Episode 18 - Materialists

[00:00:10] Speaker A: Alex, seriously, stop asking me to cut your toenails. I'm not gonna do it. [00:00:13] Speaker B: Okay? [00:00:13] Speaker A: Just. It's really. It's really getting inappropriate at this point, man. Oh, are we recording? Oh, hi, everybody. Hello. Hello. Hola. Welcome to. Watch this. I'm trying something new. I'm trying to speak over the track because I am, of course, playing. What am I playing? We're still gonna get flagged for this. What would we be? It's Material Girl, of course. It's a cover from Flotilla. I like it. It's pretty cool. I thought it'd be too on the nose to play the. The Madonna version, so I decided with this one. So. Okay, I'm gonna start. Here we go. [00:01:03] Speaker B: Taken down immediately. [00:01:04] Speaker A: It's being taken down immediately, so I'm going to start putting that one down. Okay. So judging by the music we just heard, I think we all know we're talking about materialists, much like Pixies. It's not the materialists. It's just materialists. And it's not the Pixies. It's just Pixies. I am your host, Paul Klein. Sitting to my left is our host, Alex Bella, and sitting in front of us is our host, Stephanie Cablano. [00:01:31] Speaker B: Okay. [00:01:33] Speaker A: Oh, sorry, wrong sound effect. Oh, well, too bad we're talking about materialists, because we picked it last time we were actually recording, which is now a Quite a long time ago for us. Hopefully for you, listener, you will not notice the difference. It's just another episode. But it's been about three weeks since we recorded. [00:01:50] Speaker B: Yeah, three weeks today. [00:01:52] Speaker A: Weeks today. And it was a quite contentious recording. It was about past lives. I don't remember much of it other than I was screaming to the microphone and calling Stephanie a. Was that what I was calling it? [00:02:02] Speaker B: I don't remember that. [00:02:03] Speaker A: No, I didn't call you a. I called you an idiot. No, I don't know. I was calling you names. [00:02:07] Speaker B: There was names. [00:02:07] Speaker A: It was just in my head. I don't know. I know. At one point, I pressed the air horn button like 50 times, and everybody was just looking at each other going, what? Paul just lost it. The reason why this happened is because we were talking about past lives. A movie that Alex and I cherish. [00:02:22] Speaker B: Hell, yeah. [00:02:22] Speaker A: And think is fantastic. And the idiot in front of me did not like [00:02:29] Speaker B: I had just begun to forget about that and put it in the past. And now it's conjuring new memories. [00:02:35] Speaker C: Am I catching strays today? [00:02:37] Speaker A: Well, okay. You also have to, dear listener, what's happened today is before we were recording Stephanie, who does not have a driver's license, who is learning to drive, [00:02:48] Speaker B: took [00:02:49] Speaker A: her boss and Alex on a driving lesson and they were gone for like a good hour and a half. [00:02:57] Speaker B: Yeah. More or less. [00:02:58] Speaker A: Yeah. I was expecting maybe like half an hour, but it was like an hour and a half and they came back looking really shell shocked, sweating profusely. It is Miami, but they were sweating profusely. More so it was like flop sweat. It was like nervous sweat. Yeah, you could smell it before you came in. [00:03:14] Speaker B: Yeah, you could smell it. [00:03:16] Speaker A: Yeah, we could smell it before you came in. We're like that was that just smell like nervousness? Yeah. [00:03:20] Speaker B: Smell the fear. [00:03:21] Speaker A: You could smell the fear. It was Stephanie's first time, like on the highway, right? Like, like full on Miami traffic, peak traffic time. I heard there were panic attacks. Was there actual vomit? [00:03:33] Speaker C: No, no. [00:03:34] Speaker A: But there was threat of. [00:03:36] Speaker C: There was suggestion. [00:03:37] Speaker B: Yeah, there was an invitation to vomit, but Stephanie didn't take the invitation. [00:03:41] Speaker A: Yeah, your body gave the invitation or somebody else gave the invitation. [00:03:45] Speaker B: Her boss. [00:03:45] Speaker C: Yeah. [00:03:47] Speaker A: Interesting. Okay. [00:03:47] Speaker B: Yeah. [00:03:48] Speaker A: I'm just really glad I wasn't there. The reason I'm telling you this story, everybody, is that Stephanie's brain is kind of mush right now because of that. So that's also why. Because I'm a chicken shit. That's why I'm kind of like attacking her because she won't fight back this time because she's just a little shell shock. Yeah. Kicking window down. [00:04:06] Speaker B: Should we give her a round of applause for actually having gone through driving on the highway? I feel like we've. [00:04:11] Speaker C: And not dying. [00:04:11] Speaker A: Yeah. [00:04:12] Speaker B: Congratulations, Stephanie. [00:04:16] Speaker A: Yeah, that's very smooth. [00:04:17] Speaker B: I think we've been mean enough. [00:04:20] Speaker A: Yeah. But now. So what happened at the end? If you listened to this episode, to this past episode, if you didn't, then I'm going to tell you what happened. At the end of the Past Lives episode. Alex was running out of here to get a haircut again, as he is wants to do on a Friday afternoon. And. But this time it's fair because you're getting a haircut before you were going to Europe for two weeks. So I allowed it as if I had some say in it. But. And as you were running out, we're like, oh my gosh, we didn't pick the bowl. Bo didn't pick the movie. And you're like, no, we got it. It's. It's. We're gonna watch Materialists because it's Cillian Song, director and writer of past lives, the one that we All Loved and Fool on the Hill did not like. And so we decided, yeah, let's watch her follow up movie which came out this year actually only a few months ago that we're recording this. [00:05:06] Speaker C: This. [00:05:06] Speaker A: It came out early summer. [00:05:08] Speaker B: Yeah. Or. Yeah. [00:05:10] Speaker A: Late spring. Early summer. [00:05:11] Speaker B: Yeah. [00:05:12] Speaker A: And it's, it's impressive when you look at these box office numbers compared to like big movies like Superman and like that, like, they don't seem like much, but when you think about it like this small movie with a great cast, I think that that does attract people, but still like a pseudo romantic comedy. We're going to discuss what the genre of this movie actually is. It made like 39 million here in the States alone and like 40 something overseas. I'm sure it didn't cost that much beyond the actress salaries and of course, filming in New York. But. But it made, I think, a pretty good penny for a 24 who released it. [00:05:49] Speaker B: Yeah. [00:05:50] Speaker A: And I've been wanting to see it. Somehow. Stephanie already saw it in theaters. I think she shouldn't have been allowed in after disliking past lives. I think they should. [00:05:58] Speaker B: Yeah. They should have stopped at the door and been like, how did you feel about past lives? [00:06:01] Speaker A: Yeah, I think Celine song should have been at the door and been like, what did you think about my first movie? And she probably would have been cooler about it than we are. She'd been like, fine, that's fine. And I'm like, it's not fine. So here we are. Oh, sorry. Stephanie wants to say something. [00:06:15] Speaker C: I was gonna say, speaking of having an amazing cast, who is our main cast for this movie? [00:06:20] Speaker A: Now let's get into that. But I mean, I'm glad that it [00:06:22] Speaker C: was a good segue. [00:06:23] Speaker A: I'm glad. I'm glad that you in the middle of me actually segueing, that you stopped me to segue. That's excellent. [00:06:28] Speaker B: You got out segued. [00:06:30] Speaker A: I got out Segway. [00:06:31] Speaker B: You got Segway usurped. [00:06:32] Speaker A: Yeah, yeah, yeah. So we're talking about a movie starring Dakota Johnson, Chris Evans. [00:06:41] Speaker C: Yeah. [00:06:41] Speaker A: And Pedro Pascal. He's just into. He's in everything. [00:06:45] Speaker B: Yeah. [00:06:46] Speaker A: I think when you guys went to Dunkin Donuts, he served you a drink. He was there. [00:06:49] Speaker C: It's a good thing you didn't have any. [00:06:55] Speaker A: Stephanie, why am I giving him an accent? I always think Pedro Pascal has an accent. He does not. Pedro. I'm like, you got to have an accent. [00:07:02] Speaker B: Must you? [00:07:02] Speaker A: Must have an accent. Yes. As we heard, apparently he likes to rub up on his co stars because he has Anxiety? Yeah, I have anxiety. I don't rub up on people. I'm sorry. [00:07:14] Speaker B: Thank God. I don't, I don't want to be rubbed up. At least not my Paul. [00:07:23] Speaker A: Okay, so we, so now you know who's starring in it. It is, it was, it was definitely advertised as a romantic comedy. [00:07:31] Speaker C: Yeah. [00:07:31] Speaker A: Which I think did throw off some people when they saw it because it's not, you know, you, I, you wouldn't scream, this is not a romantic comedy. But it's not really like, it's definitely not the frothy romantic comedy they were selling it as. It's a Celine song version of a romantic comedy, maybe, or romantic drama. I mean, I, I will unequivocally say I think the last half hour are purely and magically romantic and, and really, really lovely. But there's a lot of seriousness before there. [00:08:05] Speaker B: It's weird. There's like this sort of dichotomy. There's like, you, you have like five minutes of really serious stuff and then like a joke is thrown in there, like every now and then. [00:08:12] Speaker A: But it's not like tonal whiplash. I, I, I didn't think, I, I thought that the tone kind of remains the same, but it does sort of bring in, you know, know, real life issues and things that happen in the dating world. So, I mean, let's set it up. Dakota Johnson stars as Lucy. She really is the main character. She's basing every scene and she is a match. She works in a matchmaking service. And I was going to question whether this thing's actually real, and then I found out Celine's song actually worked in a matchmaking service, according to IMDb. Is that where we saw it? [00:08:42] Speaker C: Yeah. Yeah. Which apparently, if it's correct, that's what inspired the plot of the movie. [00:08:47] Speaker A: Right. [00:08:48] Speaker C: Was her time working at a matchmaking service. [00:08:50] Speaker A: Right. So she, it's that sort of typical romcom setup of like the, the woman who can put people together. Like, she's one of the most sexful sex. Successful Freudian slip. Freudian slip. Successful matchmakers. She has nine weddings, eight under her belt, a ninth one coming up and, but of course, she herself cannot find love. Poor thing. Oh, wait, do we have it? [00:09:19] Speaker C: Yeah. [00:09:19] Speaker A: Where is it? [00:09:20] Speaker B: Trombone. Trombone, bottom left. Thank you. [00:09:25] Speaker A: Which, funnily enough, is also the sound you heard when you went to see Madame Web starring Dakota Johnson. [00:09:32] Speaker B: Good thing I didn't see it. [00:09:33] Speaker A: I don't know if that trombone was, for me, my joke or the movie. I don't know. [00:09:37] Speaker B: Yeah, I didn't see It. [00:09:39] Speaker C: Me neither. [00:09:39] Speaker A: But