WEBVTT

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Come on, Mrs. Neffler, it's your turn. A scary story?

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Yeah, come on. Yes.

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Okay. All right.

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It was

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a cold and rainy day in March.

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I went to Christophe's where I usually get my hair done,

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but Kristoff had mysteriously

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disappeared, and in his place was

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a stranger named...

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Ronaldo. I'll never

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forget him. His eyes were steely gray,

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very cold, and his hands were like

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ice.

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He said, I'll streak your hair and

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I'll give you a body wave.

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He worked very fast, and then as

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he turned my chair around to face the mirror,

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I saw it. He permed me! It's 2

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Dads 1 Movie.

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It's the podcast The

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podcast where 2 middle-aged dads sit around and shoot the shit about the movies of

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the '80s and '90s. Here are your hosts, Steve Paulo and Nic Briana.

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Hello everybody, welcome to another episode of 2 Dads 1 Movie. I'm Steve.

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And I'm Nic. And today we are talking about the 1989 comedy classic

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Troop Beverly Hills, starring Shelley Long and not very

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many other people right now. But you know, there's some kids that got bigger and

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stuff. Kids that grew up. There's a little Craig T. Nelson in here, whatever.

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But mostly this is a Shelley Long vehicle. It is. We can admit to that.

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in her, you know, Cheers fame days. And so she was a movie star

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by this point. But yeah, Troop Beverly Hills, this was one, Nic, that you picked

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for us. So why don't you tell us first, like, what's your history with it?

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Why'd you bring it to the table? Yeah, I thought, you know, like I said

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before, uh, something that really mixes it up. Like, we do a lot of certain

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types of movies, then there's certain ones that we don't really do. And just in

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the interest of, like, you know, showing the world how diverse and amazing our podcast

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is, we really got to get out there and, and, uh, and show our stuff,

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right? Yeah. Um, this is one that my wife— I

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had never seen until like the pandemic, and my wife introduced to my daughter and

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I, where you're just kind of like, oh, what is something that's old? You know,

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the thing we've talked about, like what's something from our era that we could show

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our kids that they might get something out of? Yeah. And, uh, and it's

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very fun. Like we watched it a couple times during COVID and it's just like,

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it's good for— there's kids in it, but it's not really like a kiddie kiddie

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movie, but it's not— there's not really intensity or like adult themes or anything that

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would push kids away from it. Uh, and there's There's some really good visual

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gags in this movie that I got a kick out of. And then just some

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amazing '80s. Just the '80s hits you hard in this film. True. So I

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thought, yeah, this will be a fun one to chat about. How about you,

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Steve? You seen this one before? I absolutely have. This is one I remember seeing

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as a kid. I don't know that I would've gotten taken to this in the

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theaters by my parents, but I might've. This is absolutely the kind of movie in

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the late '80s my parents would've taken my brother and I to. Came out when

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we were 9. My little brother would've been 7, probably about right. So yeah,

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I definitely saw it quite a bit. I think we owned a copy on VHS

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at my house. I probably saw it, You know, a half dozen

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times in my childhood. Now, I don't think I've seen it before watching it this

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week for the podcast. I don't think I had seen it in probably at least

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30, maybe even 35 years. It's been a long time. And so, you know,

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was very excited to get back to it. My sort of going into it,

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my recollection or sort of what I was expecting was like not a particularly

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fine piece of cinema, but like a fun time for an hour and a half.

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That's what I was expecting. And I'll be honest, just to wrap it up,

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not to like give everything away, but I think, but I think it mostly delivers

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on that. If you're looking for a good time and you're not too worried about

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character arcs or plot holes or realistic

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situations whatsoever. This is a very enjoyable movie. So, so yeah, that's, that's sort

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of where I'm coming from on it. And, you know, yeah, it's one of those

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kind of fun, easy ones. And I'll say we have done very, very few PG

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movies on this podcast. That's very true. And some of the ones we've done really

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shouldn't have been PG. Should be real PGs, right? Right. We did a lot of

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ones where they were just like, I guess I'll give it a PG. Spaceballs was

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a PG. Yeah, give me a break. There's a bunch like that. But this is

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like a legit 4-quadrant family-friendly PG movie,

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and we've only done a few of those. So this is good. Definitely good to

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kind of mix up our kind of R-rated leanings for the most part.

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Absolutely. Cool. Let's jump into the facts on Troop Beverly Hills. The movie Troop Beverly

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Hills was released on March 24th, 1989, with a PG rating and a running time

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of 105 minutes. It was directed by Jeff Kanew from a script

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by Pamela Norris and Margaret Oberman. Jeff, turn your head into a canoe. Yeah,

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that's right. Starring Shelley Long, Betty Thomas, and Craig T.

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Nelson. Scores. The lowest Rotten Tomatoes score we've

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yet seen on the podcast at 14%, which— That seems like

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the lowest by a lot, right? Yeah, 'cause Sleeping with the Enemy was like 27

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or 29, and that was the lowest. So yeah, significant drop

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from our previous low. Not the lowest IMDb though.

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Halloween III: Season of the Witch still holds that at 5.4. But this

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is a 6.0, which is pretty abysmally low for IMDb.

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The reality of IMDb scores is they really only go between 5 and 9.

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There's just nothing outside of those ratings. So there's that. And we get

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a pair of thumbs down from Siskel and Ebert, which is just not surprising given

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the kind of movie this is. You know, it's not up their alley either.

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For sure. They're looking for films. This is not a film. This is a movie.

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No awards stuff that I could find. And a lot of times, let me just

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put this way, a lot of times when I say there's no awards stuff to

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talk about, there's like some local, the St. Louis Critics

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Association or like, you know, the Association of Wisconsin-Based

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Filmmakers might have given an award to something or nominated. No, literally not.

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There is no awards page on IMDb. For Troop Beverly Hills, which means it

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neither received anything like those little tiny awards, but also didn't get a Razzie or

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a Stinkers or anything like that. It just flew completely under the radar in both

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directions. On an $18 million budget,

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1989, $18 million.

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Yeah. So $7 million less than Tombstone. I mean, good Lord.

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That's pretty wild that it was $18 million. But on an $18 million

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budget, it only earned $8.5 million for a 0.2% 4 or 7

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times what it cost. Didn't make its money back. Massive box

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office flop. Not really any other way to look at it, you know, from that

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perspective. Yeah. But it is what it is. Not every movie's a success. I don't

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know that this one ended up with any kind of real cult following either.

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This is the kind of movie, and this is the thing I think about it.

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This was very prevalent in the '80s, or maybe I only think this is true

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because of how old we were in the '80s. We were kids under 10.

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There are movies that you, and I say you, I mean

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every one of you listening individually and uniquely from each other.

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There are movies you love just 'Cause your parents had like a copy of

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the VHS or whatever, and you ended up watching it a ton.

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And there's no right or wrong, good or bad. It's not a good movie,

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bad movie, whatever, but you love it. Like, I feel that way about movies like

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Summer Rental. Yeah. Uh, and The Great Outdoors. Honey, I Shrunk the Kids for

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me. There you go. Tape at my grandma's house. And it's like, that's a fine

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movie. There's nothing wrong with it. I don't have much of a connection. I've seen

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that movie 2 or 3 times, but like, whatever, don't care about it. But for

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you, it's like, no, no, no, like, this was a Hallmark moment in my childhood

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was watching this movie over and over again. And True Beverly Hills, while not that

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movie for me, 100%, this is the kind of movie that is. I'm sure for

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a lot of people that's it. Yeah. Yeah, definitely. Um, why don't you

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kick us off? Well, yeah, let's get into it. So one thing that delighted me

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from the beginning is we have our classic animated intro. We always

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enjoy this. And, and it caught my eye for a minute. I was like,

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this looks very Ren and Stimpy-ish. It does. Yeah. And I looked it up and,

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uh, John K. Yeah, he was the designer of the

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opening animation. So that was cool to see. So real quick on

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that topic too, I wanna point out just how quintessentially 1989,

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in particular, the cartoon opening

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credits to a live-action movie that has no other animation in

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it after the opening credits. 'Cause in 1989 alone, this movie, Honey,

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I Shrunk the Kids, and Christmas Vacation all came out and all had

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cartoon opening credit sequences to an otherwise wholly live-action

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movie. I don't think it was that common outside

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of 1989. It's really wild to look into because I do love it.

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It's like such a cool way to set the tone, especially for a funny,

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goofy movie where you don't have access to like show all the crazy shit you

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can show with animation. Yeah. So yeah, we, we got this and

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a pretty subpar '80s songs. I think a lot of the songs in

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this movie are very '80s sounding, but generally dogshit. Except for

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Cookie Time, which is a fucking banger. Well, yeah, I mean, I listened to that

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twice on the drive down here. It's on my indie rock playlist. Uh,

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so when we open the human action, we're at the, uh, at the Wilderness Girls

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headquarters. And this is, you know, a Girl Scouts type thing.

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And, uh, they're talking about, you know, their standards that they have for the

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different troops of Wilderness Girls. And there's one in particular that they want to get

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out of here. Yeah, because we don't like them. They don't do the Wilderness Girls

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stuff. And this is the Beverly Hills troop, the poor, poor,

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poor children of, uh, of Beverly Hills.

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Um, but what they're saying is that, you know, their troop leader's, uh, quit or

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been let go, and we have somebody else who's applied to be a troop leader.

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And they're kind of reading her resume that she has, you know,

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and it's Phyllis, our lead character, Shelley Long. And it's like, you know,

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she loves animals, and then she's got a fur coat on, and she, you know,

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this and that. Kissing a bejeweled frog like a brooch or something. Yeah,

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she's got all this like very— like it's a very Women Be Shopping

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type montage of her intro. And she has this wonderful cigarette holder,

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which makes me want to start smoking cigarettes because I think that it filters

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the cancer out. Well, I will say one of the worst things about smoking cigarettes

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is how nasty it makes your fingers smell. And you would avoid that with a

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holder like that. But you also have to look like the fucking— one of the

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rich people from Gilligan's Island in order to do it. It's true. You could Cruella

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it up a little bit. There you go. And then Phyllis has a sick Rolls-Royce

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convertible. Yes, she does. Which we love to see. kind of see what her life

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is like. She's in this very fancy house in Beverly Hills. And then Craig T.

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Nelson is playing Freddie, who's like her separate— her husband she's separated from.

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Yeah, they are going through a divorce, but it's not final yet or anything like

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that. He's living in the guest house, like the pool house sort of. And which

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is bigger than Steve and my house put together, plus this building that we're in

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right now. It's really crazy. Uh, it's all, it's all very, uh, Clueless coded.

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Uh, a lot of the like, you know, houses and the— and everything is,

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uh, everything's terracotta pink. It's really kind of wild throughout this entire movie.

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Um, But yeah, basically Freddie and Phyllis are arguing and talking about the divorce,

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and their daughter is Hannah, played by Jenny Lewis in her first screen credit.

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But she would go on to not only do lots of other movies, but also

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to front the band Rilo Kiley, which is a great indie rock band from the

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'90s and early 2000s. But yeah, so they're talking, you know, kind of fighting,

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and she's there, and Rosa, their housekeeper, is also

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getting upset. Yes. Because, you know, basically it's— I think they do a good job

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of setting the tone with these two early where they are not happy

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with each other. They are getting a divorce and they both are like, this is

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what we should do. But also there's this like, what happened to us kind

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of element. Totally. I don't think it's not a scenario— It's not like pure vitriol

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between the two of them from the beginning. Exactly. There's a tenderness that exists like

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throughout kind of whatever's happened. It feels like nobody like cheated on each other or

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anything like that. It's just they fell apart, fell apart, fell apart. And, you know,

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whether it does feel a bit like Freddie initiated the divorce potentially,

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it's the way they talk about it. But it was more just frustrating. They never

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define that for us. No, they don't make it explicit. Yeah. So, but they're,

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they're sort of— we get a good sense that they're doing this. And basically she

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says, yeah, I'm doing this Wilderness Girls thing to lead Hannah's troop. And Freddie's like,

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yeah, right, you know, that'll last 2 weeks and you'll quit it like you quit

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everything else. Which, how many movies have we done where the husband berates the wife

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for like having short-lived hobbies? Yeah, that seems to be quite a— I know The

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Ref did it. I'm sure there's at least a couple others. I know, it is

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so funny. Yeah, so he's, he's really like, uh, he's— and he's

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saying that he's— he misses what she used to be, right? So they're in this

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fight and he's like, She's like, "Is this about another woman?" And he's like,

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"It is about another woman." She kind of gets this devastated look. He's like,

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"Yeah, she used to be like this." And she realizes he's describing how she used

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to be. I missed your spirit and your creativity and your joie de vivre.

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He wouldn't say that, but as his character in Action Jackson, he would say that.

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Esprit de corps, actually. And yeah,

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so you know, great, great fight. And he totally came over there just

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as an excuse to talk to her because he said he came over to get

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his dumbbells, and he grabbed these two like. 8-pound dumbbell weights from their

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sick gym room. Yeah, nice workout room. And went back to his little pool house.

