The Genius of John Hughes: A Comprehensive Examination of The Breakfast Club
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This podcast episode delves into the intricate and profound themes presented in the cinematic masterpiece, *The Breakfast Club.* We examine the compelling notion that the characters, each representing distinct archetypes, navigate the treacherous waters of adolescence while grappling with their identities and societal expectations. The episode underscores the pivotal moment when these disparate individuals coalesce, revealing the inherent similarities that bind them, despite their superficial differences. We explore the nuanced dynamics of their interactions, particularly the transformative impact of Bender's rebellious spirit and the resulting awakening of self-awareness among his peers. Through meticulous analysis, we illuminate how this film serves not merely as a representation of teenage angst but as a timeless commentary on the human condition, encapsulating the struggle against societal norms and the quest for authentic connection.
A profound examination of the film 'The Breakfast Club' reveals the intricate tapestry of adolescent identity and societal expectations woven through the narrative. The discussion begins with an exploration of the film's unique depiction of five distinct archetypes: the brain, the athlete, the princess, the criminal, and the outcast. Each character embodies specific societal labels, yet as the story unfolds, they confront their respective identities and the confines imposed upon them by their peers and authority figures. This collective journey of self-discovery is underscored by the film's thematic assertion that, although individuals may initially perceive themselves as defined by their archetypes, they ultimately share common struggles and desires for acceptance and understanding. As the characters interact within the confines of the detention room, the dialogue serves as a catalyst for their transformation, prompting a profound reflection on the nature of conformity and the importance of empathy in overcoming societal divisions. The narrative's climactic moments challenge the characters to confront their vulnerabilities, leading to a poignant realization that true connection transcends superficial labels, ultimately inviting viewers to reflect on their own relationships with identity and acceptance.
Takeaways:
- The exploration of character archetypes in 'The Breakfast Club' illuminates the complex dynamics of teenage identity and societal expectations.
- The podcast underscores the importance of narrative structure and thematic depth in filmmaking, particularly in John Hughes' works.
- Listeners are encouraged to consider the significance of setting and character development in reflecting broader societal issues across generations.
- The discussion emphasizes that each character's journey represents a unique struggle against conformity and the pressures of adolescence, leading to their eventual self-acceptance.
Companies mentioned in this episode:
- Breakfast Club
- Fellowship of the Real
- Blind Date
- Bengaluru
- Moye
- Molly Ringwald
- Tom Cruise
- John Hughes
Mentioned in this episode:
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Transcript
Are you recording this?
Speaker B:Studying a movie in the mechanical level I think can really bring some revelation.
Speaker C:I believe that no one sets out to make a bad movie with the exception of.
Speaker D:On paper.
Speaker D:This should work.
Speaker B:This should work.
Speaker D:I just don't like it.
Speaker A:That's your own fault if you haven't seen it.
Speaker B:Way over budget.
Speaker B:Start cutting scenes.
Speaker B:Even the actors don't know what that movie's about.
Speaker B:I wish I wrote that.
Speaker D:Which.
Speaker C:I love the title, but that movie's trash.
Speaker B:Well, it's oatmeal, man.
Speaker B:It's good for you.
Speaker B:Okay, here we are at Fellowship of the Real Talking Movies.
Speaker B:This episode is a redo.
Speaker B:I'll just put that out there.
Speaker B:The audience can thank me for never hearing the first attempt at this.
Speaker B:We are going to start off with the Breakfast Club.
Speaker B:This episode is a Breakfast Club, and I got carried away with this movie.
Speaker B:I made, like, 20 pages of notes.
Speaker B:There is a lot going on in the Breakfast Club for those who want to pay close attention.
Speaker B:And I tried to get every single detail down.
Speaker B:I think at some point, there were spiderwebs on James, and Chris was asleep, and Sherry had talked to her lawyer about a divorce.
Speaker B:So we just stopped, and I said, we're going to just redo this.