it's legendarily a bad movie. [00:09:41] Speaker B: Oh, yeah, yeah, yeah. [00:09:42] Speaker A: We don't need to see it. Oh, that's terrible. I shouldn't have admitted that I didn't see it. I shouldn't be talking shit if I didn't see it. Whatever. [00:09:48] Speaker B: Who's gonna stop you? [00:09:49] Speaker A: Yeah, who's gonna stop me? Let me see. So where do we go next? So at her ninth wedding, she meets Harry, played by Pedro Pascal, who is extremely smooth. Suave. [00:10:04] Speaker B: Suave man. [00:10:05] Speaker A: He's so fucking suave. And do they hit it off? He's definitely hitting on her. She's trying to sort of pour cold water on him. [00:10:13] Speaker C: I think she isn't against it, but she's not ready to like jump in full force. [00:10:21] Speaker A: But then she does. We'll get to that though. [00:10:23] Speaker C: Yeah. [00:10:24] Speaker A: Because it's. I want to compare this to past lives and Nora and Lucy and we're going to get to that, definitely. [00:10:29] Speaker C: But I think when they first meet, she's just kind of like. [00:10:32] Speaker A: She's standoffish more. [00:10:33] Speaker C: Yeah, yeah. She's like creating a little space. Space between them. [00:10:36] Speaker A: Yeah. [00:10:37] Speaker C: But she's not like full on rejecting it. [00:10:39] Speaker B: She certainly. [00:10:40] Speaker C: Yeah. [00:10:41] Speaker B: She sees everyone as, as a potential client first and as a person second. [00:10:46] Speaker A: Yeah. [00:10:46] Speaker B: And so she's still in. In that first. [00:10:49] Speaker A: In that mode. [00:10:50] Speaker B: She's kind of like, okay, how can I. How can I get you to. To come work? You know, pay me for. For my work. [00:10:55] Speaker A: Yeah, exactly. Like she. She's more trying to push him to, to use the service. [00:10:58] Speaker C: Yeah. [00:10:59] Speaker A: Than to date him. And then in walks in a really nice comedy moment that I love when he says, Pedro Pascal says, can I get you a drink? And she says, I want a Coke and a beer. And like literally the hand comes into the frame and puts a Coke and a beer in front of her. And then it's revealed it's Chris Evans, who is her ex. Boyfriend. John. [00:11:17] Speaker B: John. [00:11:17] Speaker A: Let me look at my notes. Don John Johnson, who is Dakota Johnson's father. So John is her ex and. Oh, no, you're already leaving. [00:11:27] Speaker C: I need one moment. Yeah. [00:11:30] Speaker A: What is this weird. Sorry, I don't. And like, the secretive nature of why she's leaving is. Is very upsetting to me. Spaghetti break. I don't know. Like, she wants to have Italian food. That's racist. Why. Why is that rich? [00:11:45] Speaker B: She's Italian. [00:11:46] Speaker A: Oh, see, I didn't even think of that. [00:11:48] Speaker B: Is spaghetti break a common thing? [00:11:51] Speaker A: No, it was the most random stupid thing I could think of. And again, I had spaghetti Last night. Which is. [00:11:56] Speaker B: This is what happened with the burrito. [00:11:57] Speaker A: This is what happened with the burrito. Which listener. Don't worry about the burrito. It's fine. So I'm going to continue while Stephanie's not here because we're just recapping the plot. So what really basically develops is a sort of. Yeah, I mean, basically a love triangle between these three characters. And the materialism of the title is sort of like. That is like the main theme of the film of Will she Pick. What I didn't mention is that Pedro Pascal is like a billionaire. [00:12:23] Speaker B: An extremely handsome, as we all know, [00:12:25] Speaker A: extremely handsome, suave billionaire. And Chris Evans is extremely handsome and suave, but he is a struggling actor. Yeah. [00:12:32] Speaker B: And they did their best to make Chris Evans, who's a really handsome dude, look sort of like, you know, not put together and kind of like. Like he hasn't showered in a couple of days. It kind of. [00:12:41] Speaker A: I don't think he looked that bad, but. But yes, he. He certainly doesn't look put together the way Harry's Pedro Pascal's Harry is. And so that's the basic setup of the movie is sort of this love triangle between the three of them and Lucy basically having to choose between does she want love or does she want. Or is there love between her and John still? Or should she kind of settle on the material security, let's say, of Pedro Pascal, who has like a 12 million dollar a month apartment. [00:13:10] Speaker B: Apartment in. Yeah. How much is rent here? [00:13:12] Speaker A: Manhattan? [00:13:12] Speaker B: $12 million. I don't know if it was rent or. I think she says, how much did this cost you? [00:13:16] Speaker A: Yeah, I wasn't sure because it can't be 12 million a month, right? [00:13:19] Speaker B: No, it's been 12 million flat. [00:13:21] Speaker A: Yeah. [00:13:21] Speaker B: And now he just owns it. Yeah, it's the penthouse. So maybe he just owns the whole thing. [00:13:25] Speaker A: Yeah. And two, we want to talk about sort of what the themes were. What, what are some. I mentioned one already, obviously the materialism. [00:13:34] Speaker B: The materialism sort of ending a cycle ending of cycles of like sort of trauma, I guess. Trauma, not trauma, but. But there's many times throughout the movie where. Where she talks about the sort of wealth gaps that they grew up with. [00:13:49] Speaker A: There's definitely the economic disparity. [00:13:52] Speaker B: Economic disparity and sort of like dealing with how economic disparity affects relations of a family and how that kind of affects relationships later on in your future. [00:14:02] Speaker A: Or relationships just in general. [00:14:04] Speaker B: General. Yeah. [00:14:05] Speaker A: As we find out, she and John broke up because they were both financially strapped and it was basically making them [00:14:11] Speaker B: or hate each other. [00:14:12] Speaker A: You. All the time. Yeah. It was a very nice. It's the one flashback you get to their relationship, and it's like. It's so succinct that you don't really need much else. Like, you see what you figure out. [00:14:23] Speaker B: Yeah. What happens? Pretty much. Yeah. [00:14:26] Speaker A: And I'm a little reticent to go into anything more without. Oh, no, she's back. We're just. She just finished eating her spaghetti. Stephanie's back. I told the audience that you were taking a spaghetti break as one. [00:14:37] Speaker C: Does that sounds really racist? [00:14:39] Speaker B: That's what I said. It's because you had spaghetti last night, not because you're Italian. [00:14:42] Speaker A: Yeah. It was not racist, you fuckos. It was. I had spaghetti last night, and I try to think of random things, and that's what comes to my head. [00:14:51] Speaker B: In the meantime, while we're on this break, your music is still playing. It's just not. [00:14:54] Speaker A: And now it's Sistra playing time after time. I actually found a. A death metal version of. Of Material Girl, I guess by a band called Exhumed. [00:15:03] Speaker B: Okay. [00:15:04] Speaker A: And I. I listened to it and I was like, I can't play this. It was like, the same music, but then the guy's like, a little much. [00:15:10] Speaker C: Material World. [00:15:12] Speaker A: So we were discussing the themes of the movie, and I was just saying I didn't want to go further into it until you were done with your spaghetti break. [00:15:18] Speaker B: Okay. [00:15:18] Speaker A: So now you're back. And we already said. I mean, we were saying obviously, materialism. It's in the title. I mean, obviously, that's the theme of the movie. But also economic disparity and between the classes. And then sort of the. How that affects romance. [00:15:33] Speaker B: Yeah. [00:15:33] Speaker A: What were some other themes you noticed in the movie? I mean, clearly there are all these montages of the dating service and all the things that people were saying. Does anybody kind of come off like a good person based on those? [00:15:45] Speaker B: Oh, no, we. We had a conversation at length, kind of this morning about dating and everything like that, and how everybody in the. In the movie is kind of like looking for a transactional aspect of relationships and not so much what happened. [00:15:59] Speaker A: I drank the Listener. I'm drinking Ritz Blue Ice. And I took the first sip expecting garbage, and it was actually okay. And then the aftertaste came in and it was garbage. [00:16:10] Speaker B: This seems to be the problem with these drinks. The aftertaste is what gets. [00:16:12] Speaker A: Yeah, they need to work on that. I am sorry. Yeah. [00:16:16] Speaker C: But speaking of, like, transactional dating. [00:16:18] Speaker A: Yes. [00:16:19] Speaker C: Something that people had been talking about in A class of mine is how depending on the economic position and, like, situations of the times, depends on how people date. So, like, right now, because our economic situation is kind of really fucked, but, like, women are able to work jobs. There's no longer an economic advantage to dating to marry. So that's why we see so much less marriages coming out of, like, committed relationships. Because before, when people would get married, it was for, like, money purposes. [00:16:58] Speaker B: Yeah, dependence. [00:16:59] Speaker C: Yeah. Like, they needed it to have support. They needed it because either they couldn't work, but a man could work, or, like, they could pull their funds together and, you know, do something. But now there's less of a need for it. So people don't feel as forced to date like they feel like it. They might as well be better off just earning their own money and supporting themselves. [00:17:21] Speaker B: And that also opens it up to where you can date around until you find somebody that works for you because you have less of an urgency to kind of get married, because you don't. [00:17:29] Speaker A: Yeah. [00:17:29] Speaker B: Okay, that makes sense. [00:17:30] Speaker A: And I think. I don't want to give away the ending yet. I don't want to get there yet. But I think that that is very much the journey that she kind of goes on. But we'll. I think we'll get to that. [00:17:39] Speaker B: Yeah. [00:17:40] Speaker C: Like, we see in the montages how, like, everybody has their, like, incredibly high standards for what they want. [00:17:46] Speaker A: Yeah. [00:17:47] Speaker C: I feel like people allow themselves to have those incredibly unrealistic high standards because they're not desperate. [00:17:56] Speaker A: Yeah. But these people are aging, so now they are getting desperate because they. Because now it's not so much about marriage. It's about having. Or marriage. Not for money, necessarily, but marriage. To have that companion with you when you die. [00:18:08] Speaker C: Yeah, but see, like, when we look at Lucy, her thing is she's either going to be single forever or marry the richest man she could find. So being single is still an option. [00:18:19] Speaker A: Right. [00:18:20] Speaker C: So these people feel like, okay, I'm gonna have this high standard, and if somehow I don't get that standard, I can always just be single. [00:18:27] Speaker B: Right. [00:18:28] Speaker C: So there's no desperation that they need to get married for survival purposes. [00:18:32] Speaker A: But that seems