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But leaves the other like 20, you know, he's got like a big set of

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like 20 dumbbells. He just needs these 2, you know? And then she decides to

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help him pack. And so she starts throwing his clothes out onto the lawn,

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which is funny 'cause they've got like a gardener out there with one of the

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leaf blowers, the backpack ones. And it's just the clothes are flying on him and

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he's just blowing the clothes. Just clothes. Very funny. So we get like a,

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there's an orientation sort of happening, a little picnic that the girls are showing up

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to for the Troop Beverly Hills thing that Phyllis is gonna sort of like do

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this intro for all of them. So it's Hannah and her friends, and we get

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a brief little moment introducing us to each of the girls and like their parents

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or their situation a little bit. Yep. Um, you know, this is great, by the

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way, just for the cars. Oh yeah. If you like cars in the '80s,

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I mean, this is just such a fun scene of seeing all the different cars,

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from Lamborghinis to Rolls-Royces to limousines to like a cool Jeep with

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the doors taken off. I mean, really every kind of angle. That Excalibur, when I

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was in 6th grade, uh, there was this kid in my school who lived like

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outside everyone's neighborhood because his house was so big named Matt Spasek,

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and he had the sickest house, but he had an Excalibur in their garage.

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He'd like show us when we go to his house, like, look at this shit,

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uh, the black Lamborghini. Yeah. And then the parents are all these different archetypes,

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right? You've got the kid who just gets dropped off alone, her absentee

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parents. And then you've got the girl whose dad is trying to pretend that he's

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more successful than he really is. Uh, you have the kind of like

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Ferdinand Marcos type character who's like a dictator,

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you know, quote unquote. It's got to be She calls him

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Bong Bong. Well, the Bong Bong is his name. He says he asks her that,

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but she calls him dictator and Mrs. Dictator. Yes, it's very funny. I notice— yeah,

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I think this is clearly a Ferdinand Marcos Philippines thing, right?

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They're there. They look Pacific Islander or Southeast Asian, so it's like that style.

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But I swear to God that the flags on the front of their car were

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the Iraqi flag. Yeah, they're definitely not the Philippines. No, they weren't. They weren't because

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I was trying to do flag identification there. It's the red and black stripes and

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the green writing in the middle. I'm like, that's the Iraqi flag. I gotta say,

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you're doing '80s bad guy identified by flag. Libya is just Green.

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It's very easy. You can't mess up. Just do that one. Um, and then

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there's like a boxing champ, you know, kind of like a Muhammad Ali type guy

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who's in the, uh, Excalibur. And his daughter's got all the attitude.

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Yeah. So I wrote down here that regardless of what happens from here,

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half a point just for the little car montage. I really like— no, that's good

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stuff. Um, let's see here. So, uh, they gotta

14:46.810 --> 14:49.470
deal with uniforms, I think, right? Oh yes, first thing. Yes. So, so this is

14:49.970 --> 14:52.230
the thing. Oh, they've never even gotten to the point with their troops. She's like,

14:52.730 --> 14:53.210
why are you guys all just wearing street clothes? What is this, GI Joe?

14:55.350 --> 14:58.770
Was everyone just gets to wear their own outfit? Uh, and they said, no one's

14:59.270 --> 15:01.850
ever even gotten us to the store, right? Or gotten us to the fitting to

15:02.350 --> 15:04.590
get the uniform. And she's like, you know, I might not be a good,

15:05.090 --> 15:08.650
uh, wilderness person, but I have a black belt in shopping. Right, right.

15:09.150 --> 15:11.650
So they go out and they're doing their like outfit shop. Definitely something she can

15:12.150 --> 15:14.930
handle. Um, but yeah, so they— she tries on the uniform and she hates it,

15:15.430 --> 15:18.210
right? The cut's terrible, the collar, everything, whatever. Yeah. So she takes it to her,

15:18.710 --> 15:20.930
uh, tailor friend and is like, what can you do with this? You know?

15:21.430 --> 15:23.790
And he's like, besides burn it? You know, it's just like— like, look, and I'll

15:24.290 --> 15:27.590
say for the '80s, Good restraint on the clearly flamboyantly gay

15:28.090 --> 15:30.370
character. They didn't lean too hard into it, I feel like. Yeah. You know what

15:30.870 --> 15:33.170
I mean? Like, there was definitely an easier joke in there they could have done

15:33.670 --> 15:36.650
that, like, would have been very '80s appropriate, and they didn't. And kudos. Because we

15:37.150 --> 15:40.030
had— what movie was it? Oh, in The Rock, we had that really bad one

15:40.530 --> 15:44.550
that was the hairstylist. Ridiculous. Yeah. So this guy, I honestly wanted more

15:45.050 --> 15:47.410
of this. Yeah. I want more of this character in the movies. Very funny.

15:47.910 --> 15:50.110
He reminded me, actually, of the— I don't know if you've ever seen the Father

15:50.610 --> 15:53.030
of the Bride movies with Steve Martin, but Martin Short's character, Frunk. Oh, yes,

15:53.530 --> 15:54.690
yes, yes. From those. He had a— he was very Frunk vibe. Totally.

15:57.010 --> 16:00.170
Um, so she ends up, you know, she gets it set

16:00.670 --> 16:04.070
up. So she has this like Marge Simpson'd out, like tailored, uh,

16:04.570 --> 16:06.750
tailored wilderness girls outfit, and she shows up to the meeting of all the other

16:07.250 --> 16:10.610
like— Yeah, yeah, right. And they're all matching exactly. They obviously have the normal uniform.

16:11.110 --> 16:13.570
Hers has got a nice cape and it's like lined in green silk, and it's

16:14.070 --> 16:15.510
just like— I mean, it looks, it looks good. And she, you know, she looks

16:16.010 --> 16:18.690
great. And she rolls in, she's got her cigarette holder, and they're talking about like,

16:19.190 --> 16:21.870
oh, we gotta raise money, we're selling cookies or whatever. She's like, hey, wouldn't it

16:22.370 --> 16:25.110
be easier if we just did a celebrity telethon maybe and get Merv Griffin to

16:25.610 --> 16:28.620
host it or Johnny Carson and just And of course, that's Merv and Johnny.

16:29.120 --> 16:31.550
Yeah, Johnny or Merv, you gotta, you know, you gotta just first name these people,

16:31.560 --> 16:34.030
otherwise it doesn't look like you're in, you know. Like, really good.

16:35.140 --> 16:38.820
Um, let's see, so, uh, she's kind of

16:39.320 --> 16:42.680
spying on her husband. So this meeting happens and they're kind of like, all right,

16:43.180 --> 16:46.340
well, you have a troop, but we're against you, you know. Just know we're all

16:46.840 --> 16:49.200
working against you and you're never gonna succeed. We need to mention real quick because

16:49.700 --> 16:51.280
we haven't talked about her yet, but she's been in a couple scenes. The main

16:51.780 --> 16:55.623
antagonist in this movie, Betty Thomas's character, is named Velda Plunder. Which first

16:56.123 --> 16:59.053
off is just a fucking bonkers ass name. Like, and,

16:59.374 --> 17:02.885
and if you wanted to name her like Evil McBitch Woman,

17:02.917 --> 17:05.626
like it would have been even like the same. Like this really makes her sound

17:06.126 --> 17:09.858
evil. And she is cartoonishly snidely whiplash evil.

17:10.034 --> 17:13.833
I mean, it is so— she has no reason to be this antagonistic against

17:14.333 --> 17:16.959
a group of fucking children, which is like wild.

17:17.488 --> 17:21.062
Uh, and she is just sneering through the whole movie and plotting

17:21.111 --> 17:24.800
and like you know, has absolutely zero moral compass of her own. No.

17:25.025 --> 17:28.635
And, and, and, you know, is only foiled because there is a woman higher

17:28.651 --> 17:32.438
up in the organization who seems to actually be a normal person

17:32.938 --> 17:35.839
who is running a child's— or a child-oriented, essentially,

17:35.936 --> 17:39.064
charity. I mean, these organizations are not generally totally for-profit, right?

17:39.481 --> 17:42.129
They're kind of there for the kids, and she seems to get it. But this

17:42.193 --> 17:45.627
Velda Plunder is just the most evil— It's a funny character. And again,

17:45.723 --> 17:49.189
like, with the kind of lack of explanation and character development

17:49.689 --> 17:53.080
in this movie, it's just like, Well, you know, Phyllis and Freddie are just getting

17:53.580 --> 17:57.120
divorced. Yeah, yeah. Velda Plunder is just kind of an evil troupe leader, but it

17:57.620 --> 18:00.960
doesn't get too much into, back when I was a troupe leader, someone just like

18:01.460 --> 18:03.640
you who did— like, there's no— there's none of that growth in that character,

18:04.140 --> 18:07.460
which is fine. This is a cartoony kind of— 100%. And we

18:07.960 --> 18:10.420
do get a little bit of like the, the bad guy character arc with,

18:10.920 --> 18:13.840
uh, uh, was it, uh, Annie, um, was it Herman? What's her name?

18:13.940 --> 18:16.560
Herman. Yeah, yeah. She at least has some kind of a change. There's like an

18:17.060 --> 18:20.140
arc to her. And Phyllis herself obviously goes through a real sort of transformation as

18:20.640 --> 18:23.840
a character. But yeah, but most of the movie does not, and that's fine.

18:24.340 --> 18:27.840
These are meant to be caricatures, and this kind of movie, it's totally fine if

18:28.340 --> 18:31.260
they're just caricatures. But it is wildly funny at different points in this movie to

18:31.760 --> 18:36.120
me just how horrifically evil Velda is,

18:36.620 --> 18:39.380
to the point where I'm like, bitch, please. 'Cause even some of the stuff where

18:39.880 --> 18:42.940
it's like, you know, it doesn't actually happen, but it's like,

18:43.440 --> 18:46.320
oh, you could have gotten multiple children killed for this thing to be destroyed.

18:46.820 --> 18:48.500
I mean, it's like absolutely putting him in horrible danger and like, you know,

18:49.300 --> 18:53.100
Good God! There's there's literally like there's water moccasins. Yeah. Good God.

18:53.600 --> 18:56.540
Anyway, so so moving on. So back home and and she's kind of spying on

18:57.040 --> 19:00.030
her husband. Yeah. His action, like who's coming in and out of the guest house.

19:00.180 --> 19:04.220
Right. And she she spots this nice looking lady. And the

19:04.720 --> 19:07.540
the way you can tell she's hot is that saxophone music starts. That's right.

19:08.040 --> 19:10.740
And I mean, I know you and I both talked about this when we met

19:11.240 --> 19:13.960
our wives. Like we heard that music and that's how we knew to talk to

19:14.460 --> 19:17.931
them in the first place. Oh my God, dude. Jerry Rafferty

19:17.947 --> 19:20.897
lives in my head rent-free constantly. Um,

19:21.474 --> 19:25.385
yeah, so, so that, that was really funny. And she ends up like falling

19:25.417 --> 19:29.183
out of the window because she's bouncing so hard. Good night,

19:29.247 --> 19:33.270
Phyllis. So we've got our first, uh, camping trip. The first assignment

19:33.770 --> 19:37.309
basically is we're doing a wilderness, like a weekend away camping. Overnight. One overnight.

19:37.662 --> 19:40.964
One night camp, right? She's way overpacking. Yep. Uh, another— to be fair,

19:41.044 --> 19:44.554
the entire troop is overpacked, right? They've all got crazy amount— crazy amounts of

19:44.570 --> 19:47.792
luggage and Party rentals and shit. Yeah. Yeah. That they use like

19:48.292 --> 19:51.591
a professional, like, set up tent for a wedding type company to set up their

19:51.623 --> 19:54.909
tents. And they have camping gear strapped to the top of this, like, uh,

19:55.471 --> 19:58.949
this motorcade of limos. Yes. Um, which is nice. Again,

19:59.558 --> 20:03.566
visual gags in this movie, I think, are really funny. I think the written jokes

20:04.066 --> 20:06.387
in this movie kind of stink at a lot of parts, but there's a lot

20:06.887 --> 20:09.673
of really good visual stuff. And another thing is when they arrive at their campsite,

20:09.721 --> 20:13.024
they're like in the footprint of the Hollywood sign. Which, like, I, I don't know

20:13.524 --> 20:15.685
that much about that area. Can you even go there? Like, I thought that was

20:15.733 --> 20:18.220
kind of— I think it's just hills with nothing. Yeah, I have no idea.

20:20.010 --> 20:23.260
Anyway, so yeah. So yeah, we start the camp out here. Yeah, and they're just

20:23.760 --> 20:25.760
hanging out, and unfortunately everybody's bored because even the girls are saying like, well,

20:26.260 --> 20:27.980
we were supposed to set up the tents, like that's what you do on these

20:28.480 --> 20:31.320
things, but you know, the party rental people set all that up, and Phyllis is

20:31.820 --> 20:34.020
like, whatever, she's reading a magazine, smoking her cigarettes in the shade on a chaise

20:34.520 --> 20:37.020
lounge, but the girls are getting kind of bored, so she like gets them together

20:37.520 --> 20:39.560
and they decide to do like s'mores, I think, or they roast some marshmallows,

20:39.920 --> 20:43.500
or, oh no, fondue. Fondue, chocolate fondue, yeah. Strawberries and chocolate fondue and whatever,

20:44.000 --> 20:46.420
but then it starts raining. Yep. So the girls rush off to the tent,

20:46.670 --> 20:49.590
But Phyllis is like, well, I'll save the fondue. And she's wearing this like white

20:50.090 --> 20:53.390
mink coat. Yes. And slips and falls 'cause she's wearing heels and now walking

20:53.890 --> 20:57.390
in mud in heels. Uh, and she falls in, gets everything destroyed.

