forcing this on people because you have enough money to
take the kind of trip where nobody can say no
to you.

Speaker 1 (01:45:47):
Yeah, Like she thinks that she's liberating all these like poor,
stressed out, working class people, and really she's just ruining
people's fucking day. So there's so much of that in
this film, these like little moments that really kind of
bring up the questions of like, you know, who has
power in the scenario, you know, who's subservient to others.

(01:46:08):
I won't like go super beat by beat because there's
again it's a long movie, but I will say that
eventually there's a event that happens on the boat. I
think it's probably the what it's known for in terms
of its notoriety of the film, because it's like, you know,
it involves you know, puking. Let's just say that. But

(01:46:30):
basically the boat ends up for several different reasons basically
well I don't.

Speaker 2 (01:46:38):
Know, like sole compromised, I don't know.

Speaker 1 (01:46:41):
It just the whole apparatus gets shut down and it
forces the third section, where it's essentially kind of like
Survivor or Lost, where it moves on to like an
island where there are some members of the boat who
have washed up on this island and now they have
to kind of exist together while they wait to be rescued.

(01:47:04):
And this is where I think I mean the message
of how a crisis in environment like the ways in
which the playing field gets completely leveled class wise, when
you are at a survival scenario.

Speaker 4 (01:47:23):
Right, your money doesn't matter, Yes, when it becomes clear
that money will not save you right, anything right.

Speaker 1 (01:47:30):
And as it regularly is, the people of the underclass,
the working class, the poor have the survival skills and
these rich focks don't have them. Right, absolutely, So there's
this inversion that happens where this Philipeda salute named Abigail,

(01:47:53):
who is played by the actress Dolly de Leon. She
got a lot of praise for this role when she
was in it. She was the former toilet manager on
the yacht and now she's the captain. And when I
tell you the scene where she cooks the octopus, there's
a she catches an octopus with her bare fucking hands,

(01:48:18):
just like a fucking Filipino. Auntie Wood, by the way,
like love love that part. She comes back, she cooks
the octopus.

Speaker 3 (01:48:27):
She stops fire.

Speaker 1 (01:48:29):
Oh yeah, she's just and then she's like, all right,
you get a piece, you get a piece, you get
a piece. This is for me. And everyone's like what,
You're not gonna And then you know, her former boss,
who was kind of like, I don't know, the like
entertainment director on the boat, is like trying to tell
her what to do, and she's like, uh uh not here,
you are not my boss. Here, I'm the captain. And
she just walks around. It's like she's like looking at everybody.

(01:48:51):
She's like, who am I? And they're like the captain
and she throws some piece of I swear I stood
up and clapped in the theater. I stood. It was like,
this is what I want to see. I want to
see a philippin, a middle aged Filipino woman weaponizing octopus
and pretzel sticks. This is what I want out of entertainment.

(01:49:13):
Oh good period. And but to that point it gets
further complicated because that's the kind of constant conversation in
the film. Is that what happens when the power changes, right,
Because then it becomes this thing where Albigail is now
the most powerful person on the island. How does she
navigate that new role sometimes questionably, and it involves you know,

(01:49:39):
Carl essentially where his status changes absolutely. And it's just
such a fascinating film in that way, because again, it
is doing a lot, it is saying a lot, it's
creating little pockets of thought in terms of how we

(01:50:00):
think about wealth and power and this kind of stuff.
And I don't know, Like, like I said, I think
a lot of people when they watch this movie were like, oh,
how obvious. Yes, we get it. Rich people are bad.
I'm like, I'll take it. I will at this point.

Speaker 4 (01:50:15):
And that's not the only commentary that the film is giving. Again,
it's a real rich it's a very rich text that
looks at the dynamics of class and power.

Speaker 3 (01:50:25):
And it's not just rich people are bad.

Speaker 4 (01:50:27):
It's look at all the ways that we are complicit
in this world, Look at all the ways that we
aspire to this, Look at all the ways that this
is destructive to us, look at all the ways that
this is You know that you can have someone who's
doing objectionably horrible things in the world, like they are
grenade manufacturers, Yeah, trying to present themselves as if they
are saviors in some way, Like I think it's so much,

(01:50:50):
it goes so much beyond rich people are terrible that
if that's your takeaway from this movie, I don't know
if we watch the same film.

Speaker 1 (01:50:57):
Well, yeah, I agree, and like, honestly like the thing
that unites our movies this week, and part of the
reason why I felt like it was so stressful is
the ways in which poor people have a desperation in
their lives that rich people just don't like. People who
are extremely wealthy have no idea what it's like to

(01:51:20):
be not on top. They just don't have the skill set,
they don't have the understanding. And the problem really becomes
when we're all subject to this dynamic, right because we're
all infighting. We're all infighting trying to get on their level.