to be more Lucy's thing. Everybody else seems to be desper. Yeah. Like. Well, the women mostly that we see, I think the guys are still kind of. They still. Because the guys, of course, don't realize how little time they have left, you know, because, you know, it's. There's that sort of inequality there where the women are like, oh, my God, if I don't get Somebody now we're done. But it sort of seems to me that women are not okay with being single outside of Lucy in this movie. [00:18:54] Speaker B: Well, we also have to remember that her clients are really wealthy people who, who sort of aren't worried about money anymore. They're worried about finding someone. Whereas Lucy, we understand from what she mentioned she makes 80 grand a. So she still is working. I mean, it's not like she's just kind of like making a ton of money. She's living in New York, so that [00:19:13] Speaker A: might not go very far. [00:19:15] Speaker B: Her thing is either like, I stay single and, you know, just work my ass off for the rest of my life and be really good at my job, or I just marry rich so I don't have to work anymore. [00:19:23] Speaker A: So she's not kind of desperate for, for companionship? [00:19:26] Speaker B: No, no, not at all. [00:19:27] Speaker A: And again, we can sort of see that in, in her demeanor. She's very cool. Like, I wouldn't say cold. I really wouldn't. I. I was watching it with, with our friend Jessica, a friend of. And she wouldn't shut the fuck up. The movie, which actually for me was entertaining and as I've said before, like, this is where I know I've matured because about 10 years ago I, she. You probably would have come back from break and found her dead. Because I would have killed her for talking during the movie. And this time I just enjoyed it. Like, I was like, haha. But I did have to watch the movie a second time so I could actually watch it without Jessica yelling at me about how much she hates the character. I didn't feel the same way. I did not hate Lucy at all. But. And I, I do want to interrogate you, Stephanie, about that. Because now when I said I, I don't think Lucy is loathsome, you sort of shook like you agree. You're like, yeah, Lucy's cool. Let's compare her now because heroines of both movies, past lives was Nora and now we have Lucy and materialists. And you hated Nora in past lives, fair to say, right? I'm not, I am quoting you correctly here, right? [00:20:30] Speaker C: Yeah, yeah. [00:20:32] Speaker A: My argument is that Lucy is much worse in her behavior than Nora is in past lives. Let's go through it. [00:20:40] Speaker C: Okay. [00:20:41] Speaker A: What does Lucy do in the movie? So we were just talking about when she sees Chris Evans. So when she sees John again for the first time and, and she goes outside. So first she sees him, she gives him this nice long hug and it's, it's very pretty. It's very nice. She Goes outside, has a smoke with him, and. And they kind of like, talk about the relationship a little bit and they're sort of like they are flirting. Right? I mean, I'm not. I'm not putting too much onto that. If I say they are there. There's a clear connection still between these two people. Go ahead. [00:21:09] Speaker C: I. I think just talk about, like, that scene. I don't know if it was just that I didn't see it or that the chemistry between the actors was different in the movies, but in. In Materialist, I didn't feel a lot of chemistry between Lucy and John. So I just. As I was watching it, like, I don't know if I missed it or if I just didn't feel it, but as I have emotions, maybe. I don't know. [00:21:42] Speaker A: I'm not sure. [00:21:43] Speaker B: I think. [00:21:44] Speaker A: Is that why you stepped out to find them? [00:21:46] Speaker B: Nice. [00:21:47] Speaker A: Let's go ahead. [00:21:48] Speaker B: I think for me, what sold it to me that they were flirting was. And it was very subtle. And maybe this is, like, why it's kind of hard to take it as chemistry. But if you see the way that she interacts with Harry just minutes earlier, it's very impersonal, very sort of indifferent. But when she goes out there to talk to Jon, she's like, actually cares about what's going on in his life, how his acting career is going, and when they're having the smoke break and they sort of both hint to being like, oh, so, like, we're soul mates, right? Or something like that. She does this thing that, as a guy, if that ever happened to me with, like, a girl that I used to have a thing with, where she, like, reaches out and, like, like, frames his face and, like, almost touches his face. And, like, if that ever happened to me, I'd be like, oh, yeah, I'm still in love with you. [00:22:29] Speaker A: Yeah. Yeah, she's into me. [00:22:30] Speaker B: Yeah, she's into me. And then. And then that's when John kind of goes in to almost, like, kiss her, but, like, not really. And he sees that she doesn't respond. But there's still, like, a fondness there. It's not like. It's not like, this is awkward and you're going to run away and slap me for trying to kiss you. [00:22:43] Speaker A: No, no, no. There's a real familiarity between them. There's. [00:22:47] Speaker C: And. And I agree that there's a familiarity and a type of fondness, but I didn't see it as flirting. [00:22:54] Speaker A: That's okay. That's okay. What? What, What? I'm really the point. I'M trying to get to is what happens after that. [00:22:59] Speaker B: Right. [00:22:59] Speaker A: Because here's the thing. We set it up. She's talking to Harry and she's kind of standoffish, right. She. She sees John, gives him a nice long hug, goes outside, talks to him. What does she do next? She goes back inside and then she fucking dances cheek to cheek with Harry Potter with John watching. And she kind of gives into to his flirtatious behavior at that point. And that's what she like. It's almost like after she had that conversation with John, she turns right back in and then throws herself at Harry. [00:23:23] Speaker B: Yeah. [00:23:24] Speaker A: And I'm like, again, people are complex. I'm okay with this. Right? But like Jessica again was sitting next to me and she was like that bitch. So it kind of stood out to me. And when I watched it the second time, it does. It's strange how she standoffish, talks to John, kind of almost starts kind of getting him around her finger, and then she steps back out and then throws herself right at Harry. And then John's standing there watching. [00:23:45] Speaker B: Yeah. [00:23:45] Speaker A: Like heartbroken. [00:23:46] Speaker B: And being in John's shoes, I would have, like, I would have. [00:23:48] Speaker A: I would have walked away. [00:23:49] Speaker B: I would have free. I know, but I would have been really upset. Like, you could get the vibe that he's upset, but he just kind of watches it unfold and then walks away because he knows he's out of his depth. He's. She's dancing with the rich cool guy. [00:23:57] Speaker A: Yeah. [00:23:58] Speaker B: I. I kind of want to give her the benefit of the doubt before we move on. She did accept the dance to get him as a client. He kind of goes, oh, I'll take your card if you have a dance with me. But then we see she kind of. She was like, she's like. [00:24:10] Speaker A: She was much more into than she was in that conversation that they had. Ye four. [00:24:14] Speaker B: But yeah, it's up. I would be. That's not a good thing. [00:24:17] Speaker A: She kind of does this throughout, like later on when she has like a fight with Harry or something. No, no, no, sorry. She doesn't have a fight with Harry. But when she's upset about something that happens that we'll get into later. And like she, she calls John, you know, and he's all like, do you want me to come over this? And that. And at that point, she is full on. She introduced Harry as her boyfriend, right. Like, he's. He's her dude. But instead of talking to him about her problem, she calls John. And then after she, spoiler alert, breaks up with Harry, she goes to John's apartment and is like, with her bags because she has sublet her apartment for the week. And she's like, I don't have a place to stay. And she kind of just shows up at his apartment and sort of like, says, like, basically, I'm going to move in with you. It's like the mixed signals she's sending to John are not really cool. [00:25:07] Speaker C: I agree with that. [00:25:08] Speaker B: Yeah. [00:25:09] Speaker A: And when I say not really cool, I don't mean for me to say, like, I don't like her because of that, because I actually do like Lucy. But that's something we can easily look at and go, that's not really cool behavior. Right. Does Nora do anything that bad in past lives? Is that unfair for me to throw at you without preparation? [00:25:27] Speaker C: This is, I think, a very specific ick on my part that for me, Nora was married to her husband and they were in a committed relationship for good amount of time. And she still did those things. [00:25:47] Speaker A: But what things? [00:25:48] Speaker C: Like, she. [00:25:49] Speaker A: Did she dance cheek to cheek with Haesung? [00:25:52] Speaker C: Not like that, but you could tell that she was. [00:25:56] Speaker A: I don't even think she frames his face the way that. You know what I mean? Like, there's nothing even like that. [00:26:01] Speaker C: But I feel like when you're in that type of committed relationship, like, you know, the things that you just kind of shouldn't do, like, you know, if you, like, feel a certain way about someone emotionally, like, you don't spend time with them alone because. [00:26:19] Speaker A: But does she know that she feels that way about him? Completely. [00:26:22] Speaker C: To me, she has to. I don't. [00:26:24] Speaker A: I don't think she was aware until he showed up again. But that's. That's. We can argue that. I mean, that's not. [00:26:29] Speaker C: And I think for Lucy, the reason why I didn't feel so strongly was because she had just met Harry. And those times where she, like, her relationship with John ended so destructively that I, like, as I was watching the movie, to me, they didn't have any connection anymore. Like, I didn't. When I was watching her and John associate, in my mind, I wasn't thinking, oh, they still have feelings for each other. I was thinking, oh, they had a shitty breakup, but they're not gonna just ghost each other. [00:27:07] Speaker A: I mean, I think they did. [00:27:08] Speaker B: They did. Yeah. [00:27:09] Speaker C: They're not gonna, like, just ignore each other. [00:27:12] Speaker A: They did, you know, until they got back into each other's. Yeah. [00:27:16] Speaker C: But, like, you know, if you know someone who you broke up with, like, sometimes people would see them in public and then be like, oh, I'm gonna run away so they don't see me. I just felt, oh, maybe they're just the type of people that wouldn't do that. Maybe they're just gonna say hi and talk to each other like old friends. [00:27:34] Speaker A: So were you surprised then when they started romantic ing towards the end? [00:27:39] Speaker C: I wasn't surprised, but for a good part of the movie, I was, like, really locked in on Harry. I was, like, fully locked in on her being with Harry, really? And I was like, okay, this is the only one. Like, this is really. These are