20:57.890 --> 21:01.270
And it's like the, yeah, the, the kind of sight gag of her fondue pot

21:01.770 --> 21:05.250
hanging from her mouth. Yeah. Makeup running, everything's wet. Her fur

21:05.750 --> 21:08.930
coat is soaked and all the girls are like, oh my God, are you okay?

21:10.110 --> 21:13.710
Like, but yeah. It's a good first, first night camping, right? So I, uh,

21:14.210 --> 21:16.300
something about her coat and I have a new, I have a new theory.

21:16.550 --> 21:19.638
And then tell me if, if we're, uh, if this if there's legs to this

21:19.719 --> 21:23.455
here. So we talked about the Chekhov's gun, right? Okay, gun appears and then that

21:23.955 --> 21:27.708
tells you that the gun's gonna be used at some point, right? Yeah. Chekhov's laundry.

21:27.982 --> 21:31.267
Okay, there's too pristine of a piece of clothing and you know that it's

21:31.767 --> 21:35.695
gonna get stained or ruined before the end of the scene. Like, there's no way

21:36.195 --> 21:40.229
that coat shows up. Yeah. And leaves scot-free. 100%. That coat is— that coat

21:40.729 --> 21:44.028
is getting scathed. Yeah. Well, so instead of Chekhov's gun, it'll be Knefler's coat.

21:44.473 --> 21:48.532
Netflix cult. There we go.

21:49.110 --> 21:51.838
And the other— so when they're singing and, you know,

21:52.592 --> 21:56.700
have you ever heard Kumbaya sung non-ironically? I feel

21:56.716 --> 22:00.215
like it's always just a joke. Yeah, I— that was weird.

22:00.263 --> 22:03.247
That's like 3 times in this movie they sing that song. And it's even like

22:03.747 --> 22:07.035
a remix of it. It's so bizarre because, yeah, I'd never— I've never really—

22:07.163 --> 22:10.565
look, I was only very briefly a Cub Scout. I think I was

22:11.065 --> 22:13.720
a Boy Scout for A month or two, did like one outing and went.

22:14.220 --> 22:16.120
You know, this is not fucking for me, and that's fine. Like whatever. But like

22:16.620 --> 22:19.160
I don't remember ever camping as a kid doing Cub Scouts, Boy Scouts, whatever,

22:19.660 --> 22:22.420
and people actually singing Kumbaya. Like that's just not a thing.

22:22.920 --> 22:25.040
Yeah. The only time I ever remember hearing it is in movies like this,

22:25.540 --> 22:27.040
or I think like you know on The Simpsons or something. You know what I

22:27.540 --> 22:30.540
mean? Like that's the kind of place you'd encounter it. So it just I don't

22:31.040 --> 22:33.100
know. It was weird. I'm not really sure how to feel about it. I'm like,

22:33.600 --> 22:36.220
is is this vaguely religious? I can't tell if it's religious or not. Or is

22:36.720 --> 22:39.760
it like like a Hare Krishna kind of thing or something like that? Like that

22:40.260 --> 22:42.811
kind of new wave. Yeah, I wasn't sure if they were doing that as a

22:43.311 --> 22:45.264
joke or if they were doing that as, oh, this is what you sing when

22:45.297 --> 22:48.280
you camp. I got— yeah, so it's hard to tell. I gotta be honest,

22:48.296 --> 22:51.567
I don't think I have the right, uh, frame of reference for the time to

22:52.067 --> 22:56.010
really know. Um, regardless, Phyllis and the girls have had it. Their camping's been

22:56.443 --> 23:00.115
wrecked and stuff. She's like, you know what, screw this, let's do what I do,

23:00.163 --> 23:04.397
and we're going to the Beverly Hills Hotel. A bungalow. Amazing place

23:04.897 --> 23:08.486
to stay at that hotel, right? Uh, and it is funny that they're

23:08.986 --> 23:12.413
sitting in front of the fireplace in their little bungalow there and telling ghost

23:12.913 --> 23:16.004
stories. And one of the child who's telling the ghost story, it's like, you know,

23:16.036 --> 23:19.482
ooh, who has my golden arm? And she's like, and he

23:19.546 --> 23:23.554
looked in the foyer, and he looked in the maid's rooms. It's like,

23:23.778 --> 23:27.417
it can't just be normal rooms in a normal house, right? It's like only in

23:27.917 --> 23:31.521
a mansion. Um, and then, and then Phyllis tells a scary story about going

23:31.553 --> 23:34.759
to Christophe's, her hairdresser's. Christophe's not there, it's a different

23:35.259 --> 23:37.468
man. And he's talking about this, and, you know, kind of builds and builds,

23:37.484 --> 23:39.240
like, and then he turns around And he turned me around in the chair,

23:39.530 --> 23:43.350
and I looked in the mirror, and he'd permed me! And all the girls scream

23:43.850 --> 23:47.090
in terror. And here's the funny thing for me is that my mother had a

23:47.590 --> 23:51.070
perm most of the late '80s into the early '90s. I think longer

23:51.570 --> 23:53.650
than the early '90s as well. But like, so I was kind of like,

23:54.150 --> 23:56.010
is that bad? Like, you know, watching this as a child, it's like, is that

23:56.510 --> 23:59.010
scary? 'Cause that's what my mom's hair looks like. Yeah, I know. Like, I don't

23:59.510 --> 24:02.150
know, is that bad? But apparently it's not. It wasn't rich person fashionable. I think

24:02.650 --> 24:05.030
it was a very working class thing. My mom had a perm too. All power

24:05.530 --> 24:09.730
to the perms, you know? Like I said, I think very, very blue-collar hairstyle.

24:10.230 --> 24:12.330
Uh, but by the end of the night, it seems like she's given these kids

24:12.830 --> 24:16.570
like kind of a version of a fun, you know, like a good gateway fun

24:17.070 --> 24:20.710
experience. And they're sleeping and she's kind of like, you know, very kindergarten cop.

24:21.210 --> 24:23.990
Well, the kids are asleep and I'm gonna go back to bed. Uh, in the

24:24.490 --> 24:27.830
morning, uh, they're all watching Pee-wee's Playhouse. Love it. We get a lot of

24:28.330 --> 24:30.450
shots of Pee-wee's Playhouse. It doesn't just show it once, it shows several times.

24:30.950 --> 24:33.710
Oh, over and over again. He's got the big thing of underwear, massive piece of

24:34.210 --> 24:37.419
underwear. He's wearing it on his head. Uh, and the leaders, uh,

24:37.659 --> 24:40.132
kind of show up because they're like, hey, these kids are supposed to be on

24:40.632 --> 24:42.878
a camping trip. What are you doing? We heard they're at the hotel. And the

24:42.959 --> 24:46.909
girls are playing, uh, poker for marshmallows and uncooked hot dogs

24:47.198 --> 24:49.784
with like one of the bellmen or just one of the guys who works at

24:50.284 --> 24:52.979
the hotel. Who is on notice, by the way, because you're sus if you're just

24:53.479 --> 24:56.432
hanging out with a bunch of like early teenage girls as like an early 20s

24:56.849 --> 25:00.366
bellhop. Go back to work. Yeah, especially when you're saying, I'll raise you a

25:00.382 --> 25:03.208
wiener. Yeah, right. Not okay. Not okay with this.

25:03.817 --> 25:07.599
Uh, so, uh, so the,

25:07.920 --> 25:11.013
the leaders come and they're like, you know, you're not teaching these girls anything.

25:11.526 --> 25:14.939
Like, you're supposed to be roughing it. And then Shelley Long's like, roughing it?

25:15.035 --> 25:18.273
Well, one bedroom for 9 people feels like roughing it,

25:18.417 --> 25:21.606
you know. Uh, but they get, you know, they're gonna get kicked out

25:21.766 --> 25:24.924
of the organization, right? That's basically saying like, you know, you should just quit.

25:24.988 --> 25:28.561
Like, you're clearly not built for this. Like, whatever. Um, we cut to another scene

25:28.834 --> 25:32.264
back at Phyllis's house, I think, where Phyllis and Hannah are chatting. Um, and I

25:32.764 --> 25:35.618
just had to mention this at the time. The couches, the upholstery on her couches

25:35.746 --> 25:39.585
is just absolutely wild. It's very late '80s, early '90s. Yeah. But like

25:40.085 --> 25:43.745
these splotches of bright colors and again, a lot of like terracotta, kind of that

25:43.922 --> 25:47.488
dusty pink color is everywhere. It's just really— I saw

25:47.536 --> 25:50.733
that and it was— it very much took me back, you know, to the late

25:51.233 --> 25:53.865
'80s. Like as far as just the aesthetic, it's very much perfect for that time.

25:53.913 --> 25:57.880
Totally. That's a good white wine drinking couch. Yeah. Like you spill it

25:58.380 --> 26:01.253
and it doesn't matter. Yeah. Slight discoloration. It will just look like it's part of

26:01.753 --> 26:05.574
the pattern. Yeah. Yeah. Um, so we've got— oh, she makes a funny

26:05.590 --> 26:09.027
comment. So they're watching again. Freddie is leaving

26:09.140 --> 26:11.549
with this other woman who's like comes to pick him up in a Porsche,

26:12.095 --> 26:14.922
and, uh, he's taking her to the Dodgers game. That's right. And she's like,

26:14.938 --> 26:17.540
oh, I can't believe he's taking her to the Dodger game. And the daughter says,

26:18.038 --> 26:21.154
I know, and it's batting helmet day, and she's not even under 14.

26:21.733 --> 26:24.495
And then Phyllis is like, oh, wanna bet? Yeah, right, here we go.

26:24.720 --> 26:27.370
Like, don't count on it. Oh yeah, God.

26:28.157 --> 26:31.575
Um, so it's craft day. So it's kind of like a school

26:31.623 --> 26:34.673
science fair type craft fair for all the Wilderness Girls groups,

26:35.138 --> 26:37.722
and we're showing off like what they all made. And this is what we get,

26:37.866 --> 26:40.610
our first look at the Red Feathers, a good look at this other troop,

26:40.675 --> 26:44.398
the Culver City Red Feathers. It's, it's Velda's daughter's troop,

26:44.446 --> 26:47.720
although it doesn't seem like Velda is the troop leader for them. It's very

26:47.736 --> 26:50.849
odd. It's like they have— because she's in the like, uh, you know, the more

26:50.945 --> 26:54.139
the organizational level for, for Southern California Wilderness Girls.

26:54.300 --> 26:57.520
But it's her daughter's group, and the daughter has got

26:58.020 --> 27:01.740
this very, like, a smoker's voice at 16, which is, like, pretty amazing. But she's

27:02.240 --> 27:05.540
got a friend who's a little taller with brown hair who is Tori Spelling.

27:06.040 --> 27:08.740
Tori Spelling, yeah. Which I thought was interesting. But she makes a comment 'cause the

27:09.240 --> 27:12.260
True Beverly Hills girls have created these backpacks that you can sort of, like,

27:12.760 --> 27:15.080
fling up and they can actually hold dresses, like a little wardrobe thing, which actually

27:15.580 --> 27:18.060
looks pretty cool if that's what was important to bring, which it wouldn't be on

27:18.560 --> 27:21.160
camping. But it looks neat for— Bad for survival, but good engineering. Good for just

27:21.660 --> 27:24.221
general travel too, like, whatever, very cool. But they say like, where are you from,

27:24.349 --> 27:28.390
Mars? That's Tori Spelling says that. And it's like, no, worse, they're from Beverly Hills.

27:28.439 --> 27:31.983
It's just like, I don't, I don't remember

27:32.483 --> 27:35.383
the '80s being this, uh,

27:35.976 --> 27:38.382
aggressive against rich people.

27:39.280 --> 27:41.942
And I don't know if it's got to do with like where I grew up,

27:41.991 --> 27:44.653
'cause at this point you were still East Coast, right? Yeah. So I don't know.

27:45.054 --> 27:48.213
Like there'd be kind of like, 'cause you go to a school

27:48.566 --> 27:51.709
and the school's made up from like, you know, a third kids from this neighborhood,

27:51.726 --> 27:54.917
a third from this, a third. So there would be, just in the same way

27:55.417 --> 27:58.655
that, like, college boy or whatever was a thing, you'd probably have a reputation

27:58.703 --> 28:02.152
of being a snob, or like the Beverly Hills kids maybe historically have that.

28:02.216 --> 28:05.633
But I do also see them just finding any reason that someone is

28:05.665 --> 28:08.985
an other to, like, shit on. There is that, yeah. Um, but yeah, definitely not,

28:09.033 --> 28:12.193
like, as much, uh, eat the rich type vibes in the '80s. Yeah,

28:12.225 --> 28:15.337
and then all of the adults laugh at the joke making fun of the children,

28:15.353 --> 28:17.984
which is also, like, a standard movie thing that never quite sits right with me.

28:18.096 --> 28:21.513
Like, really? A bunch of adults are, like, busting up laughing at these kids?

28:21.609 --> 28:25.020
Like, when does that happen? Like— Herman,

28:25.520 --> 28:29.540
uh, gets assigned, yeah, by Plunder as like the assistant leader

28:30.040 --> 28:32.080
to Troop Beverly Hills. To like spy. She's like, keep an eye on her.