Speaker 4 (01:51:38):
There's also this message in the film, this subtext in
the film, I will say, which is about equality and
how in several points in the film and the modeling
on the yacht and beyond, there's this notion of the
most rich and powerful people insisting that everyone is equal
in this world. Yeah, and the lie that you have

(01:51:58):
to tell yourself to believe that is astounding. Yeah, Like,
while you are enacting all of these privileges of wealth
and power and insisting that we are equal, which is
what keeps us fighting with each other right instead of them.
Is this revelation that you or this notion that well,
we're not too different from each other.

Speaker 3 (01:52:19):
You could become me, I could become you, And it's
not true.

Speaker 4 (01:52:22):
You are closer to being poor and on the street
than you will ever be to being a millionaire or
a billionaire.

Speaker 1 (01:52:28):
If burken bags make you actually happy, like if you
go to bed every night thinking about your broken bag
and being like, man, I'm so glad to have that back.
It's really great. Quality holds all my things, It's beautiful.
I love it.

Speaker 3 (01:52:41):
Fine.

Speaker 1 (01:52:41):
It's more just about the promotion of this like fucking
rich lifestyle on you know, social media, and like, you know,
just basically the flex of it. The flex of it
is what makes people feel like shit. And there are
people who are just literally like making money, being able
to flex wealth. And then that's what's I feel like,

(01:53:02):
at least, you know, you know my take of it,
it's it's creating the weird moment of being like loving
rich people and wanting to see the kind of shit
that they own, and then hating them and wishing you know,
it was different. I don't know.

Speaker 3 (01:53:16):
It's a losing game of thoughts. Yeah, it's a losing game.

Speaker 1 (01:53:19):
Yeah.

Speaker 4 (01:53:20):
One thing that's that's stunning to me about the four
years we've been doing this podcast is that apparently I'm
a socialist, who.

Speaker 2 (01:53:27):
Are Marx's queen?

Speaker 1 (01:53:28):
Right?

Speaker 3 (01:53:29):
Apparently apparently.

Speaker 1 (01:53:32):
Look, I I'm here for it all day, every day.

Speaker 2 (01:53:34):
I mean, you know, I got that fucking I got
that punk fire in me too, you know.

Speaker 3 (01:53:39):
But what a fucking great week, what a week? Stoke
that fire?

Speaker 1 (01:53:44):
Okay, I know it's like, you know, we're on the
final stretch here of the podcast. But if you want
to email us, we are at A saw she did
Pot at gmail dot com. We're gonna probably check the
email for a while after the podcast over, so send
send us messages at least I will. I don't know
what you're gonna be doing. You're gonna be like that's it.

Speaker 3 (01:54:02):
I care. I don't know either.

Speaker 4 (01:54:04):
Make no promises, but if you want to, you can
find us on our social media. We are at I
saw Pot on Instagram, Blue Sky and Twitter. You can
leave us messages, like I said, like Millie said, we
will check them for a while after the show itself
is over, and we might still have merch. If we
still have merch in the in the exactly right store,
go snap it up, because that's it, exactly rightstore dot

(01:54:26):
com to find it.

Speaker 3 (01:54:27):
That's right.

Speaker 1 (01:54:29):
Okay, So for our next episode, we're just gonna have
some fun. There are There is no homework, There is
no movies to watch. But come, come with the come
with the laughs if you want, if you want a
couple laughs, if you want to go reminisce, Yeah, yeah,
just come come listen. Uh so, yeah, no homework, just

(01:54:51):
come listen. Next week we'll be homework next week though,
oh yeah, the week after there'll be homework. I'm just saying,
you get a break. You get a little break, which
is nice. Danielle, my Marxist queen. A fucking pleasure doing
this podcast with you.

Speaker 3 (01:55:06):
Always a pleasure. Make your money and give it away.

Speaker 1 (01:55:09):
That's right, give it to me, actually, Mail, I'm.

Speaker 4 (01:55:13):
Gonna use a device nobeak, bye bye.

Speaker 3 (01:55:23):
This has been an exactly right production. Our senior producer
is Casey O'Brien. Episode mixing and theme music by Tom Bryfogel,
artwork by Garrett Ross.

Speaker 4 (01:55:32):
Our executive producers are Georgia Hertstart Caring, kil Gareff and
Daniel Kramer. You can follow us on Instagram and Twitter
at I Saw pod, and you can email us at
I Saw What You Did Pod at gmail

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