our two main characters is her and Harry. We're going to focus on their relationship. And then when she started getting closer to John, that's when I was kind of like, okay, I'm a little uncomfortable with this. [00:28:06] Speaker A: Huh, Interesting. [00:28:08] Speaker C: And then after she ended things with Harry and she went to John, I was like, okay, at least she ended that relationship with first before she, like, [00:28:17] Speaker A: that night she broke up with him. The next morning, she's in front of John's door. [00:28:21] Speaker C: But at least she was honest and she, like, cut off that relationship. [00:28:25] Speaker A: Don't you. Okay. So honest, but because she broke up the relationship. [00:28:29] Speaker C: Yeah. Like, she wasn't just like, oh, I'm going to be with you, and then I'm going to show up to John's apartment when you make me mad. [00:28:37] Speaker A: But she. She called John, you know, on the phone to. To basically talk about, like, her deepest. [00:28:42] Speaker C: Yeah, that was the part that, like, bothered me. [00:28:46] Speaker A: Okay. [00:28:46] Speaker C: And then when she cut off the relationship, I got a little bit back and I was just like, okay. At least she has the decency to, like, sever it first before doing something that would make him uncomfortable. And then when she ended up. To be honest, I don't like her with John. That's me. When she ended up with John, I felt a bit of a way. [00:29:14] Speaker A: When you stepped outside, were you looking for your heart? [00:29:18] Speaker C: I didn't find it. [00:29:19] Speaker A: Yeah, you clearly didn't find it. Okay. Alex has been dying to say something, so I just. [00:29:24] Speaker B: I kind of want to speak this out loud to see if it makes sense when I say it out loud, because it's all up here and I don't know if it quite makes sense, but to me it felt like. And maybe this will kind of add perspective to it. When John and. And Lucy first break up, I mean, when they have their big breakup, which is all we see of their relationship, really. Yeah. It's sort of a volatile argument, but nobody's at fault. Yes. John was being a cheap prick. He didn't want to pay 25 bucks for parking. He was gonna lose the, the reservation. I would have paid the 25 bucks. Whatever. [00:29:57] Speaker A: Well, he had no money. [00:29:58] Speaker B: He had no money. To be fair. He had no money. He's living in New York. We have to take these things into context. Yes. However, the argument, he was being pretty reasonable until she started screaming and stormed out of the car. And she says that she hates arguing in public, but she's the one that kind of starts the argument. And, and she admits that later on to Harry that she's the kind to argue in public and that she doesn't like that because she doesn't want to be like her parents who used to argue over money in public. But this argument, we, we can assume they were in a relationship for a long time. And then this argument that kind of like, yeah, was there an anniversary? Sort of like such a volatile, quick argument that leads to the end of a relationship. It wasn't like a slow burnout breakup that's like very painful and like drags on to the point where like one, once you're broken up, you no longer want to see this person. It was kind of like a quick okay, like it's over. And so like, I feel like if you have that kind of unresolved breakup kind of thing where it's just one action triggered it, or like a short series of actions trigger the breakup, then when you see that person again, it's like you sort of have something unresolved where it's not like, okay, we're completely over. I never want to see you again. You're dead to me. It's like, yeah, we're not dating anymore, but we both kind of know that the reason we broke up was something sort of short lived and something that we both know we're at fault for. So I feel like that what you were saying about how it was weird how they were like being cool again or like it didn't feel like they were flirting because they had broken up. It's like if you end so abruptly and you find your way back to each other with like still stuff unresolved. Anything short of arguing or like of of just being indifferent towards each other is still somewhat romantic, if that makes sense. [00:31:35] Speaker A: I'm going to take it a step further. And, and honestly, the way I saw Lucy and John was Nora and Haesung from past lives. They are these two people that must have had some connection in their past lives and are just kind of constantly being drawn to each other. I sort of feel like like that was a, a repeated theme from past lives that you have these two characters that no matter what, they're just kind of drawn to each other. They have, they have in you. Yeah, I over pronounced that. I'm sorry, that sounded like I was trying to, like I know how to speak. No, maybe I say it wrong. [00:32:05] Speaker B: I don't know how to pronounce it. [00:32:06] Speaker A: Yeah, but yeah, I'm glad you remembered it. [00:32:08] Speaker C: Okay. So I was watching this just from a woman's perspective. [00:32:12] Speaker B: Okay. [00:32:12] Speaker C: And I don't know if this is for all women, but for most women that I know, they could break up over something seemingly like a one time argument. But when women break up with men, usually they have been mentally broken up with them. [00:32:29] Speaker B: Oh yeah. [00:32:29] Speaker C: For months. It's, it's something that has built up emotionally for such a long time that when they do break up it seems like it's just a one off thing. But they had, they've been sitting on it for a while. [00:32:42] Speaker A: That seems to be the case. [00:32:43] Speaker B: Yeah. [00:32:44] Speaker A: Yeah, yeah. [00:32:45] Speaker C: But also, so I think maybe for John it was a one off argument that he didn't understand or felt like nothing to him and he was still holding onto those feelings. But for Lucy, she had her very good reasons of to why she had been uncomfortable in that relationship. And she has this life where she seems to be comfortable being single, at least to me. When she saw him, it was a polite, familiar interaction. [00:33:17] Speaker B: I have to agree with you. I have to agree with you that it was like, okay, we sort of built up to this. She had possibly, like you said, mentally broken, broken up with him in her head already and this kind of set it off. But I think the added caveat there is that it's not she mentally broke up with him because of something that he's only done wrong, but because of something that she's harboring within herself that she's aware of, which she hates herself and she hates herself for it. [00:33:41] Speaker C: I don't think it was completely John's fault, but I don't. But I do think that when I say her reasons, I mean like, because maybe she felt for a long time that she had ended up like her parents, you know, and like she, she hadn't liked that for a while. When she broke up, it was, okay, I'm gonna put an end to this because I refuse to end up like my parents. [00:34:01] Speaker B: Yeah. [00:34:01] Speaker C: So then when she meets Harry, I feel like that's her, her way. Like that's why she asked Harry all of those questions about like, oh, how do you feel about fighting in public. Did your parents ever fight about money? It's because she's looking for the opposite of what she had with John. Or she's looking for someone that's the opposite of those issues that she had with John because she was, she was superficial. She wanted someone rich because she experienced what it was like to be with someone poor. [00:34:29] Speaker B: But it feels almost as though it's not that she's looking for the opposite of what she experienced with John, but more so the easy way where she won't have to fix those problems within herself and she just won't have to worry about them. She's like, okay, I like you because I won't have to worry about arguing in person. So she's not taking the accountability of, like, okay, I'm getting back into dating because I've healed to the point where I feel like I can be in a relationship, and if these things do happen, I'll know how to respond to it. She's sort of accepting. Look, this is the way I am. I argue in public, and my last relationship didn't work. But at least with you, I don't have to worry about that because you'll just throw your money and, and fix problems, you know, patch up the problems with dollar bills. [00:35:04] Speaker A: I, I, I like that very much. And it does kind of fit into the idea of how they keep talking about, like, that they, they check each other's boxes. [00:35:11] Speaker B: Yeah. [00:35:11] Speaker A: And that, and that's why Harry's, like, with her and she's with him because it's just like, well, on paper we're fantastic and he's got money. And so she's sort of using that as the excuse of, like, not having to actually face her own issues. Because when she does face her own issues, she doesn't like what she sees. And she does say that several times. She's, you know, even in the fight with John, she was like, I'm angry because we don't have money. And I'm angry at myself for being [00:35:34] Speaker B: so, for being angry about. [00:35:36] Speaker A: Yeah, for being angry about not having money. Like, I am a material person. [00:35:39] Speaker C: See, Am I allowed to reference the end of the movie? [00:35:44] Speaker A: No Celine song will come through that door behind you and beat you over the head with the bat. [00:35:49] Speaker C: If she doesn't already. For the things that I say about her movies. [00:35:52] Speaker B: I hope we meet her one day. [00:35:53] Speaker A: And she's like, I bet you money if we would meet her, she would be like, paul, you're a piece of shit. You keep talking over Stephanie, and Stephanie, she would be like, you're great because however you see the movie is fair. And Paul shouldn't be trying to tell you how the movie is. It's my flaw. I'm aware of it. But continue. [00:36:12] Speaker C: At the end of the movie, I see how John changes. I don't see how Lucy changes. [00:36:18] Speaker A: Can I. Can I tell you how I think I saw her change? Because I think there is a major change for her. It's when he gives his final offer to her and he basically says, like, I don't think I can take care of you financially. And she was like, it's okay. I can take care of myself. And I think that that's what she learned. That's her arc at the end of the movie is I don't have to depend on John to make the money. I know now that I can take care of myself. I think what was happening earlier when she was in a relationship with John was that she was depending on him to be the caretaker. And when she was alone, I think she started to realize that, yes, I can be alone. Yes, I can take care of myself. And I can even be successful at something. Because when she was with him, remember, she was a failed actor. [00:36:59] Speaker B: Yeah. [00:36:59] Speaker A: And so she didn't have much self worth, and she has that self worth now. And so I think that's kind of why she even lets herself into the relationship again, partially with John, is because she realizes that she doesn't need him to be the breadwinner. She can take care of it herself. And I think that's sort of like a big turning point for