28:32.580 --> 28:35.720
Yeah. You know, I need a man on the inside here. And she gives her

28:36.220 --> 28:40.120
this ridiculous, uh, secret film camera that's built inside of a Wilderness Girl survival

28:40.620 --> 28:43.600
book. Yeah, yeah. So we see that a couple times. She's got a microphone and

28:44.100 --> 28:46.920
everything. Yep. It's just like tape, like a huge tape recorder to her waist,

28:47.420 --> 28:50.960
'cause it's 1989 and there's nothing small. So there's a quick scene where Phyllis is

28:51.460 --> 28:54.240
in her kitchen. Oh, that's right. And she's like watching the Jane Fonda workout video.

28:54.740 --> 28:57.359
That's right. And you hear her like struggling, shows she's like trying to open a

28:57.859 --> 29:01.388
mayonnaise jar, making a dogshit-looking sandwich, and she only covers like,

29:01.885 --> 29:05.528
I don't know, 40% of the bread. It looks terrible. Uh, but then she sees,

29:05.785 --> 29:08.770
uh, Freddie through the window of the guest house, and he's doing tai chi or

29:09.270 --> 29:12.542
whatever, like Dalton from Road House. And then she walks in and has him open

29:13.042 --> 29:15.720
the jar. So it's a little more, you know, connection between the two. Little different

29:15.736 --> 29:19.299
physique on Craig T. Nelson than on, uh, Patrick Swayze as Dalton.

29:19.363 --> 29:21.835
But, you know, like, uh, but there's a little flirting here. It's another thing where

29:22.335 --> 29:24.933
it's like You know, does she actually want to be done with him? It seems

29:24.965 --> 29:27.533
like she does not, right? He's at least, you know,

29:27.854 --> 29:31.144
there and not, and not staying away kind of thing, you know? So yeah,

29:31.481 --> 29:34.996
yeah. Um, so, so Phyllis now says with

29:35.077 --> 29:38.078
the girls, she's like, okay, well, I can't— the girls are unhappy. Like, we're not

29:38.142 --> 29:40.550
learning any of the stuff we should learn. She's like, well, I can't teach you

29:41.050 --> 29:43.423
guys how to survive. But we gotta earn patches somehow. Can we do this?

29:43.519 --> 29:46.649
Yeah, she's like, so I guess there's some provision in the book that you could

29:47.149 --> 29:50.148
like create your own patches, you can figure out your own activities.

29:50.197 --> 29:52.714
And she says I'm gonna show you how to survive on the streets of Beverly

29:52.811 --> 29:56.178
Hills. So we got a little montage of them doing their, like, you know,

29:56.194 --> 30:00.042
mani-pedi and their waxing and all that stuff. Someone gets their mustache

30:00.542 --> 30:04.067
waxed. Herman gets her mustache waxed, of course. And then they have these patches that

30:04.567 --> 30:07.707
are kind of funny. They've got patches for, like, dancing and,

30:07.739 --> 30:10.433
like, jewelry appraisal and,

30:11.411 --> 30:14.650
yeah, so it's kind of a funny, like, montage. They do a CPR one with

30:15.150 --> 30:18.500
an attractive, like, EMT or cop or whatever he is, you know, and then community

30:19.000 --> 30:22.772
service is one of them, uh, and then, uh, she brings all

30:22.965 --> 30:26.129
of the girls to the divorce court proceeding. Yes. And creates

30:26.629 --> 30:30.176
a divorce court patch for them all for being there. But this is

30:30.273 --> 30:34.159
when, uh, basically, you know, Freddie's lawyer asks for a faster

30:34.659 --> 30:36.584
sort of— because she said like, we'll come back in 6 weeks or whatever the

30:36.858 --> 30:39.604
judge does to like finish this up. And he's like, well, actually my client would

30:40.104 --> 30:43.330
prefer a faster resolution. And like, what's the hurry? And he says he's considering

30:43.378 --> 30:46.910
remarriage, which is Holy shit, dude, like really? Like you're not even—

30:47.410 --> 30:49.570
In front of your kid too. Plus like you're not even fully divorced yet and

30:50.070 --> 30:53.790
you're already looking to remarry the woman you're dating. That just seems wild. But that

30:54.290 --> 30:57.890
gets dropped, which is like a huge, you know, obviously bummer because we just had

30:58.390 --> 31:00.950
Phyllis sort of interact with Freddie in a way that leads us to believe she'd

31:01.450 --> 31:04.230
still like to stick together. Yeah. And she even says kind of leaving the court,

31:04.730 --> 31:07.630
like, I did guess before now I didn't really think we were gonna be done.

31:07.930 --> 31:10.630
Like I thought that we'd figure this out. Yeah, it didn't feel real until then.

31:10.898 --> 31:14.383
So, um, yeah, and when they showed up to the court, of course Hannah says

31:14.415 --> 31:17.417
hi to Freddie. Yeah, hi Dad. And then one of the other girls says hi

31:17.546 --> 31:21.287
Dad, and it's Freddie's lawyer's kids.

31:21.383 --> 31:24.884
Small town Beverly Hills. Uh, we get white woman in

31:24.932 --> 31:28.047
headdress alert. White woman in feather headdress alert. Yeah, not good.

31:28.127 --> 31:31.804
Uh, which is talking about turquoise jewelry. Um, but basically with the kids,

31:31.820 --> 31:34.951
they're like, all right, we're gonna have a patch ceremony. You guys are getting your

31:35.451 --> 31:38.911
patches. I'm very proud of you. Uh, all I need from you is $7.50 for

31:38.959 --> 31:42.180
the patches and then we'll do this. And of course, Emily, who we saw earlier,

31:42.260 --> 31:45.528
she was being dropped off, uh, not in the front of the event but a

31:46.028 --> 31:49.374
little further away by her dad, who seems like a maybe a washed-up

31:49.874 --> 31:52.914
actor type guy, you know, definitely like, uh, struggling financially.

31:53.299 --> 31:56.455
And she runs off because she can't afford the $7.50. Yep.

31:56.519 --> 32:00.172
Right. So far in this movie, we've had money mentioned like 3 times,

32:00.749 --> 32:04.594
and one was that, um, on a whim, Phyllis was just buying a $5,000

32:05.094 --> 32:07.628
dress and all this stuff. So this is a good time when your kid's watching

32:07.660 --> 32:11.259
the movie where the kid will definitely say to you, why don't they just help

32:11.759 --> 32:13.604
her with the money? And this is a good time to teach your kids some

32:14.104 --> 32:17.925
stuff. Oh yeah, like what? What you can explain about society, why they don't

32:17.941 --> 32:20.157
help them, or explain maybe why they should.

32:20.687 --> 32:23.852
So what I love too, it's one of the other kids comes up and hands

32:24.352 --> 32:28.125
her a $10 bill to like cover the cost, and it's like so clueless,

32:28.205 --> 32:31.578
like ridiculous. And I mean, throughout the movie and whatever, it's a fantasy

32:32.078 --> 32:35.290
thing, but it's funny that they're doing things where it's like like, okay, to get

32:35.790 --> 32:39.690
the word out about this $4,000 we need to raise—

32:40.190 --> 32:43.510
I don't know how much per box they put these on— but, uh, we're gonna

32:44.010 --> 32:47.950
have a $50,000 gala. And then to celebrate that we raised $8,000,

32:48.270 --> 32:51.120
we're gonna have a $200,000 black-tie thing.

32:51.470 --> 32:54.930
It's— I mean, it's very in line from what I— what you know about how

32:55.430 --> 32:58.510
this stuff works sometimes. So it's really funny. But poor Emily, you know? Yeah.

32:59.010 --> 33:02.535
I mean, it is a weird situation. Like, we grew up in an area where,

33:03.065 --> 33:07.080
you know, it was a pretty affluent suburb and there would definitely be

33:07.305 --> 33:10.661
kids in Emily's position where it's like, well, I'm on the soccer team, I'm on

33:10.693 --> 33:13.150
this and that with all these kids, and I have to keep up with their

33:13.182 --> 33:16.458
parents' ability to spend. Right. Like, that's really stressful

33:16.958 --> 33:19.685
and crazy. This is an extreme example. It's fucking crazy. But yeah, I mean,

33:19.765 --> 33:23.154
it is because you're talking about such a low dollar amount as well, but it's

33:23.218 --> 33:25.771
for effect and it works. And it's a kids movie. And I think it's giving

33:25.803 --> 33:28.613
a dollar amount that a kid could conceptualize. Yeah,

33:28.662 --> 33:31.548
there's that too. Yeah. But so we go to the patch ceremony, it's on a

33:31.564 --> 33:34.449
boat at the marina or whatever. And of course, totally makes sense,

33:34.529 --> 33:38.070
divorce isn't final yet, but Freddie brings his girlfriend to his daughter's

33:39.000 --> 33:42.862
fucking Girl Scout ceremony, which is like the— Wild.

33:43.086 --> 33:46.355
The most indefensible choice by any

33:46.467 --> 33:49.912
character in this movie. And I'm including everything Velda does in that

33:50.412 --> 33:54.255
statement, is Freddie bringing his girlfriend to this ceremony. That makes no sense whatsoever.

33:54.544 --> 33:58.270
You're better off not going. than bringing the girlfriend when you're not

33:58.770 --> 34:01.770
fully divorced. It's just— I just— it's amazing to me. And I mean,

34:02.270 --> 34:05.770
ultimately it was Freddie's call to make because it was his girlfriend's

34:06.270 --> 34:09.310
thing. It seems from her personality, she definitely,

34:09.810 --> 34:13.050
uh, she definitely really wanted him to bring her to this thing. Yeah, right.

34:13.550 --> 34:16.710
Like, not at all. Bring me around. But no, 'cause she's— but she hates kids

34:17.210 --> 34:19.570
and it's like— I know, but I think she's also— she's like, I hate everyone,

34:20.070 --> 34:22.210
but if you go without me, I'm gonna fucking kill you. Well, that's true.

34:22.710 --> 34:25.790
No, it does seem like that. One of the patches that they had, uh,

34:26.290 --> 34:29.590
was a sushi appreciation patch. Which I really enjoy. That's very '80s. My daughter can

34:30.090 --> 34:33.286
get that one. That's a good one. Reminds me of Breakfast Club. There's some

34:33.786 --> 34:37.032
sushi appreciation there too. Right. We're in the sushi is for snobs

34:37.064 --> 34:38.565
era. Yes, for sure. Absolutely.

34:40.872 --> 34:44.551
So Freddie's girlfriend, it's just kind of a weird scene of

34:44.906 --> 34:48.238
she just manages to fall off the boat. She gets bumped lightly and

34:48.414 --> 34:51.628
falls completely off the boat into the water. And worst joke in

34:52.128 --> 34:54.343
the movie, but I still kind of chuckled. He's like, throw me a lifesaver.

34:54.697 --> 34:57.623
And Phyllis goes to her purse and says, butterscotch or mint or wintergreen or whatever.

34:58.430 --> 35:01.550
And it's like, oh, come on. I think that the

35:02.050 --> 35:04.690
whole awkward fall off the boat was there to set that joke up. To do

35:05.190 --> 35:08.590
that joke, yes. I mean, 100%. Not worth it. And for

35:09.090 --> 35:12.170
'89, I don't know when Lifesavers dropped, but that might have been like, yo,

35:12.670 --> 35:15.630
I never thought of that. Very topical. Because it's funny because it's like, yeah,

35:16.130 --> 35:19.370
they're called that because they're shaped like the real thing. The little booties.

35:19.490 --> 35:22.710
Yeah. It's funny when people are like, oh, he puts the urban in

35:23.210 --> 35:26.610
suburban. It's like, no, they're the same fucking root. You're not

35:27.110 --> 35:30.682
making up a new thing. Oh my God. So, uh,

35:30.778 --> 35:33.696
so yeah, that scene could have been a little bit better. But, you know,

35:33.952 --> 35:37.928
uh, Plunder now— or Plunder has— Herman's not doing

35:37.976 --> 35:41.599
enough just like being the assistant scout leader. She's like, I need you to move

35:41.647 --> 35:45.077
in with Phyllis. That's right. Yeah. Again, crazy levels of obsession.

35:45.189 --> 35:49.085
Yeah. Because all they've managed to do is award themselves a bunch of invalid

35:49.117 --> 35:52.563
patches so far, and she's so threatened by this. She's like, okay, I need my

35:53.063 --> 35:55.737
Peppermint Patty now to go move in with, uh, Phyllis. Well, before that happens,

35:55.769 --> 35:59.761
they show Velda brings the, uh, photos that Herman has taken so far to the,

35:59.777 --> 36:02.999
like, that older woman who's like the head wilderness girl, whatever. And like, look at

36:03.499 --> 36:05.933
all these horrible things they're doing, and they do patches about this, and there's like

36:06.190 --> 36:09.637
you know gluttony and and consumerism and da da

36:10.137 --> 36:12.988
da whatever. And she's like, it looks like she's engaging them and has them interested

36:13.488 --> 36:16.211
in things, and they're learning. Like, what is wrong with you? And that's when Velda's

36:16.711 --> 36:19.000
like, well, we gotta up it. I need more ammunition, so you gotta move in

36:19.500 --> 36:23.121
with her. And so yeah, it's something like Herman says something like, getting her

36:23.201 --> 36:27.370
apartment fumigated and needs to be you know not in there for weeks

36:27.870 --> 36:30.705
or something, whatever excuse she gives. But she moves in with.

36:31.553 --> 36:34.368
with Phyllis. Yeah, yeah. And she,

36:35.414 --> 36:38.469
you know, it's kind of like Phyllis is very, you know,

36:38.486 --> 36:41.368
she's very cool with her, although she didn't immediately think like,

36:41.950 --> 36:45.801
I'm not even gonna mention the $750, I'll just cover it. But whatever.