her. [00:37:16] Speaker C: I don't know if I'm remembering this wrong. [00:37:19] Speaker A: You are. [00:37:19] Speaker C: But I believe there was a part of the movie where she mentions that there were times where she would try and pay for things and he didn't let her because he felt like it was his job. Not his job, but by her paying for things, it was decreasing his masculinity, and it made him feel insecure. [00:37:41] Speaker A: Right. [00:37:41] Speaker C: And then they would argue because she wanted things. [00:37:45] Speaker A: Yeah. [00:37:45] Speaker C: And he didn't want her to pay for it because he wanted to pay for it, but he couldn't afford to pay for it. [00:37:51] Speaker A: Yeah. [00:37:51] Speaker C: So then they would clash. [00:37:52] Speaker B: Yeah. [00:37:53] Speaker C: Because he would just expect her to not pay for things. So at the end of the movie, like, I thought by him accepting that she could pay for things was also part of his change. [00:38:05] Speaker A: Absolutely. No, I think you're absolutely right on that. And I think that that sort of. He seems to be illustrating that throughout the movie that he has changed those 10 years. Like, even when they have that first conversation with the smoke outside, he makes some kind of sarcastic comment, right? And she was like, well, what did you mean by that? And he's like, I'm sorry, I'm jealous because of this, this and this. And he's very open suddenly, and he's willing to admit his own problems and say, yeah, this was wrong. And he kind of does that a couple times where he's like, you know, I think I'm just jealous because of something or this set me off because this. He really seems to have matured. And even though he still has those reactions, he can kind of stand back and look at it and go, yeah, I was wrong for saying that. At the same time, what I did like was that Celine song didn't stack the deck between with John and Harry. And that seems to be what she was going for. Because as you said, you saw this more as John and Harry are for sure gonna, you know, that's [00:38:59] Speaker C: a game [00:39:00] Speaker A: movie spin off that Lucy and Harry. Yeah, that's gonna be a fan fiction that Lucy and Harry were locked in. Which I was like, no, I know that that's wrong when I was watching it. Right. Yeah, yeah. And. But. But I think that she was doing that. That may have been on purpose because when Lucy has the whole thing with Sophie happen. So Sophie is her client, as we said, and she kind of almost is like friends with her in a sense. She doesn't just see her just as a client, and she puts her on a date with a guy and he ends up assaulting her. Which thankfully they don't go into detail or show you. Like, it's just enough to, like, this movie didn't need that. Like, it needed. I don't think it didn't need that storyline. I think that that sort of was the important thing that changed Lucy also and leads to the ending of the movie. But I like that they didn't harp on it. But when she's upset about that and then, remember, they go to the play and then afterwards they're at the bar together. So it's. It's Lucy, John and Harry. Harry's talking to, like, the other castmates and being his smooth self and John and Lucy at the bar. And this was the moment where the movie could have easily have John be the knight in shining armor, where he's like, I know something is wrong. Tell me what's wrong. And then he kind of tells her, like, the perfect thing to make her feel better, but instead he notices that there's something Wrong. Which Harry did not. But he ends up telling her something that sounds so condescending because he doesn't understand what her. What her problem is because she's not supposed to talk about it because it's like a lawyer thing. And his advice or the way he tries to make her feel better is so fucking bad. And I love that. That it wasn't stacking the deb of being like, don't you see? Harry is a piece of shit? Or Harry's just this. And John is this amazing. It's like John still has problems. He's still not going to be perfect. And so I like that about it, that. That he seemed like a human being who is trying to work on his stuff, is figuring things out. It seems that he has matured. And it's true that I think him. It's much clearer how he is matured because of the way he says things and the way he handles things. But I think that Let Lucy ends up also maturing by the end of the movie. So when they're together, I thought it was just like a natural fit. I. That's why. That's why I'm saying, like, I think that last half hour when they're sort of dancing on each other and figuring each other out and then they end up back together, it felt glorious to me and really romantic. [00:41:12] Speaker C: See, what I automatically saw when I watched the end of the movie was I saw him go and buy food for them, which he didn't do before. [00:41:22] Speaker A: Right. Because he was. [00:41:23] Speaker C: He had bought flowers for her, which was something that she complained that he didn't do because he was a cheapskate. [00:41:29] Speaker A: Yeah. [00:41:29] Speaker C: And then, like, went to go see her and then I think they talk. I forget the whole conversation that she was offered, like, a promotion. [00:41:36] Speaker A: She's offered. Yeah, yeah. Major promotion. [00:41:38] Speaker C: Yeah. But, like, when I saw that, all I could think about was he's starting to spend money on her again. And that's. [00:41:46] Speaker B: But even then, he's not taking her out to this crazy fancy meal. I mean, he's buying food from a halal car, which is what she says when. When they're out going to their anniversary. And the scene where they're having the argument, she's like, I don't want to eat at halal carts anymore. Like on my. I don't want to eat at a halal cart on my. On my anniversary. And then that kind of comes full circle at the end when he. In fact, they're sitting at the park and they're eating from a halal cart. That. That he probably bought for. I think he. The guy told him the price and he just, like, gave him the dollar bill. It was like. [00:42:13] Speaker A: He said, keep it. He even let him keep the change. [00:42:15] Speaker B: Yeah, exactly. Yeah. [00:42:16] Speaker C: But see, I feel like that's such a big change for somebody that didn't spend any money. [00:42:24] Speaker A: It is. [00:42:24] Speaker C: To the point. I agree that it started arguments. [00:42:27] Speaker A: Yeah. [00:42:27] Speaker C: And I feel like in my perspective, he changed so much more than she did. [00:42:33] Speaker A: But she's. She's totally happy with him bringing the food and being in Central park. And she's turning down. She's possibly turning down a job that could be hundreds of thousands of dollars. [00:42:43] Speaker C: I think I'm just like a nihilist. Nihilist. [00:42:46] Speaker A: Nihilist. [00:42:46] Speaker C: Nihilist when it comes to. To things like that. Because in my perspective, when I saw this, I immediately thought, this is gonna last three months. [00:42:55] Speaker B: Well, we don't. [00:42:56] Speaker C: Because when they started dating, she must have been super happy with that setup. [00:43:02] Speaker B: We don't know that, though. [00:43:03] Speaker C: Like. Like when they started dating, like, there. There was definitely a period of time where they were eating at halal cards, and she was like, okay, the ramen. [00:43:11] Speaker B: Right. [00:43:12] Speaker C: The romance is new. This is fine. And then as time went by, she expected more and more and more. [00:43:20] Speaker A: She's a nihilist. [00:43:21] Speaker C: You know, she wanted nice things for special occasions. And my immediate thought as I watched this was, at what point is he either going to give up on this change? [00:43:36] Speaker A: I reject this completely. [00:43:38] Speaker B: Right. But. [00:43:39] Speaker C: And when is it going to start not being enough for her again? [00:43:43] Speaker B: Right. [00:43:43] Speaker C: But this is my very dark perspective. It's very dark relationships. [00:43:47] Speaker A: And again, the truth is, nobody can say you're wrong. Right. It's not like, oh, my God, you didn't get it Right. Like, but I do feel that. That all the things that we talked about and the things that she realizes in those conversations that she comes about, it really seems to show to me that she has changed and she's ready for this now because, again, she is the person who has taken charge. Like, again, she didn't know before that she could take care of herself. She didn't know she could be alone. Now she knows those things. So she's like, I can take care of myself. That was the most important thing. And so now it doesn't matter if John can't afford certain things, she can afford it. And as you pointed out, and I think it's great that John has learned to accept that also. So I kind of feel like these. These pieces now really fit well together. And this Is not. This will end in three months. I think it's like they're going to be together forever. [00:44:36] Speaker C: Well, they did get married. [00:44:37] Speaker A: They do get married within the fantastic credit sequence. [00:44:40] Speaker B: Yeah. And. And if I may add, like, okay, we see at the beginning when they. When they first have their argument, we don't know how. We know how long they've been together. But, yeah, maybe they did have a period where things were good and then they got worse. Right. But we also have to remember that things have changed from that time till now. You know, like we were saying, she has a job now where she realized that she can actually be good at something. Because in the conversation they were having at the bar, she kind of alludes to, you know, I sucked as an actor. I sucked at everything else I did. This is the only thing that I've. I've known that I can be good at. So you kind of have to assume or, like, infer that in her finding out that, yes, she is, in fact, good at something and kind of abandoning that dream that she had, she kind of, like, feels renewed in her confidence in herself, that she can take care of herself now because she found what she's good at. And then also, like. Like we were saying, yeah, it feels. It feels like maybe there could be doom ahead. We don't know. You know, maybe. Yeah, maybe in a year they might break up. But in her denying that promotion in that moment, you kind of get the sense that, like. Or not denying, but sort of pushing it to the side, you get the sense that, okay, she is different because Lucy, back when they first broke up, would have immediately jumped at that opportunity and wouldn't have, you know, pushed away a promotion where she could be making money and no longer have to be broke. So I think there was, like, that evolution where they both grew in a way that now it's like, okay, this is gonna work. That's why I didn't get. But, yeah, I get, like, coming from that, like. Like, you're saying that, like, it's gonna. It's not gonna work. But I. I felt as though they gave us enough pieces for us to sort of be confident and that this is gonna work out. [00:46:17] Speaker C: Yeah. I think the. The way that I was looking at this ending the wrong way, I didn't see the relationship as like, oh, this is love. They're gonna end up forever. My perspective was that whole time that she was working at the dating service and she was with Harry, she was looking at the future. She was saying, I'm gonna be with you because in five, 10 years from now, I can see that I'm gonna be comfortable with this person, or you are so compatible that in 10 years this is gonna work out. But with John, she was thinking about the present. I feel this way about John right now, and that's what matters. If in five to ten years from now it doesn't work out, that doesn't matter as much as what I feel right now. [00:47:03] Speaker B: Well, is that not how one should live one's life? That's a difference of perspective. Because if you're. I mean, if you're somebody who, who is constantly thinking about the future, which, yes, it's good to be prepared for the future, but if you're always living like she was in the future, thinking about, oh, you know, what can I do now that's going to benefit me 10 years later? Because I'm going to get something out of it and not, okay, what can I do now? Because this is what's right and this is what's going to satisfy me emotionally. And it's like, I think my. Well, a whole. A mantra that I like to keep is do what's right. Right now you can worry about the steps and how you're going to get to where you want to be, but what's right at the moment is likely what you need at that time, and it's likely what's going to carry you forward. And we don't get the, the sense. I mean, when they're having that argument. Not the argument, but the. When he gives his final offer, like you said, they're not just thinking about right now. They're kind of saying, oh, we'll do this. This is how we'll, we'll approach the situation. I'll pick up more shifts at the catering company. I'll take care of this. Like, we'll be fine. And it's kind of like that acceptance of, like, okay, it doesn't matter, you know, where the money's going to come from or how we're going to deal with it, but we're going to be fine because we're, we're willing to commit to this thing, no matter how difficult that is. Whereas with him, she, with, with Harry, she was more like, yeah, I'm gonna commit to this because it's not gonna be difficult and I'll be fine someday in the future. But she's finding that, that security in a very shallow pool and not in something that's, that's of substance. It's a very, It's a very material security, but nothing real it's not tangible. [00:48:33] Speaker A: So that she likes Harry, but she realizes she doesn't love him. [00:48:38] Speaker B: Yeah. [00:48:38] Speaker A: And that's when she has. It was a cool exchange when she said dating is hard, but love is easy. Right. And, and there was that really nice moment where Harry's like, well, I don't know if I'm capable of love. And I think Lucy also wasn't sure if she was capable of. And that's what. And she, in that moment, I think she started realizing that she loves John and that she realized that she is capable of love. And that's why she's like, well, love is easy. And that's kind of the whole thing where that love is easy part kind of connects back to past lives where you have these two people who just like, are connected and will always somehow love each other. Right. Like that's the easy part. The hard part is the dating and sort of, you know, revealing yourself or actually creating that life and that lifelong partnership with the person you love. That's the hard part. [00:49:19] Speaker B: Yeah. [00:49:20] Speaker A: Right. [00:49:21] Speaker C: I'm gonna say something that's gonna make you guys really mad. [00:49:24] Speaker A: Okay. [00:49:25] Speaker C: Or maybe not. I don't know. I think Celine Song is just really, really good at creating female characters that are extremely selfish and self centered. [00:49:38] Speaker A: Self centered, sure. [00:49:40] Speaker B: I won't, I won't disagree with you there, but I think if anything, that's a. [00:49:43] Speaker A: But if she were selfish, why, why would she be so open to helping Sophie? [00:49:47] Speaker B: Yeah. [00:49:49] Speaker A: Isn't that partially what, what the character Sophie is there for us to show [00:49:52] Speaker C: us self centered because again, in a [00:49:58] Speaker A: way that we all are, maybe. [00:50:00] Speaker C: I, I kind of thought that Lucy was aware that she wasn't in love with Harry the whole time. Like, she looked at it like, this guy is good for me no matter how I feel. And then when she found out that he didn't have any real romantic feeling for her, she realized what it was like to be on the other side of that. And I think for her she was like, oh, I want to be loved. [00:50:28] Speaker A: Yeah. [00:50:29] Speaker C: I just don't. [00:50:30] Speaker A: The way that John loves her, the way that clearly John loves her, she's not getting that from Harry. And she's like, I need that. [00:50:36] Speaker C: I had thought watching the movie that John loved Lucy way more than Lucy loved John. [00:50:44] Speaker A: Well, I think much more on the surface and much more obviously. Right. [00:50:49] Speaker C: But in general, I think that's. [00:50:52] Speaker A: I don't know, I, I think you can make that argument because, I mean, he is, he is much more kind of like puppy doggish around her than she is. Around him. But she tends to be kind of cold to everybody. And she's very reserved and in control, which I. Is a nice juxtaposition to the person that we see in that argument. Like, she's. That's a very different person. Like, it really is. Again, it's a nice performance from both where, like, they're both kind of playing young just through the way that they're behaving. Right. Like, they just seem younger and not as mature as they are now. There is a coldness about her throughout, but I think it does melt towards the end. But there is always a certain monotone to her that. That juxtaposes to. Chris Evans is kind of like, he's very, you know, effusive and out there. [00:51:37] Speaker B: And also, how does one really quantify, oh, I love you more than the other? Like, I know we. That's something we throw around, but acts of, like, buying you things and doing these things. [00:51:46] Speaker A: How about. Can I just point out when. When they're changing their clothes, when they. When they crash the wedding at the end, and she kind of like, just reaches out to him and says, come over here. You know, and then she kind of just like. As if she were straightening a tie, but he doesn't have a tie and she's just kind of lovingly setting him a little bit up with the clothes. And it's just like the adoration she has on her face at that point, I mean, I think is really beautiful. I said, I really felt that she loved him. [00:52:10] Speaker C: I felt like he was familiar for her and she was comfortable around him. But not. Not that there was like a real. [00:52:20] Speaker A: I don't know what it is that you would want her to do then to prove. Because it sort of seems like when I say one thing, you're like, well, no, that's just familiarity. And then if she would say it, you just wouldn't believe it. [00:52:29] Speaker C: This is literally just what I felt while I was watching. [00:52:33] Speaker A: Did you not get the sense she was happy in. In the scene in Central park at the end when he gives her the flower ring, which is not worth anything? [00:52:39] Speaker C: I felt like she was content. [00:52:40] Speaker A: Yeah. Isn't that a huge step for. For her? Because I think 10 years ago she would not have been content with that. [00:52:46] Speaker C: I mean, yeah, I'm. I'm not. I don't know. Again, I was very 50. 50 on this movie. Like, I didn't like it or dislike it. [00:52:56] Speaker A: Oh. When I saw it the first time also. Yeah. I wasn't sure how I felt about it. [00:53:00] Speaker B: I feel like, the. The only time where we really see her be, like, soft with anybody, if that's the right word to use. I don't think it is quite the right word, but the only. [00:53:09] Speaker A: Go with it. [00:53:09] Speaker B: Yeah, it's like soft. It's like a softness to the way that she approaches John that she doesn't have with anyone else. Even when she's being intimate with Harry. It's kind of like she's there, but she's not really present. I mean, she's just kind of looking at what's around. And she's like. Even though they are engaging in intimacy, which we don't really see her do with John. [00:53:27] Speaker A: When conversations are intimate. [00:53:29] Speaker B: Exactly. Yeah. But I mean, like, physical intimacy, like the scene where they're walking into the apartment, like, that scene is very. Is very indicative of how they feel about each other. It's very sort of like. I guess if you want to call it passionate, but not really, because she's not there. She's there, but she's just looking around at what's around. She's asking, oh, how much does this cost? How much does that cost? And then we never see her kind of get to that point of physical intimacy with John. [00:53:52] Speaker A: Can I. I'm. I'm just. I loved this scene. Okay. When they're at the wedding and. And the wedding singer's baby rose is singing. First of all, Celine song. Did it again, where she did a long take and. And I didn't catch it until I watched it like, a second time. Like, that whole, like, the cat. Like, they're sitting there in the barn. Everybody's dancing. They kind of look at each other like, are we gonna dance? And the camera goes over and it shows all people dancing. And then it shows baby Rose singing, pulls back. Now they're dancing, and it goes around them and they're holding each other. It is the. Like I wrote in my notes, that kiss was so intimate, the way the camera swung around and was so close on them. And how it was just them amongst all these people. And that kiss, like, between them, it felt real. That felt so real. I love that. And. And again, she did a one take, which was really difficult, but you couldn't. But it didn't show itself off. Like, oh, I'm doing a one take. How difficult. You don't know it until you actually, like, pay attention to it and go, wait, there were no cuts here. Yeah, but it so brought you into their world despite everything going on around them. And I. I mean, that's what I mean. Like, that Last half hour to me, when they're together and they're kind of learning to kind of go, yeah, they're kind of bonding again. And, like, I thought that was so intimate. And so the two of them really [00:55:03] Speaker B: kind of connecting and being present. [00:55:05] Speaker A: And being present. That's when I really. Especially the second time I watched it where I was like, okay, I really do like this movie. [00:55:10] Speaker C: Maybe I just have a very depressing view of romance because I didn't feel those moments. Like, I was like. I was like, oh, that's cute. Puppy love. [00:55:21] Speaker A: We'll have to see a movie where. We have to see a movie where you would really feel that way and then see how the rest of us feel and kind of compare it, because I. You're not wrong for how you're responding, right? You know, I mean, it's your response. And I think all I can ask is for you to see it the way that you did with past lives is like. Yeah, you see how, like, you know, I mean, like, I'm. Dude, I just thought that last. I mean, I thought it was so romantic. I really, really liked it. I have people who also felt it