36:46.868 --> 36:50.521
So one of the girls, I wrote down Chica.

36:50.585 --> 36:54.058
Chica. Okay, what's Chica? Carla Gugino's character is— yeah,

36:54.123 --> 36:57.339
Chica. And she's the one who was dropped off alone in a limo to start

36:57.839 --> 37:01.056
everything off. And it turns out, you know, her parents are in Monte Carlo or

37:01.556 --> 37:05.115
something, and it's her birthday. They've forgotten her birthday, and they kind of get together—

37:05.615 --> 37:08.324
like Phyllis and the housekeeper and Hannah get together, and they like whip up a

37:08.824 --> 37:11.661
quick— a little birthday— what? I don't know. What is it? I couldn't tell.

37:11.725 --> 37:13.650
I couldn't tell either. I have no idea. I don't know if that was a

37:13.714 --> 37:17.211
pastry, if that was like an enormous empanada, if that was— I have no

37:17.308 --> 37:20.548
clue what that was. It's something either candles in it. Yeah,

37:20.789 --> 37:23.885
it's either a coffee cake or a lasagna, but they have it for her birthday.

37:23.950 --> 37:27.130
Was it a yule log? What was that?

37:27.435 --> 37:31.033
It literally looks like a— like, like the bouche de Noël from

37:31.533 --> 37:33.956
French class. Yeah, it's very strange. It might have been a piece of candles stuck

37:34.020 --> 37:36.879
into it. Yeah, exactly. It's something that the wife from The Ref would have made

37:36.895 --> 37:39.850
for their Christmas dinner, right? Very Scandinavian.

37:40.686 --> 37:43.786
Um, so yeah, so then we go to cookie distribution

37:43.818 --> 37:47.383
day. So all of the troops for the SoCal Wilderness Girls are

37:47.512 --> 37:51.330
there, uh, and Velda's talking about, uh, You know, well, how many

37:51.830 --> 37:54.550
boxes are you gonna take? 'Cause you gotta take a certain number and then you

37:55.050 --> 37:58.110
gotta sell them. And if you sell 1,000 boxes, you get to go to

37:58.610 --> 38:01.090
the jamboree. And the jamboree is the big, like, sort of competition at the end

38:01.590 --> 38:04.850
of the year or something, whatever it is, or in the summer. And so the

38:05.350 --> 38:08.710
first group is like, we'll take 48 boxes, which is like, why? Why even

38:09.210 --> 38:11.910
bother if the goal thing is 1,000? Between how many kids in a troop?

38:12.410 --> 38:15.310
Every troop's like, what, 12, 15 kids? And they're not talking cases. They're talking about

38:15.810 --> 38:18.260
the boxes in the cases. And I think they sell for $2 apiece. So they're

38:18.760 --> 38:21.980
talking about $96 worth of cookies is what they were gonna take, which is insane.

38:22.260 --> 38:25.660
So then the Red Feathers, who are, you know, again, Velda's daughters' group,

38:26.160 --> 38:28.780
I think they asked for $2,000, right? 'Cause $1,000's the goal to get to the

38:29.280 --> 38:32.440
jamboree. So we'll take $2,000. And, you know, Phyllis is not gonna

38:32.940 --> 38:36.600
be undone. She goes up to talk to Velda, and Velda's like, you're gonna give

38:37.100 --> 38:39.580
back all your patches 'cause they're not real. You're gonna blah, blah, blah. And so,

38:40.080 --> 38:41.900
you know, Phyllis is like, I'm so sorry, girls. Like, whatever. And the girls are

38:42.400 --> 38:45.581
super fucking cool about it. Yeah. Look, we're having fun. We got to do

38:45.613 --> 38:47.699
all this stuff. I don't care about it. One of them says something about like,

38:47.715 --> 38:50.544
too many accessories clutters an outfit. It's like, you know, so they got their own

38:51.044 --> 38:52.888
vibe on it, which is great. But yeah, they're super cool about it. And they

38:52.953 --> 38:56.303
give back the patches. And then Phyllis is like, we'll take 4,000 boxes. And Feld

38:56.803 --> 38:59.572
is like, yeah, right. Like, no, we'll take 4,000 boxes, bitch.

38:59.685 --> 39:03.288
Like— Yeah. No, it was good that they— although the movie

39:03.320 --> 39:07.007
is kind of celebrating how like the rich kid troupe is always gonna

39:07.088 --> 39:10.292
outsell boxes, you know, no matter what, because their dads

39:10.469 --> 39:12.931
own some insurance company and they'd be like, hey, you're fired if you don't come

39:12.948 --> 39:16.496
buy a box It's cookies for my dog. There's a weird

39:16.560 --> 39:20.111
combination of both, uh, making rich people the butt

39:20.611 --> 39:24.240
of the joke and then also like applauding everything that the rich

39:24.272 --> 39:28.049
people do in this movie that is like weird and kind

39:28.549 --> 39:31.714
of very '80s, like, you know, but it's very strange. It's the fundraising

39:31.810 --> 39:34.791
mentality. It's all screwed up. Um,

39:34.888 --> 39:38.923
so the girls are starting to go, uh, starting to go door to door

39:39.004 --> 39:42.055
in the neighborhood, uh, to sell, and we see a familiar face. That's right.

39:42.497 --> 39:45.885
At one of the doors, it is answered by Milwaukee Bucks

39:46.385 --> 39:49.513
and LA Lakers great Kareem Abdul-Jabbar. Lou Alcindor answers

39:50.013 --> 39:52.901
the door, and it's not even a David Zucker movie. And I did want to

39:52.949 --> 39:56.209
point out, Steve, and I'm sure you had the same prediction, we're now— this is

39:56.257 --> 40:00.223
our 68th episode, right, 2 Dads 1 Movie, which strictly

40:00.255 --> 40:04.028
covers the films of the '80s and '90s. 68 episodes in, we have

40:04.528 --> 40:07.849
seen Kareem Abdul-Jabbar 4 times. We have seen Tom Cruise 0 times.

40:07.930 --> 40:10.970
We have seen Tom Hanks zero times. We've seen Dustin

40:11.470 --> 40:14.510
Hoffman zero times. We've seen Jack Nicholson zero times. Yeah, so I think we have

40:15.010 --> 40:17.650
our priorities right. We got to get more Jabbar in this thing. Yeah, that's,

40:18.150 --> 40:21.190
that's— we got to get more Kareem. It's like Kareem, Kareem, Kareem. And you know,

40:21.690 --> 40:23.230
I mean, I mean, geez, like, have we even seen— I'm trying to think who

40:23.730 --> 40:26.550
else, but like, you know, like, we did see— we've seen Bruce Willis, Sylvester Stallone,

40:27.050 --> 40:29.430
Arnold Schwarzenegger, Keanu Reeves. We've got a few of the major ones covered. Yeah,

40:29.930 --> 40:32.850
but yeah, those— the, the Toms in particular. You're right, we haven't seen him.

40:33.350 --> 40:36.090
Have we not seen Kevin Costner? Oh geez, see, that's just not accept— no,

40:36.590 --> 40:39.160
wait, No, that was a bacon. Different Kevin. Yes, we've seen it go one Kevin

40:39.660 --> 40:42.160
but not the other. Man, it's not cool. Right? We really got to up our

40:42.660 --> 40:46.120
game and and and stop leaning into Kareem. And it's not like he's in a

40:46.620 --> 40:49.580
thousand movies. I mean, we're doing a very high percentage of the stuff.

40:50.080 --> 40:53.660
That's true. That's really true. So Kareem again must be like

40:54.160 --> 40:57.260
well liked in those circles. It seems like he's a cameo in all this stuff

40:57.760 --> 41:01.280
and good shit. Very like visually like easy to identify too.

41:01.780 --> 41:04.040
Yeah. If you see him, even if you're not a basketball fan, you're just like

41:04.540 --> 41:06.240
that's a guy. Well, he also generally aged because we've seen him from you know

41:06.740 --> 41:10.629
airplane. In 1980 to basketball in 1998,

41:10.645 --> 41:13.278
he looked basically the same. Yeah, which is pretty amazing. And we saw him in

41:13.294 --> 41:16.056
Fletch and in this kind of in between those two, but like pretty wild.

41:16.120 --> 41:19.395
Uh, so good, good for him, at least at that time. But basically the crux

41:19.895 --> 41:21.965
of this scene is that every person they go up to, including Kareem and a

41:22.465 --> 41:25.513
couple of their neighbors, they've already bought boxes from your friends with the little feathers

41:26.013 --> 41:28.901
in their hats or whatever, right? So the Red Feather troop is going around the

41:29.401 --> 41:32.385
neighborhood in Beverly Hills just to try to sell to those people first, which is

41:32.417 --> 41:35.650
totally within the spirit of all of this and makes a lot of sense,

41:36.150 --> 41:38.680
and it's definitely not foul play. It's just like, why is this happening?

41:39.070 --> 41:41.830
The— yeah. It's shady as hell.

41:42.330 --> 41:45.930
Um, and yeah, they're scooping, they're scooping the neighborhood.

41:46.430 --> 41:49.450
I mean, they could have the Beverly Hills kids going to the, uh, non-Beverly Hills

41:49.950 --> 41:52.530
neighborhoods to sell, but why would they do that? It's, you know, can't do that.

41:52.780 --> 41:56.850
It's just, it's just ugly. Um, so, so Fred is telling his

41:57.350 --> 42:01.190
girlfriend, uh, like, now I think they're having the ceremony to see

42:01.690 --> 42:03.690
like how many cookies they sold, right? Well, it's— no, so now it's like she's

42:04.190 --> 42:07.570
got all the— To promote the sale. Yeah, Phyllis has brought all the other parents

42:08.070 --> 42:10.370
over to have like a meeting, and it's basically like, hey, we couldn't go door-to-door,

42:10.870 --> 42:12.590
so we got to think of some other stuff to do. So we want to

42:13.090 --> 42:15.090
do like a concert, we want to do like a thing. She's got these ideas,

42:15.230 --> 42:17.490
and the parents all kind of come together. And because even one of them says,

42:17.990 --> 42:19.830
why don't we just buy them? And to Phyllis's credit, she says, that's not the

42:20.330 --> 42:22.910
point. Like, they're supposed to like do stuff to try to sell these. They're supposed

42:23.410 --> 42:26.110
to like, you know, do this themselves. So we could obviously just buy them,

42:26.610 --> 42:29.450
but like, that's missing the point. Which is like, kudos. Like, so many rich parents

42:29.950 --> 42:31.750
in that moment would just be like, yeah, let me just cut a check for

42:32.250 --> 42:35.699
$5,000. Here you go. Right. Boxes or whatever. And so that's cool. Um,

42:35.715 --> 42:38.888
but Freddy shows up, drops off Hannah— apparently she was spending time with him—

42:39.384 --> 42:43.390
uh, and then goes back. His girlfriend is honking the car horn just incessantly,

42:43.470 --> 42:46.306
like, what's going on? That took long enough. Like, she's so horrible.

42:46.755 --> 42:48.966
And, and he's like, hey, it's for Hannah. Like, you know, you know, she'll always

42:49.014 --> 42:51.418
be my wife. And she's like, what? She'll always be my daughter. It's like,

42:52.043 --> 42:55.407
you said wife. Like, which is like, I get what they're doing with the slip,

42:55.488 --> 42:58.868
that, that he meant Phyllis, but it does mean he actually said Hannah will

42:59.368 --> 43:02.537
always be my wife, which is like another entirely weird Yeah.

43:02.858 --> 43:06.415
But the idea is that he still thinks of Phyllis as his wife in some

43:06.703 --> 43:10.580
subconscious way, and the girlfriend clocks it. And you get the sense that they're

43:11.080 --> 43:14.746
not lasting very long at this point. Yeah. And yeah, I mean, the girlfriend has

43:14.890 --> 43:17.934
done nothing positive the entire time except for look

43:18.434 --> 43:21.298
good and have a Porsche. Which honestly, if I had those 2 things going for

43:21.798 --> 43:24.598
me, my life would be a lot better. She's got about as much dimension to

43:24.647 --> 43:28.444
her as the cutout of the owner of the Indians in Major League.

43:28.492 --> 43:31.327
Not the actual character, just the cutout. Yeah.

43:31.873 --> 43:35.069
Yeah, uh, we've got a song here. I think

43:35.085 --> 43:38.651
it's an original song. I don't know. Cookie Time. It is original. It's a

43:38.699 --> 43:43.004
fucking banger, man. We got the great, uh, performance here with the kids doing

43:43.020 --> 43:46.537
this performance of their Cookie Time song. Uh, one girl in a Tina Turner

43:46.553 --> 43:49.926
wig just really belting it out, just doing a fantastic job.

43:50.488 --> 43:54.086
And there's a good montage here where we're selling cookies and they're setting up different

43:54.102 --> 43:58.504
places. One place they set up outside the Jane Fonda workout place Again,

43:58.536 --> 44:02.408
a joke, a rough joke, but a very '80s joke. So of course all

44:02.908 --> 44:05.285
the women who are into fitness walk right by it, but the second they set

44:05.785 --> 44:09.061
up the cookie thing, all these fat ladies in their workout clothes run up and

44:09.561 --> 44:12.564
buy the cookies. Lovely. Easy, low-hanging fruit. I mean,

44:12.660 --> 44:16.067
that joke today would be outside a dispensary, right? That's— you do that joke

44:16.567 --> 44:18.140
and it would be a little less offensive, but you do it right outside of

44:18.640 --> 44:22.076
every dispensary today and that would still hit. There's a point where they're walking around

44:22.576 --> 44:25.610
like those like old like cigarette You know trays of cigars, cigarettes,

44:26.110 --> 44:28.910
cookies, and it's like I really hope you don't have children selling cigars and cigarettes.