wasn't. Yeah, it didn't. [00:55:49] Speaker B: So I have to agree with you. It's funny, because my sister was sort of in the same camp as Stephanie, saying that she didn't really, like, feel the chemistry and stuff. I don't know. Maybe there's a disconnect. Like, not disconnect, but maybe Celine Song likes to make movies where men respond one way and. And women respond another. And I. I think it's kind of. I think it's kind of like. Is it diminutive? Diminutive? Is that the word? Like. [00:56:11] Speaker A: Like diminishing? [00:56:11] Speaker B: Yeah. I think it's kind of diminishing to say, oh, just because you're women, you feel that way about this movie and men feel. It's sort of like there could be overlap there. [00:56:18] Speaker A: Definitely. [00:56:20] Speaker B: I don't know. I. I have to agree with you. I thought it was very romantic. And, like, the whole time as I'm watching the movie, I'm not rooting for. For Harry. I want her to be with John. [00:56:30] Speaker C: I was rooting for Harry. [00:56:31] Speaker B: I. I wasn't rooting for. As. As likable as Harry is. I didn't want them to be together because I just thought it was never going to end up well for them and they were never going to be, like, truly happy. They were gonna get what they wanted. Sure. But it wasn't going to be the same way that it. That it is with John. [00:56:47] Speaker A: And I think, what was the joke that they made? Like, how. How can you be happy and single? Like, marry a rich person? [00:56:52] Speaker B: Yeah, that was it. They said. Yeah. [00:56:54] Speaker A: So that's kind of what they're saying. Like, Harry's not the be all. He's just. He's a nice guy. [00:57:00] Speaker B: He's good enough. [00:57:01] Speaker A: He's got money. She does tell him. She's like, you're perfect the way you are and there's nothing wrong with Harry, but there's nothing. There's no sparks between the two. It's just like, they're nice, they're cool. And then I will point out that Wendy Garcia, our new speech lab faculty, she had seen the movie and she came in, like all people do here in Miami. She comes in and we're like five minutes into the movie and she comes up and she says, you're going to cry at the end of this movie. And I was like, why the fuck would you say that? Because don't tell me how the movie's going to end. You know, when the movie just started. And I kind of was like, I bet you I'm not. And certainly the first time I saw it, I was not. It was too much for me to take in and there was too many distractions. But I. I was wondering in what way would we end up crying? Because it's sad. Because she's not going to end up with either. Is she going to end up with Harry when she shouldn't, blah, blah. And so clearly what she was saying, that like, it made her cry that these people found each other and, and were together. Like, how lovely. And I will say, when I was watching it the second time, it was in the morning in bed on my iPad. And like at the end, like, just picture. Like at one point I was like, I feel something in the corner of my eye. I was like, I don't know if that's like tear coming out, but like, I think I'm gonna go with a tear. I think there was like a little bit of something there. So. But my, my point is that Wendy's a woman and she seemed to go in all on the romance. [00:58:19] Speaker C: I cried when she fumbled. Harry. [00:58:21] Speaker A: When she fumbled Harry. [00:58:23] Speaker B: Stephanie, Is he a football? [00:58:26] Speaker A: I don't understand. She fumbled. [00:58:27] Speaker C: Oh, you don't understand. [00:58:28] Speaker B: This fumble is like, like. Yeah, like it's like a new term for like when you, you up a relationship, like, you lose that person. [00:58:35] Speaker A: No, it was the best thing that could happen to both of them. [00:58:37] Speaker B: 100. [00:58:38] Speaker C: I think that if Chris Evans played Harry and Pedro Pascal played John. [00:58:44] Speaker A: Okay. [00:58:45] Speaker C: Interesting that the consensus would be different. [00:58:48] Speaker B: Okay. That's all I needed to hear. That's all I did. I know. I know why. No, it's like an attraction thing. Yeah. She's more attracted to Harry. [00:58:55] Speaker C: No, no, no, no. I'm more attracted to Chris Evans, which is why, like. [00:59:00] Speaker B: Well, you just said, like, you're like, [00:59:01] Speaker C: your consensus would be different because I think if Chris Evans played Harry's character. [00:59:09] Speaker A: It depends how they would play it. Yeah, it could. It could be. But I just think that they both played their roles really well because my. [00:59:15] Speaker C: The reason why I wasn't super pissed that she ended up with John was because I was like, well, John's hotter. So she got that. [00:59:26] Speaker A: I guess we know who the materialist is in this room. [00:59:28] Speaker B: Yep. [00:59:29] Speaker C: Yep. I grew up super poor. Not doing that again. [00:59:34] Speaker A: Okay. [00:59:35] Speaker C: So I. I'm not gonna lie. [00:59:38] Speaker A: As you should not. [00:59:39] Speaker C: Yeah. That's why I kind of don't hate Lucy, because she has her reasons. Yeah, no, she has very valid reasons. [00:59:46] Speaker A: I. I just think that Lucy is. Is more overtly doing kind of shitty things than Nora was. And. And you guys, like, were just, like, not feel like with Nora, you were just not giving her a break. And I'm just kind of curious why you would give Lucy a break. I think we do understand now after talking about it. [01:00:01] Speaker C: Yeah. [01:00:02] Speaker A: I do see why. And I think you've made a good point as to why. And I also think. [01:00:06] Speaker C: Oh, sorry, go on. [01:00:06] Speaker A: I think Lucy Cody Johnson. I don't know. [01:00:08] Speaker B: Yeah. Lucy's way more aware of the things that she's doing. Being up. Whereas Nora's kind of going through the motions and, like, learning this whole situation. [01:00:17] Speaker A: Yeah. [01:00:17] Speaker B: And figuring things out and sort of being like, is there something there? Is there not that. [01:00:20] Speaker A: Yeah. [01:00:21] Speaker B: Whereas I felt as though Lucy was like, okay, I have this guy who's always gonna be there, who I like enough, who's. Well, who doesn't have money, and we used to have a thing, and he's gonna be there. I can someday go back to him if the opportunity presents itself. I think that becomes apparent to her when they have their conversations. There's always going to be something here. Yeah. It's kind of like that. What's that hum song? I know you'll be there holding daisies. You always wait for me in stars. [01:00:47] Speaker C: And. [01:00:47] Speaker B: And then she had this thing. She's like, oh, okay, I could go for this. But if this doesn't work out, I always have John there. So that's What I thought was up that she. That she was doing. And then it ended up working. [01:00:56] Speaker A: She did sort of drag John along a little bit. [01:00:59] Speaker B: Yeah, it worked out because. Yeah, it worked out because that she, you know, she went through her arc, she figured her things out, he did as well, so then it was fine that they came together. [01:01:07] Speaker A: It ends up well. Yeah. And. And again, I feel that she is a different person by the end, that. That it's like. It's cool. [01:01:14] Speaker B: And I, too, cried. I also cried. [01:01:16] Speaker A: It wasn't just iCrust. [01:01:17] Speaker B: No, I cried. [01:01:17] Speaker C: Really? [01:01:18] Speaker B: I cry at movies a lot, though. I'm a big, big movie crier. [01:01:22] Speaker A: He apparently was howling during Naked Gun. Yeah, he was just in the back crying the whole time. [01:01:27] Speaker B: I haven't even seen Naked Gun. [01:01:30] Speaker A: I was just trying to picture the most movie that you would not be. [01:01:32] Speaker B: Yeah. I don't know. I just. Sometimes I just. Even when there's not a sad part of the movie going on, I just get the urge to cry. [01:01:39] Speaker A: Okay. That's weird. Yeah. [01:01:40] Speaker B: This might just be an issue with me. This happens to me all the time, where I'll just be, like, walking around doing something, and then I get the very deep urge to cry, where I'm not sad about anything, but I just feel like I need to cry, and then I don't cry, but I'm like. [01:01:51] Speaker A: I'm the exact opposite. I'm always on the verge of crying, and there's certain moments where I'm on the verge of not crying, and I'm like, oh, that's interesting. Yeah. [01:01:59] Speaker C: All right. [01:02:00] Speaker B: Yeah. [01:02:00] Speaker C: Anyway, I think after watching both of these movies, I think I can reach kind of a consensus that I think. I just don't like the way Celine song represents romance. [01:02:12] Speaker B: And that's okay. It's okay that you have the belief, but you're wrong. Yeah. [01:02:16] Speaker A: Yeah. It's. It's okay to be wrong and be a heartless monster that you are. But I'm just gonna hope that Celine song keeps doing her thing and. And. And I get to enjoy it, and I'll just. [01:02:25] Speaker C: I just won't watch anymore. [01:02:27] Speaker A: Oh, no. If we're still in the podcast, which I hope we will, you know, you will be watching again. [01:02:31] Speaker C: We're gonna be like, yeah, save myself the hour 45. [01:02:37] Speaker A: I like this hour 56. [01:02:38] Speaker C: Hour 56. [01:02:39] Speaker B: I think we're never. We're just never gonna get to agree on a Celine song movie, and that's okay. [01:02:44] Speaker A: Well, we're only two. Two films into her filmography. [01:02:46] Speaker B: Well, I hope it stays this way. [01:02:48] Speaker C: Is it just gonna be this the whole time? Is it just gonna be love triangles? [01:02:52] Speaker A: I hope she branches out. I hope so. [01:02:54] Speaker B: I like the love triangle. [01:02:55] Speaker C: I love triangle. It's just gonna be love triangles until Celine Song finds out what polygamy is. And then we're. And then we're going to get a whole new genre of movies. [01:03:05] Speaker B: Well, they already did that. [01:03:05] Speaker A: That was Challenges, which her husband wrote. Selen Song's husband wrote Challenges. [01:03:11] Speaker C: They're almost there. They're going to have a conversation next year and then we're going to get a whole bunch more movies. [01:03:18] Speaker A: I mean, I, I hope Seline Song keeps branching out. Like this is sort of like a soft, you know, second film in the sense that it's like, it's kind of revisiting a lot of the themes of the first one. It's a little bit more commercial. But I kind of hope she does something. Well, I don't know if I. Whatever I. Whatever she wants to do, I want to at least see it. [01:03:37] Speaker C: I'm gonna put money on it. She's. We're gonna see a movie come out and it's gonna be called I don't have to Choose. [01:03:46] Speaker A: All right, let's put money on It. I do want to. I don't have to cheat. [01:03:56] Speaker C: We're gonna watch that one and you guys are gonna hate it and I'm gonna. Best movie ever. [01:04:01] Speaker A: Best movie ever. Finally she ends up with none of the guys. That's when you'll be happy. [01:04:06] Speaker C: She ends up with all the guys. [01:04:07] Speaker A: She ends up with all the guys. [01:04:08] Speaker C: She ends up with all the guys. [01:04:10] Speaker