44:29.410 --> 44:31.970
That seems bad, but you know the '80s. What are you gonna do? And then

44:32.470 --> 44:35.810
they do a fashion show, and Robin Leach is hosting. Yep. Pia Zador

44:36.310 --> 44:39.740
is like one of the models, and then who's the second one?

44:39.930 --> 44:43.050
Gosh darn it! Before Phyllis and after Pia, there's somebody else.

44:43.550 --> 44:47.350
Oh man! Oh, Dr. Joyce. Oh, Dr. Joyce Brothers. That's right. Other '80s

44:47.850 --> 44:50.970
people we have in this scene: we've got Cheech Marin. Yep. Cheech Marin is a

44:51.470 --> 44:53.904
guest. Not. '80s person, but just a guy. Uh, Ted McGinley, very '80s guy.

44:53.952 --> 44:57.401
Love Ted McGinley though. But here's the thing, yes, very '80s guy,

44:57.417 --> 45:01.027
but very right now too. Derek on Shrinking, like one of the best

45:01.527 --> 45:04.508
characters on television. Like, uh, what a run that guy's had. Oh my God.

45:04.556 --> 45:08.198
Like, it was a joke about him being added to failing TV shows in

45:08.698 --> 45:11.471
like the mid-'90s. That was like a running joke. And he's like, look at me

45:11.535 --> 45:14.663
30 years later still being in something constantly. Right. Like,

45:14.808 --> 45:17.214
and just killing it, right? Really killing it. Yeah.

45:18.497 --> 45:21.845
And let's see, so we are— we have

45:21.877 --> 45:25.659
the fashion show, and again, they end up selling a lot

45:26.159 --> 45:29.216
of boxes of cookies. And I think they announce, you know, how many boxes everyone

45:29.264 --> 45:32.325
sells. So they sold 4,732 boxes.

45:32.373 --> 45:35.850
But before that, I noticed the string quartet or whatever at the

45:35.882 --> 45:39.359
fashion show is playing an instrumental version of that Cookie Time

45:39.859 --> 45:43.525
song. It's the exact same tune and melody. It's really great. Funny. And then Robin

45:43.589 --> 45:46.795
Leach does the sign-off at the fashion show. with khaki

45:46.859 --> 45:50.646
wishes and cookie dreams, which is like

45:51.146 --> 45:55.219
chef's kiss, Robin, way to go. He had such like a Michael Buffer style career.

45:55.363 --> 45:57.883
Oh yeah. Where you just get known as being like a guy who says certain

45:58.383 --> 46:01.525
stuff and then they could plop him in anywhere. Exactly. But yeah, but Velda is

46:01.621 --> 46:05.312
there to collect the check that represents these over almost 5,000

46:05.328 --> 46:09.628
boxes, uh, are, are there. And, and, you know, Freddie is,

46:09.965 --> 46:12.484
uh, Freddie shows up and is— and wants to talk to Phyllis about something.

46:12.532 --> 46:14.700
And we get the sense that like, you know, Does he want to get back

46:15.200 --> 46:18.490
together? He even says he's not with Lisa anymore. You know, that's done.

46:19.020 --> 46:21.989
Um, but instead he really just wants to talk about Hannah,

46:22.320 --> 46:26.700
you know, having joint custody, basically. It's very deflating to Phyllis, and she falls

46:27.200 --> 46:30.600
into the pool, I believe. And it's weird, like, the way he'd been acting

46:31.100 --> 46:34.760
with her the whole time. Yeah, I mean, as a viewer, it's supposed to

46:35.260 --> 46:37.380
be misleading to you because you have to be surprised by the movie, but it

46:37.880 --> 46:41.380
also doesn't feel like that would happen that way in real life. Which feels

46:41.880 --> 46:43.800
very unfair. Unless he's trying to fuck with her. Exactly. It feels very unfair.

46:44.760 --> 46:48.648
Um, so yeah, he's, you know, just brings up custody and she

46:49.148 --> 46:52.376
falls into the water. And immediately, you know, like when she said, who gives

46:52.876 --> 46:54.603
a shit, when his girl fell in the water, she's like, oh, I'm drowning,

46:54.635 --> 46:57.739
and then realizes it's like 2 feet of water. Exactly. Uh,

46:58.418 --> 47:01.959
so she, she tries to get out of the pool with some sense of dignity

47:01.991 --> 47:05.401
left. Um, we cut to Hannah is now hanging out at her dad's.

47:05.449 --> 47:08.293
She, you know, leaves and goes to her dad's. They're playing Nintendo in like a

47:08.793 --> 47:11.119
bachelor pad on the beach sort of thing is what it looks like, you know?

47:11.281 --> 47:15.215
Yeah, it's like, um, Um, what is it? It's like the fake,

47:15.442 --> 47:18.925
uh, beachside trailer that the fake Mel

47:18.942 --> 47:22.179
Gibson lives in in National Lampoon's Loaded Weapon 1,

47:22.341 --> 47:25.836
where it's like the most amazing, uh, place. Yeah, I really love it.

47:25.901 --> 47:30.004
And it's total dad stuff, except that I'm in a $5 million condo,

47:30.020 --> 47:34.126
but also like I can't afford furniture. I don't have furniture. Milk crate coffee

47:34.626 --> 47:38.151
table or whatever. Like, yeah. Uh, and he's just like, you know,

47:38.280 --> 47:41.520
it seems like Hannah's Like, you're just trying too hard. Like, you don't have to

47:42.020 --> 47:45.680
entertain me all the time. And it shows the difference, like what she's getting from

47:46.180 --> 47:49.460
Phyllis now, who's like exposing her to things that she's unfamiliar with, instead of

47:49.960 --> 47:52.850
Dad who's just trying to shower her with things that he knows she likes.

47:52.980 --> 47:55.140
Exactly. Like, hey, this is how I can— you can tell I can— I still

47:55.640 --> 47:57.840
care. I still care because I'm buying this stuff and I'm playing with you or

47:58.340 --> 48:00.420
doing it. And it's like— And shows that he doesn't know what to do.

48:00.920 --> 48:02.960
So at some point he's gonna need a wife to help him learn how to

48:03.460 --> 48:07.080
parent this kid. Seems like it. Uh, meanwhile, Velda has come to visit Phyllis

48:07.580 --> 48:10.757
and basically tell her that, you know, you're worthless and you need to

48:10.773 --> 48:14.357
quit and the jamboree is no joke. And so, you know, like, don't show up,

48:14.485 --> 48:18.101
basically. And Phyllis, for whatever reason, like, is getting sunken

48:18.601 --> 48:21.523
enough in her depression between Freddie and then Hannah being gone. She's like watching home

48:21.620 --> 48:24.930
movies and crying. Yeah. And then Velda comes and talks shit and all this kind

48:25.430 --> 48:29.799
of stuff. And so Phyllis is now in bed with bottles of Avion strewn

48:30.072 --> 48:33.655
left and right, which you'll notice for today. Oh, nice. Yeah, I got my own

48:33.704 --> 48:37.041
bottle of Avion for today. Um, but yeah, like as if it were bottles of

48:37.057 --> 48:40.232
liquor, like she's getting drunk off of. It's a funny gag and

48:40.732 --> 48:44.096
it's a nice— it's a nice thing that keeps this PG while also improving the

48:44.596 --> 48:48.282
movie. Um, again, in the '80s it

48:48.782 --> 48:52.034
was a trope like, oh, water bottle, what are you, a rich person? What are

48:52.534 --> 48:55.546
you, a wimp? Nobody drinks, uh, water out of a bottle. And they got made

48:55.562 --> 48:58.801
fun of for Evian enough that they were like, you know what, now I own

48:59.010 --> 49:02.249
all the municipal water and I bottle it and sell it to your bitch ass.

49:02.313 --> 49:05.039
What do you think of that? So that's the situation we live in now.

49:05.119 --> 49:07.950
So maybe we have to be nicer to Evian. to these people. Maybe. Yeah.

49:08.450 --> 49:11.730
Um, yeah, so Phyllis— Phyllis is— she wants to quit, but the

49:12.230 --> 49:14.670
kids, they want her back. And the kids are actually kind of getting together like,

49:15.170 --> 49:17.910
hey, we're a team. Yeah, we can win this. And the thing at the jamboree,

49:18.410 --> 49:21.490
it's kind of like a hiking race, or I don't know. It's essentially the way

49:21.990 --> 49:23.790
it works is like there's a spot you have to hike to, and then you

49:24.290 --> 49:26.490
have to set up camp and stay overnight, and then you have to hike back

49:26.990 --> 49:30.110
to this other spot. And it's like this pathway marked with these little flags that

49:30.610 --> 49:33.770
in each, uh, uh, troop has their own route, um,

49:34.270 --> 49:36.330
which of course immediately seems unfair. Somebody's gonna have an easier time and somebody's gonna

49:36.830 --> 49:40.070
have a harder time, but that's how it works. And so everybody's got like

49:40.570 --> 49:43.430
colored armbands or whatever and these little flags they follow. But yeah, the girls,

49:43.930 --> 49:45.910
before all that starts, the girls are basically just like, no, like, you know,

49:46.410 --> 49:49.190
you've gotten us this far. Like, we have no reason to stop. Like, why would

49:49.690 --> 49:52.370
we stop? Like, let's just keep going. Let's just try. Like, you know, yeah,

49:52.870 --> 49:56.330
so maybe we're not the most outdoorsy or the most whatever, but like,

49:56.830 --> 49:58.750
fuck it, let's try. We're having fun with this. Yeah, we're having a good time.

49:59.250 --> 50:02.870
And you've shown us that you can't succeed if you don't show up and try.

50:03.370 --> 50:06.310
Like, you know, to Phyllis's credit, right, from the first moment she took them to

50:06.810 --> 50:08.230
get the uniforms. None of the leaders had ever even taken them to get the

50:08.730 --> 50:12.650
uniforms. By trying, they got somewhere. And it's a

50:13.150 --> 50:15.910
simple message, but it's a very good one. And so they convince her to stick

50:16.410 --> 50:19.710
it out. And so we cut to the actual jamboree, and everybody but the Beverly

50:20.210 --> 50:23.370
Hills troupe is there, and Velda's screaming instructions to everybody. And, you know,

50:23.870 --> 50:26.770
of course, the Red Feathers have, like, red armbands, and then the blue armbands for

50:27.270 --> 50:30.570
the Beverly Hills team are just there 'cause they didn't show up. And Velda,

50:31.070 --> 50:33.750
of course, very, very proud of herself that she got an entire group of children

50:34.250 --> 50:37.570
to not participate in the thing that they earned their way to. Very important that

50:38.070 --> 50:39.910
they don't get to do that. 20 little girls, you're not gonna have fun today.

50:40.410 --> 50:43.179
Exactly. Perfect. Thanks to my hard work. That's how it should go. And she ends

50:43.679 --> 50:45.830
up calling— so as they're kind of like, the Troop Beverly Hills is like,

50:45.910 --> 50:49.010
no, wait, wait, we're here, you know. And they got a couple of Rolls-Royces pulling

50:49.026 --> 50:52.897
up, but the race just starts anyway. And Velda shoots the firing pistol in the

50:53.397 --> 50:57.572
air and totally Randy Johnsons a fucking bird with it. But it's a starter pistol.

50:58.021 --> 51:01.250
Clearly a starter pistol with like no barrel at all. Like,

51:01.266 --> 51:04.302
you could see that it's not a barrel. Like, and yet, you know what,

51:04.463 --> 51:07.520
fits a hashtag which I think we should add to the last film. Too many

51:08.020 --> 51:12.660
bullets. Too many bullets. Yeah, this should have been zero. It's one.

51:13.160 --> 51:16.580
Guns firing far more bullets than they ought to. Yeah, and this one would

51:17.080 --> 51:20.940
count. Yeah. Um, there's some nice— so the Troop Beverly Hills, they've got

51:21.440 --> 51:24.480
their kind of like beach-looking backpacks and stuff. Yeah, it's kind of like from the

51:24.980 --> 51:27.440
craft fair sort of almost. Yeah, that's the thing that they had earlier. And,

51:27.940 --> 51:31.060
uh, there's some fun gags of them like using a tennis racket as a machete.

51:31.560 --> 51:35.040
Yeah, yeah, through the woods and everything. But the Red Feathers, as they're getting ahead

51:35.540 --> 51:38.400
of them, they're turning the flags to the other direction. So they're being pointed in

51:38.900 --> 51:43.020
the wrong direction. And they end up lost. And there's like a big swamp

51:43.520 --> 51:45.900
that they're in. There's a water moccasin that they come across. It's actually a really

51:46.400 --> 51:48.880
funny kind of scene where I would have to skip forward if I was watching

51:49.380 --> 51:52.460
with my wife because she is horrifically afraid of snakes. So we skip things

51:52.960 --> 51:55.720
in media where there are snakes. But there's a funny scene— You're such a big

51:55.760 --> 51:59.020
Indiana Jones guy and you guys still made it work. Yeah, you know,

51:59.520 --> 52:01.260
it's like, what are you gonna do? She's your Indiana Jones. She is. She's my

52:01.760 --> 52:02.900
Indy. She doesn't like snakes. I like it. Why did it have to be snakes?