A: No, you're just gross. Cause you just wanna see a three way with good looking people. [01:04:14] Speaker C: Yeah, what's your problem? [01:04:14] Speaker A: Yeah, yeah, you know what? I'm mature. You're not. [01:04:17] Speaker C: Open communication, I think, I think there's [01:04:21] Speaker A: a lot of open communication. I'm so mad right now. It's okay. Did you guys catch Arthur? You saw it in the trivia on IMDb but Arthur made a cameo. The guy who plays Arthur in Past Lives. [01:04:33] Speaker B: Oh, yeah, yeah, he was hanging out. Wasn't he in the background? [01:04:35] Speaker A: No, no, he's the voice of Mark P. On the phone. The assaulter. [01:04:39] Speaker B: Oh, I thought he was in the, in the catering service. Or maybe I'm tripping balls. [01:04:44] Speaker A: Oh, I. I'd be curious. They didn't mention that in the trivia. [01:04:46] Speaker B: But, but it looked like him. Never mind. [01:04:49] Speaker A: Okay. No, he was the voice on the phone and then you guys hung around during the end credits. [01:04:53] Speaker B: Yes. [01:04:54] Speaker A: You saw the, the Caveman couple walking. Yeah, I just thought that was so cute. That was so silly. [01:04:59] Speaker C: I also have to say, I just love the phrase tripping balls. [01:05:02] Speaker B: Balls, dude. [01:05:04] Speaker C: I don't know why I find it so funny. [01:05:06] Speaker A: Very 90s with pickles over here. Yeah, we knew it was going to come up at some point. So we have. We're going to wrap this up now. We've. We've learned a lot talking about materialists today. The main thing we have learned is that Stephanie is a monster with no heart. And that Alex and my emotional eq, our emotional quotient is pretty high. [01:05:28] Speaker C: But, you know, we are breaking gender norms right now. [01:05:31] Speaker B: Right, Right. [01:05:32] Speaker C: So good for us. [01:05:33] Speaker A: Yes, good for us. And we're gonna see what a bunch of. We are the men here in this room when we do our horror month coming up in October. [01:05:43] Speaker B: Stephanie low key has, like, the emotional quotient of, like, a dude. [01:05:48] Speaker A: Yeah, yeah, yeah. [01:05:50] Speaker B: Like, everything you said was, like something I'd hear one of my male friends. [01:05:53] Speaker A: Yeah, dude friends. Say, are you gonna go shooting at a gun range after we're done here? [01:05:56] Speaker B: Yeah, yeah, yeah. [01:05:58] Speaker C: I'm actually pretty good with the gun. [01:06:01] Speaker A: I should really not insult you as much as I do. [01:06:05] Speaker B: One day Paul. [01:06:05] Speaker A: One day walking. [01:06:07] Speaker C: Go buy a truck. [01:06:07] Speaker B: She's gonna go full editing. She's gonna go full Sheriff Joe Cross. [01:06:12] Speaker A: Then I have nothing to worry about because that man's an idiot who'd end up shooting himself first. Guys, we do have Bo the Bulls here again. And let's give him a second too. He's taking a recolor. Hold on, let's see if he. How he's. Yeah, here he is. [01:06:28] Speaker C: Hi, Bo. [01:06:28] Speaker A: Hey, guys. [01:06:29] Speaker C: How you doing? [01:06:31] Speaker A: I'm a little upset. I didn't know Stephanie was such a monster. She should be both able. [01:06:36] Speaker B: Nice one. [01:06:38] Speaker A: All right, guys, pick a movie. [01:06:40] Speaker B: All right. You mind if I. Yeah, go for it. Okay. Hopefully one of mines gets picked. Mine's haven't gone drumroll in quite some time. Oh, wow. This is. These papers have changed. Bo, you got some work done. [01:06:49] Speaker A: I had some work done. [01:06:50] Speaker C: Yes. [01:06:51] Speaker B: And the Movie is Burning 2018 Again, a German pick. [01:06:56] Speaker A: Terrible pick. [01:06:57] Speaker C: How many times have we picked this movie? [01:06:59] Speaker B: So we're watching it this time, right? [01:07:00] Speaker A: Yeah. You are watching it. This one. Bye, guys. [01:07:04] Speaker C: We can't beat him. [01:07:05] Speaker B: No, I was really hoping. [01:07:06] Speaker A: I kind of do want to see it, actually. [01:07:07] Speaker B: I was really. Yeah, I was really hoping it would be in the mood for love so we can continue on this track and we can see how Stephanie feels about that one. Because I think that she would hate it and I would hate her for hating it. [01:07:17] Speaker A: So you kind of want to go down the hate path a little further. [01:07:20] Speaker C: Let me just don't want to watch Burning it. [01:07:23] Speaker A: It came out of bowl. Bo pick. [01:07:24] Speaker B: Bo spoke. [01:07:25] Speaker A: Bo has spoken. We have disobeyed Bo once and it was our only one time. We said we can't do it again. I do want to see, actually. While we are here on the air, I'm going to go ahead and check how long burning actually is because I have a suspicion it's pretty long. [01:07:38] Speaker C: It probably is. [01:07:41] Speaker B: It's going to be like slow burn. [01:07:43] Speaker A: It's a slow burn. German, you. It's 2 hours and 28 minutes. [01:07:49] Speaker C: I knew it. I literally said it's gonna be like. And I know this because all of German's movie picks are two and a half too long. [01:07:58] Speaker A: German, we love you. You were a great guest on this podcast. I don't know why I'm imagining you're actually listening to this. [01:08:03] Speaker C: German doesn't listen to my podcast. [01:08:05] Speaker A: German doesn't listen to this podcast. But, buddy, buddy boy, buddy boy, you're not putting any more movies in the bowl. Burning it is banned. Banned. [01:08:16] Speaker B: I hope you guys can hear this right now. I'm about to rip the paper. [01:08:20] Speaker A: All right, guys, you heard it first. Burning is going to be our next movie. A two and a half hour epic. [01:08:28] Speaker C: Yeah, we'll do a podcast on if I don't kill myself first. [01:08:30] Speaker A: Yeah, okay. All right, so the next episode is [01:08:34] Speaker B: going to open with in loving memory of Stephanie. [01:08:39] Speaker C: All right, get through burning. [01:08:42] Speaker A: Lady and gentlemen, it is time for us to give our final votes on materialists. [01:08:48] Speaker B: Let's do it. [01:08:49] Speaker A: How many pauls, Stephanie? Let's get Stephanie overdone with. I want to get the negative. How many pauls out of four pauls? How many pauls would you give it? [01:08:56] Speaker C: One and a half. [01:08:58] Speaker A: You and the horse you rode in on. [01:09:02] Speaker B: I just threw the burning paper. [01:09:04] Speaker A: It's all good. Good. [01:09:05] Speaker B: I hit it right in the forehead. [01:09:06] Speaker C: It was entertaining enough. [01:09:07] Speaker A: And that's one and a half. [01:09:09] Speaker C: Yep. [01:09:09] Speaker A: What world do you live in? One and a half is like poor. It means it sucks. It sounds to me like you're more giving it two and a half. Is that fair? It's okay. You didn't hate it. You kind of watched it. You're like, yeah, it's all right. That's two and a half. [01:09:22] Speaker C: That's two and a half,. [01:09:23] Speaker A: Yeah. [01:09:23] Speaker C: Okay, I'll give it to Listen, one [01:09:25] Speaker A: star is poor, two is Fair. Three is good, four is excellent. And then you have your halves in there. All right, so you're not really saying it's poor, are you? You don't think it's a bad movie? [01:09:34] Speaker C: No, I'll give it two. I'll give it two. All right. [01:09:36] Speaker A: Oh, that's okay. [01:09:37] Speaker C: Yeah, okay. [01:09:38] Speaker A: That's fair. [01:09:38] Speaker C: It's an average movie. [01:09:39] Speaker A: Okay. Eat a bowl of Alex. [01:09:42] Speaker C: Gladly. [01:09:44] Speaker A: She's doing it. [01:09:45] Speaker B: Ladies and gentlemen, I give Materialist three and a half stars. [01:09:51] Speaker A: Excellent. [01:09:52] Speaker B: To follow up my four stars that I gave. Or three and a half Pauls to follow up my four Pauls that I gave to her debut film. I think it's fantastic. I can't wait to see what else she does. But I still think that Past Lives is her best. [01:10:04] Speaker A: Past Lives is better. I'm gonna give it three Paul's out of four. I really love the ending. I liked the rest. But Past Lives is, my gosh, so much better. And, you know, I'm just gonna say I listened to the soundtrack of this one last night and I liked it when I was watching the movie, but, like, cut away from the movie. I didn't like the soundtrack that much. I wanted. I wanted to bring Grizzly Bear back. [01:10:25] Speaker B: This was Japanese Breakfast that did the soundtrack. [01:10:27] Speaker A: No, no, just the one song. The soundtrack was actually. I have it written down. Daniel Pemberton, who's done. He's. He's more of your traditional film composer. [01:10:35] Speaker B: Shout out. Danny. Pam. [01:10:36] Speaker A: Yeah, I mean, it's good, actually. But the Grizzly Bearer guys soundtrack for Past Lives is magnificent. [01:10:41] Speaker C: Oh, I actually have one more fun fact to end on, thanks to IMDb. [01:10:47] Speaker A: Oh, sorry, your microphone. I don't know how that happened. Your microphone just went down by itself. That's weird. No, go ahead, tell us your fun fact from IMDb. [01:10:56] Speaker C: No, you don't deserve my fun fact anymore. [01:10:58] Speaker B: I already know the play that they were going to see. [01:11:03] Speaker A: Yes, we all know that Fun Fact. It was written by Celine song guys. And then actually when they're standing outside talking about going to the bar, it's on and the poster is behind them. It actually says it has her name on the credit also, so didn't need [01:11:13] Speaker B: IMDb for that one. [01:11:14] Speaker A: We all do IMDb. Stephanie. [01:11:16] Speaker B: I figured that one out by myself. I figured that one out by myself. So good for you. I was watching the message, she was like, yeah, okay, whatever. [01:11:25] Speaker A: All right, until we get comfortable with our watch, this is. I think we have to do them separately. [01:11:30] Speaker B: All right, let's do it. [01:11:31] Speaker A: Stephanie, watch this and watch it. [01:11:33] Speaker C: If you want. [01:11:34] Speaker B: It's my turn. [01:11:35] Speaker A: Yeah. [01:11:35] Speaker B: Watch this. [01:11:36] Speaker A: Excellent. Hey, no, seriously, watch this. [01:11:41] Speaker B: Is that a cat noise? [01:11:43] Speaker C: No, no. [01:11:45] Speaker A: Let's watch cats. I'm gonna put cats in the bowl, and we're just gonna meow for an hour and a half. Okay, that's weird. [01:11:50] Speaker C: I'll bring Shinji back for that one. [01:11:52] Speaker A: I like it. I had a song I wanted to [01:11:54] Speaker B: let go out on, but not the one I mentioned. Yeah, it stars. [01:11:57] Speaker A: It stars. Of course. Stars is so awesome. [01:12:05] Speaker C: You sounded a little like Napoleon Dynamite there. [01:12:10] Speaker A: So awesome. I love the part where it just kind of explodes. I always jump. So we'll. We'll let it play until then. In the meantime, ladies and gentlemen, I hope you enjoyed our episode on Materialists. No, the in front. And if you see Stephanie in the street, watch out. Yeah. Watch out, actually. Yeah. Okay, so we're ending with stars just because we talked about it. And this song is amazing. So, ladies and gentlemen, thank you for listening. And we are out of here. Bye, Sam.