52:03.400 --> 52:06.660
So, but no, so Andy, Annie Herman, you know, who, who, by the way,

52:07.160 --> 52:08.780
I don't know if we ever mentioned like earlier, like she threw away the spy

52:09.280 --> 52:11.120
stuff. There was a point in, in, I think when the Red Feathers were— That's

52:11.620 --> 52:13.920
right. Were going around Beverly Hills and kind of cheating that way. She threw away

52:14.420 --> 52:17.860
the spy stuff and dug in with Phyllis basically. Um, and, but she is,

52:18.360 --> 52:21.580
is removed from helping, right? Phyllis says like only the troop leader,

52:22.080 --> 52:24.500
no assistant troop leaders, whatever. So you can, but they've got walkie-talkies and she's trying

52:25.000 --> 52:27.480
to help them out. Like she's up on a high, you know, hill somewhere so

52:27.980 --> 52:29.760
that she, you know, hopefully she'll be able to get reception wherever she is.

52:29.840 --> 52:33.060
And she's like, and So Phyllis is able to call her and go, um,

52:33.560 --> 52:36.740
because she sees a snake, she goes, are there rattlesnakes in swamps? And he's

52:37.240 --> 52:39.400
like, oh no, no, rattlesnakes hate the water, which is totally accurate. That's a desert

52:39.900 --> 52:43.020
snake basically, right? She goes, but water moccasins are in swamps.

52:43.220 --> 52:47.080
And they run off. And I think that's funny when it's like almost you're okay

52:47.580 --> 52:51.040
and then no, you're very much not okay. Yeah, yeah. I just like by default

52:51.540 --> 52:54.760
get away from any snake. That's honestly safe. That's the safer move.

52:55.260 --> 52:58.480
Um, yeah, so they encounter, they encounter this snake and then as they're running they

52:58.980 --> 53:02.456
see a skunk. Oh, that's right. And they start running from the skunk,

53:02.536 --> 53:06.102
right? So as they're running from the skunk, and we're— and, uh, Velda is there

53:06.391 --> 53:09.941
kind of at the finish line of the first half of the, the campsite there,

53:10.471 --> 53:13.282
and she sees the Red Feathers off in the distance. Ha, there they come,

53:13.298 --> 53:16.799
they're gonna win by a mile. But then Troop Beverly Hills, like screaming,

53:16.912 --> 53:20.221
busts into the scene from the woods on the side, running from the skunk.

53:20.269 --> 53:23.562
Yes. So Velda, like, looks at the skunk, she's like, I picks it up,

53:23.578 --> 53:27.016
I'm gonna get revenge on And then the next scene she's wearing like a skunk

53:27.516 --> 53:30.646
skin cap, and there's a little a little rodent on a spit over the fire

53:31.146 --> 53:34.069
as well. So she's cooked and it's eating and is wearing the skunk, which like

53:34.569 --> 53:36.752
what do you think skunk tastes like? Good Christ, it probably tastes like how it

53:37.252 --> 53:40.093
smells is is what what my guess would be because there's no way the meat

53:40.110 --> 53:43.403
wouldn't involve something. It would have to get affected by that. It's a gland

53:43.903 --> 53:46.472
in the body. Like yeah, disgusting. I'm sure it's horrible.

53:47.436 --> 53:50.231
But yeah, they won by thirty seconds. They came in thirty seconds ahead of the

53:50.731 --> 53:54.600
Red Feathers, and then there was some. And so, so then she

53:54.745 --> 53:58.567
tells— Velda tells the actual troop leader for the Red Feathers, you're very

53:58.599 --> 54:00.992
sick and are gonna have to go home, and I'll have to take over.

54:01.394 --> 54:05.393
So she takes over directly leading the Red Feathers, which one of the Beverly Hills

54:05.585 --> 54:09.103
girls points out, like, she mapped out the whole thing. Like, she knows every inch

54:09.119 --> 54:11.142
of this space. That's totally unfair. It's not how this is supposed to work.

54:11.207 --> 54:15.157
But of course, Velda doesn't actually care about fair. She cares about winning and embarrassing

54:15.657 --> 54:17.807
people and whatever. Right. So then not only— so then she,

54:18.754 --> 54:22.025
cuts down a fucking rope bridge to,

54:22.041 --> 54:25.665
to keep people from crossing. Crazy. It's the most psychotic of

54:25.793 --> 54:28.294
all the psychotic things she's done. I mean, and I— look,

54:28.679 --> 54:31.758
I love a scene of a suspension bridge getting cut.

54:31.822 --> 54:35.270
Sure, it's always fun. Speaking of Indiana Jones, it's— yeah, it's wonderful.

54:35.366 --> 54:38.188
Temple of Doom. But come on, man,

54:38.300 --> 54:41.587
you can't do this shit. It's horrific. What's her endgame? Like, she has no— she

54:41.668 --> 54:44.458
wants these girls to die. Yeah, I mean, she would not be happy. She would

54:44.490 --> 54:47.487
be most happy for of skeletons. If she— she would be most happy if all

54:47.599 --> 54:50.163
of these girls went missing and were never found. That would make her happier than

54:50.663 --> 54:53.688
any other possible outcome. So the Beverly Hills girls, the whole troupe shows up and

54:53.768 --> 54:55.996
finds the bridge cut down, are kind of like, what do we do? And somebody

54:56.012 --> 54:58.800
points out— I think it's Hannah points out— there's a log down there. Yeah.

54:59.136 --> 55:01.844
And, and it's like the balance beam. The first time we saw Hannah was in

55:02.181 --> 55:05.402
their house, she was on a balance beam. So we've got a little foreshadow

55:05.418 --> 55:08.270
of like Hannah is a gymnast. So the idea— she says, Mom, it's just like

55:08.770 --> 55:11.747
the balance beam. To be— to her credit, it's much wider than the balance beam,

55:11.795 --> 55:14.880
so Yeah, she's not wrong, I think. But Phyllis is like, I can't let you

55:15.380 --> 55:17.997
do this. I'm an adult, you're a child. I'm responsible for you. It would be

55:18.497 --> 55:20.953
incredibly irresponsible of me to let you do it, so I'll go. Which, like,

55:22.399 --> 55:26.175
yeah, I mean, good call. Also, you probably shouldn't go, but certainly better

55:26.675 --> 55:29.244
than letting a kid go. Right. It's the right move there. So she tries to

55:29.744 --> 55:33.646
go across and she gets, like, scared and stops. And so Hannah

55:34.146 --> 55:36.956
tries to come across to help her, but then Hannah's foot gets stuck.

55:37.117 --> 55:40.916
Phyllis has to go back Let Hannah— get Hannah free.

55:41.079 --> 55:44.438
Yeah, then they both cross over. And here's the part I don't get: they tell

55:44.487 --> 55:48.106
everybody else to go back down to the bridge. Okay,

55:48.251 --> 55:51.542
the, the bridge plan is the most insane thing. How did they restore the

55:52.042 --> 55:55.624
bridge? They say tie rocks to the end of the bridge

55:55.753 --> 55:59.249
that fell and throw it across to us. No. And then we

55:59.378 --> 56:03.032
can retie. It's like, I'm sorry, everyone come over the fallen tree.

56:03.177 --> 56:06.503
Seriously. It's such— I'm gonna trust my knot tying

56:06.536 --> 56:09.027
skills. I didn't see a knot tying badge in any of that stuff.

56:10.039 --> 56:13.417
Also, what are you fucking talking about? There's— okay,

56:13.562 --> 56:16.794
tie a rock to something that has like a bunch of boards on it.

56:17.180 --> 56:20.387
There's no way a kid can throw that. Yeah. If we had established— and this

56:20.887 --> 56:24.042
would have been possible— if we had established that any of these children knew how

56:24.542 --> 56:27.729
to dock a yacht and do the like the grounding lines, I mean,

56:27.745 --> 56:30.972
you could have potentially played up— There's the scene to add

56:31.472 --> 56:34.830
at the drop-off. So then, yeah, before— so you have the kids arriving in

56:35.330 --> 56:38.450
cars, right? But then there's the super rich. Yeah, who arrives in a yacht first

56:38.950 --> 56:42.070
and then takes a helicopter there. But it shows them very clearly like— Yeah,

56:42.570 --> 56:44.330
like even throwing the rope, even having an argument with their parents like, well,

56:44.830 --> 56:46.770
we've got a deck crew to do that, dear. Oh, Dad, I like doing it

56:47.270 --> 56:49.670
myself. And then she throws the grounding line or something. So, you know, you could

56:50.170 --> 56:52.710
have done it. There was available— you could have saved it. Instead, there's just this

56:53.210 --> 56:56.510
insane thing where the bridge is just bad. Yeah, and it— like, that log was

56:57.010 --> 56:59.550
huge. And you know, you didn't have to walk across it foot by foot.

57:00.050 --> 57:01.550
You could have crawled. You could have gotten down on your hands and knees.

57:02.050 --> 57:04.740
It would have been fine. And it would have made way more sense. But no,

57:05.240 --> 57:08.860
we had to have this bizarre bridge reconstruction off screen as well.

57:09.360 --> 57:11.660
None of that actually happens on screen because they know how ludicrous it would look.

57:12.160 --> 57:13.780
It would have been insane. It never would have worked. So I mean, look,

57:14.280 --> 57:17.280
I'm not trying to hold this movie to like, you know, M. Night Shyamalan levels

57:17.780 --> 57:21.050
of plot consistency, but like, this was pretty fucking bad.

57:21.140 --> 57:23.390
Yeah, this was, this was, uh, this was a little rough.

57:24.920 --> 57:28.300
Oh. Um, so, uh, so Velda is now— she's leading the girls

57:28.800 --> 57:31.300
and she's like, oh, I know a shortcut. Yeah, yeah. You know, in addition to

57:31.800 --> 57:35.008
knowing the entire route and sabotaging everybody on their way, doing a

57:35.508 --> 57:38.973
shortcut on top of that. But because she's looked through binoculars and seen

57:39.085 --> 57:41.974
that they've fixed the bridge and gone across it, there's apparently clear line of sight

57:42.474 --> 57:44.414
from wherever she is to wherever it is. And she refers to them as little

57:44.623 --> 57:47.849
bimbesses. Yes, I like bimbesses. I kind of dig it, but also

57:48.349 --> 57:49.775
like, that is a tortured construction.

57:50.064 --> 57:54.558
Crazy. And yeah,

57:55.441 --> 57:58.619
like the most treeless area, like if you could see the bridge from where

57:58.667 --> 58:02.439
they were, whatever. Exactly. But so Velda

58:02.939 --> 58:05.470
falls into a hole. Right, a little ditch thing. Which is great. Which is critical.

58:05.970 --> 58:09.330
And she injures her ankle, and the girls in her squad

58:09.830 --> 58:12.200
are like, yeah, you're gonna slow us down, you're dead weight at this point.

58:12.310 --> 58:15.350
Her own daughter. Yeah. Sorry, we're gonna leave now. I learned from

58:15.850 --> 58:20.230
you, Mom. That's right. I learned it from watching you!

58:20.730 --> 58:24.410
So they take off, and then of course the

58:24.910 --> 58:28.070
Beverly Hills troop comes upon her. Well, here's the thing, actually they hear her,

58:28.570 --> 58:30.950
'cause she screams, you little bitches! They hear her and go look for her.

58:31.457 --> 58:34.070
So they not only like curse word in the movie, I think. Oh no,

58:34.118 --> 58:37.438
there's a couple of shits. There's one or one. There's like two utterances of shit

58:37.566 --> 58:40.917
in the movie, but that's it. But yeah, like they they go out of

58:41.417 --> 58:43.932
their way to go find the person who sounds like they need help. I mean,

58:43.964 --> 58:47.316
this is a very clear economy, and the entire time that they're trying

58:47.348 --> 58:50.827
to help, Velda is continuing to just bitch and complain about them

58:50.875 --> 58:54.323
and talk about them horribly while they're dragging her on a stretcher. You know,

58:54.339 --> 58:57.017
kind of thing because they kind of you know attach together a bunch of those

58:57.049 --> 59:00.000
crazy packs they have. and they've got those racks on the back, so they're able

59:00.500 --> 59:02.485
to make like a little, like, whatever you'd call it, like something to drag her

59:02.985 --> 59:06.510
along with. She still continues to just complain about them. It's amazing. She,

59:06.590 --> 59:11.015
she's having like a, like an Eric from Billy Madison type meltdown where

59:11.080 --> 59:14.142
she's just beyond reasoning with in any way, right?

59:14.351 --> 59:18.215
Good, good analogy. Yeah, she is crazy and she's flipping out, right? She doesn't want—

59:18.715 --> 59:22.464
she's, she's trying to heckle them as they're helping her and dragging her through the

59:22.964 --> 59:26.660
woods and everything. It's amazing. Uh, so in the meantime, the whole family,

59:27.160 --> 59:29.920
like all the families and stuff have gathered at the finish line to watch the

59:30.420 --> 59:33.720
girls come across and finish their jamboree. So all the parents are there and stuff.

59:33.740 --> 59:37.060
They're like, oh, where's Troupe Beverly Hills? And they see them emerge dragging the thing.

59:37.560 --> 59:40.780
They've already, you know, the Red Feathers have already crossed the finish line, right?

59:41.280 --> 59:44.590
Right. But then they're saying, you know, the Beverly Hills crossed, and they say,

59:44.860 --> 59:48.200
well, they crossed with their leader. Red Feathers came without their

59:48.700 --> 59:51.880
leader. That's an incomplete team. Yep, they're disqualified. Beverly Hills wins. But of course Tori

59:52.380 --> 59:55.380
Spelling and Velda's daughter have already run off with the trophy. Yeah, somewhere. We don't

59:55.880 --> 59:56.000
even know where, but they took the trophy and ran. So they even say sorry

59:57.700 --> 59:59.820
We don't have a trophy for you. And all the girls are like, we're from

01:00:00.320 --> 01:00:02.640
Beverly Hills, we can afford all kinds of shiny shit. We don't actually care.

01:00:03.140 --> 01:00:05.180
We won. Yeah. Like, you know, that's the thing. Uh, Freddie shows up and sort

01:00:05.680 --> 01:00:08.700
of reconnects with, with, uh, Phyllis. And, you know, we get a sense that they're

01:00:09.200 --> 01:00:12.860
back together and that's sweet. And then Velda continues to lose her shit,

01:00:13.360 --> 01:00:16.240
hops around off her broken ankle, gets into her Jeep and like drives off or

01:00:16.740 --> 01:00:20.060
whatever, um, because she's been fired. The older woman fires her.

01:00:20.560 --> 01:00:22.860
Uh, and I think the coda at the very end here is, is Velda at

01:00:23.360 --> 01:00:26.086
Kmart because she had threatened Annie Herman Over and over again with firing her and

01:00:26.102 --> 01:00:29.487
sending her back to working at Kmart. So now she's got a blue light special

01:00:29.536 --> 01:00:32.488
on cookies. So bad. Yeah,

01:00:33.226 --> 01:00:36.851
so that's the worst thing that can happen to you is you end up with

01:00:37.351 --> 01:00:41.023
a, with a regular job working at Kmart. How horrific. Yeah, so,

01:00:41.231 --> 01:00:44.360
you know, Freddie and Phyllis are gonna be back together and everything's

01:00:44.860 --> 01:00:47.986
happy and everything ties up nicely, just like the remnants of the

01:00:48.050 --> 01:00:51.978
rope bridge being tied to the tree after it was cut. So yeah,

01:00:51.994 --> 01:00:55.262
that is Troop Beverly Hills. Yes, it is. I will,

01:00:55.374 --> 01:00:58.514
uh, I'll go first. Go for it, man. You know, like we said, like all

01:00:58.626 --> 01:01:02.567
the, the critical panning of it, like I definitely can understand points

01:01:02.583 --> 01:01:06.172
about that, you know, where it's like, yeah, the character development isn't really there,

01:01:06.252 --> 01:01:08.896
they don't give good reasons for a lot of stuff, you have to make leaps

01:01:09.396 --> 01:01:13.157
in logic. But kind of like I feel about, uh, Rocky IV, which is

01:01:13.657 --> 01:01:16.906
a completely different movie, but it was just kind of like a collection of stuff

01:01:17.406 --> 01:01:21.199
I enjoyed seeing, and in the aggregate worked out being like an enjoyable experience.

01:01:22.579 --> 01:01:25.515
I thought this was like that. I like the, you know, the car montage I

01:01:25.627 --> 01:01:29.092
talked about. Yeah, some of the '80s Beverly Hills stuff is really fun to see.

01:01:29.237 --> 01:01:32.670
Yep. The visual gags are fun, and there's nothing that really

01:01:33.087 --> 01:01:36.135
drags in this movie. It moves pretty quickly. Yeah.

01:01:36.232 --> 01:01:39.697
So Troop Beverly Hills, I think, is fun. I think it's a light recommend for

01:01:40.197 --> 01:01:41.783
me, and especially if you have kids. I'm gonna give it a 3 out of

01:01:42.283 --> 01:01:45.392
5. 3 out of 5, not bad. Yeah, so my, my take

01:01:45.440 --> 01:01:49.243
on it is it's not quite as generous as yours. I think

01:01:49.743 --> 01:01:50.490
I think, you know, it was enjoyable to an extent. You know, it is fun,

01:01:50.990 --> 01:01:53.030
it's cute. It's definitely something I wanna show my daughter. She's 8 and I think

01:01:53.530 --> 01:01:56.350
she'll really enjoy it. And that's great. And movies like that certainly have their place.

01:01:56.850 --> 01:02:00.350
But like, if I'm being honest about it as a movie and like

01:02:00.850 --> 01:02:02.170
trying to kind of hold it up to the way I look at the other

01:02:02.670 --> 01:02:05.430
movies that we've done. Yeah. You know, I have regretted a few of our,

01:02:05.930 --> 01:02:09.050
of my ratings over, you know, the months we've been doing this. Most specifically,

01:02:09.550 --> 01:02:12.630
I think probably both They Live and Thief, I gave too low of ratings for.

01:02:13.130 --> 01:02:15.130
And, you know, I'll live with that. But like, I'm looking at it going,

01:02:15.630 --> 01:02:17.330
yeah, how do I compare this to other movies that we've seen and how I've

01:02:17.830 --> 01:02:20.780
rated them? And I think very much like Rocky IV, I gave that a lower

01:02:21.280 --> 01:02:23.690
rating than you did. And I'm kind of in the same ballpark here where I,

01:02:23.840 --> 01:02:26.540
it's, I guess I would call it like a light don't bother.

01:02:27.480 --> 01:02:29.860
Where it's kind of like, if you have any nostalgia for this movie at all,

01:02:30.360 --> 01:02:33.140
if you have any nostalgia just in general for Shelley Long, go for it,

01:02:33.640 --> 01:02:37.180
'cause she really is delightful in this movie. But like overall,

01:02:37.330 --> 01:02:39.760
it's not a very good movie, and I don't think anyone should go out of

01:02:40.260 --> 01:02:43.560
their way to go see it. I'm a 2 out of 5 on Troop Beverly

01:02:44.060 --> 01:02:46.940
Hills, which makes us 5 out of 10 from the 2 dads. It sounds about

01:02:47.440 --> 01:02:49.920
right. That's about where it lands. I think that's absolutely right. Right in the middle

01:02:50.420 --> 01:02:52.520
of the scale. So, um, yeah, so I mean, you know, look, if you're really

01:02:53.020 --> 01:02:54.740
into it, certainly if you've got any nostalgia for it, check it out again if

01:02:55.240 --> 01:02:57.700
you haven't seen it in ages. Um, but you know, on its face, it is,

01:02:58.200 --> 01:03:01.140
uh, it is, it is fine. Yeah, definitely. Look,

01:03:01.640 --> 01:03:05.220
we've been through some epics recently, you know, with Goodfellas

01:03:05.720 --> 01:03:08.960
and Tombstone and Boogie Nights and all this stuff. So it is funny that this

01:03:09.460 --> 01:03:12.520
is considered the same type of thing as those things are, and it's really hard

01:03:13.020 --> 01:03:14.880
to hold them up against each other. It really is. It really is a whole

01:03:15.380 --> 01:03:18.629
different— it We should someday maybe think about having completely different rating scales

01:03:18.741 --> 01:03:22.111
for this as a film and this as a movie and think of them differently

01:03:22.611 --> 01:03:25.610
or something, because that potentially would be— Because you can weight things by, so,

01:03:25.722 --> 01:03:28.755
like budget and like all these other things you can weight. So yeah, we'll work

01:03:29.255 --> 01:03:32.286
on a big like Saber metrics for movies. By budget, $18 million. Where is the

01:03:32.786 --> 01:03:36.234
$18 million? I mean, that does not show up on screen. I really feel like

01:03:36.555 --> 01:03:39.764
they fucked up and forgot to rent some of those cars and accidentally bought them.

01:03:40.422 --> 01:03:43.278
Something like that. I don't— yeah, I don't get it. Okay,

01:03:43.294 --> 01:03:46.503
so, uh, next week gonna be my pick. And again, kind of just,

01:03:46.583 --> 01:03:50.432
just going off vibes. I'm trying at this point to introduce, uh, uh, the audience

01:03:50.932 --> 01:03:53.400
to as many of my favorite movies of all time as I can, because so

01:03:53.900 --> 01:03:55.998
many of my favorite movies of all time are from this era. Yeah. Uh,

01:03:56.191 --> 01:03:58.693
you know, it's just like there was something about movies, I think especially for me

01:03:59.193 --> 01:04:01.388
in the '90s— a lot of great movies from the '80s as well, but movies

01:04:01.420 --> 01:04:04.981
in the '90s, there was a particular flavor to them. Um, there's a particular,

01:04:05.174 --> 01:04:08.654
uh, way that they approached social issues and things, and a lot of

01:04:09.154 --> 01:04:11.557
it doesn't hold up over the years. You know, you look back at stuff now

01:04:11.702 --> 01:04:15.278
and you cringe hard about the way certain topics were treated. This is not

01:04:15.778 --> 01:04:19.159
one of those movies. This is a movie that from a like social commentary standpoint

01:04:19.223 --> 01:04:22.558
is only more relevant today, I believe, than it was when it came out,

01:04:22.574 --> 01:04:24.098
which I think I don't have the year in front of me. I think it

01:04:24.598 --> 01:04:26.551
was 1996, but it's in the mid-'90s for sure.

01:04:27.706 --> 01:04:30.993
This movie has an absolutely star-studded cast. One of

01:04:31.493 --> 01:04:34.810
those casts that like top to bottom, it's people you know and love. And so

01:04:34.842 --> 01:04:38.194
it's we've got Robin Williams. We've got

01:04:38.694 --> 01:04:39.914
We've got Nathan Lane, we've got Gene Hackman, we've got Dianne Wiest, we've got,

01:04:40.059 --> 01:04:43.382
uh, Christine Baranski, Calista Flockhart, Hank Azaria.

01:04:43.447 --> 01:04:46.578
I mean, really, the cast is just absolutely loaded. Yeah, we're gonna

01:04:47.078 --> 01:04:49.789
go to South Beach, Miami, and we are going to hang out with, uh,

01:04:50.190 --> 01:04:54.124
Armand and Starina, and, uh, we're going to the drag

01:04:54.624 --> 01:04:58.315
show at the Birdcage. All right, have you seen the Birdcage? I have never seen

01:04:58.815 --> 01:05:01.847
it. I'm excited about this one. Like I told you before we recorded,

01:05:02.056 --> 01:05:05.604
A lot. Like your success rate for introducing me to movies for the first

01:05:06.104 --> 01:05:09.522
time is incredibly high. Nice. And this has a bunch of people I like,

01:05:09.683 --> 01:05:12.765
and I don't know why I just missed this one, but I'd love to see

01:05:13.265 --> 01:05:16.586
it. I can't wait. This was like a particular. I feel like theater kids in

01:05:17.086 --> 01:05:19.733
the '90s really watched this movie. First of all, it is an adaptation of a

01:05:20.233 --> 01:05:23.972
play, La Cage aux Folles. It's a French play, and so it's. And I

01:05:24.472 --> 01:05:26.573
think that was made into movies as well in French before it was kind of

01:05:27.073 --> 01:05:30.230
turned into this American version. version. Um, but it felt this very theater

01:05:30.730 --> 01:05:33.190
kid coded, this movie. And so I feel like that's why I first saw it,

01:05:33.690 --> 01:05:35.510
was because I was in drama in high school and theater. And I think it

01:05:36.010 --> 01:05:38.870
was one of those, you know, somebody in that social group introduced me to it.

01:05:39.370 --> 01:05:42.030
Yeah. And there was just an element where certainly at this time I would watch

01:05:42.530 --> 01:05:45.730
literally anything Robin Williams was in, uh, whether he'd even— Patch

01:05:46.230 --> 01:05:48.130
Adams and shit, I did end up liking. But like, you know, there was like

01:05:48.630 --> 01:05:51.430
in the '90s I'd watch anything Robin Williams was in. He's fantastic. Nathan Lane is

01:05:51.930 --> 01:05:54.850
just absolutely glorious in this movie. This is another one of those movies that my

01:05:55.350 --> 01:05:57.530
wife and I quote to each other all the time. So it'll definitely be a

01:05:58.030 --> 01:05:59.790
lot of fun to go through The Birdcage, and I can't wait to, to hear

01:06:00.290 --> 01:06:03.170
what you think about it. Hell yeah! Which is great. That's a wrap. So if

01:06:03.670 --> 01:06:05.870
you like what you hear, please consider heading over to Apple or Spotify and leaving

01:06:06.370 --> 01:06:09.090
us a 5-star review. It helps new folks find the show. Be sure to check

01:06:09.590 --> 01:06:12.970
out our website at twodads1movie.com. That's the number 2 and the number 1. There you

01:06:13.470 --> 01:06:16.070
can explore the movies we've covered, sign up for our newsletter, The Rewind, and even

01:06:16.570 --> 01:06:19.670
get sneak previews of upcoming episodes. Once again, this has been Troop Beverly Hills,

01:06:20.170 --> 01:06:22.702
another episode of 2 Dads 1 Movie. I'm Steve. I'm Nic. Thank you so much

01:06:22.719 --> 01:06:24.261
for listening, and we'll catch you next week. Thanks,