Speaker B:And I went back and I cut down my notes to what I thought was essential and the beats.
Speaker B:And so we're gonna try to keep this to an hour.
Speaker B:The.
Speaker B:The first attempt.
Speaker B:We were at an hour, and I.
Speaker B:Nice.
Speaker B:And I thought I was.
Speaker B:We were at an hour, and I was still, like, in the setup and had, like, 18 pages of notes, and it was undoable.
Speaker B:All right, we're back.
Speaker B:That's the hazards.
Speaker B:And I'll try to get those rings out of there, but if I can't.
Speaker B:Oh, well, that's the hazards of, you know, this amateur operation that we're doing.
Speaker B:We are not in the studio, and so we are subject to the.
Speaker A:Oh, you should hear some of the podcasts.
Speaker A:I listen to whatever they let anything.
Speaker A:I've heard ambulances.
Speaker A:I've heard cats, dogs.
Speaker D:Yeah.
Speaker D:Mark Marin has a guy next door that does yard work.
Speaker B:Yeah.
Speaker D:And he'll be in there interviewing Sam Elliott.
Speaker D:Barack Obama.
Speaker D:And you just hear.
Speaker B:Yeah, I like.
Speaker B:What the.
Speaker B:What?
Speaker B:Wtf?
Speaker B:I love that podc, guys.
Speaker B:I listen to it.
Speaker C:Yeah.
Speaker C:And there's.
Speaker C:There's no Christian Bale here to yell at us, you know?
Speaker C:And what the are you looking at?
Speaker C:Sake.
Speaker C:I mean, I love Christian Bell, but.
Speaker C:And I like listening to that rant that he had.
Speaker B:No, no.
Speaker B:Tom Cruise has a Good one, too.
Speaker C:Yes, he does.
Speaker C:About the COVID Yes, I agree with him.
Speaker C:I don't want to go down that rabbit hole.
Speaker B:But I was like, yeah, absolutely.
Speaker B:So we did not answer that phone, and I don't care who it was.
Speaker C:So be on this redo.
Speaker D:Hey, maybe that was a podcast caller.
Speaker B:Yeah, sure.
Speaker B:Well, yeah, well, it was.
Speaker C:It probably was.
Speaker B:Yeah.
Speaker C:They got us recording, not just playing.
Speaker B:Well, they.
Speaker B:Well, it's a.
Speaker B:It's big pipe, so it'll be on the website page.
Speaker B:We are not.
Speaker B:Anyway, yeah, just.
Speaker C:I don't know.
Speaker C:I still think you're.
Speaker C:You're being unfair to yourself about this redo.
Speaker C:And we talked about, I guess when we first started this, and it sounds like.
Speaker C:I guess that version will never see.
Speaker B:The light of day, but I deleted it.
Speaker B:It's gone.
Speaker C:Damn.
Speaker C:Well, there you go.
Speaker C:It's gone, people.
Speaker C:Sorry.
Speaker B:It was an hour of me and three snores is what it was.
Speaker C:Again, I think you're being a fairy yourself, but I guess when we talked about at one point, and again, we're still new at this, we're trying to figure out what we want to do and how we want to do it.
Speaker C:But we had talked about, like, maybe, obviously we want to try to give it to an hour, and the ones that run longer than that.
Speaker C:Right.
Speaker C:We cut them down, release the hour episode, and then maybe we have, like, a note or something.
Speaker C:Hey, you know, if you want to hear more about this one, here's the, I don't know, director's cut or whatever you want to call it.
Speaker C:Like, I guess that's where my head went on that.
Speaker C:On the redo.
Speaker C:Especially if you could lift some of that and put it into the one we're gonna do today or add to it.
Speaker C:And granted, you're the tech guy doing all that stuff.
Speaker C:Well, it's probably not.
Speaker B:I never even listened to it, but I.
Speaker B:It was just.
Speaker B:It was me just fine tooth combing that thing, and.
Speaker B:And I'm not even sure I took a breath.
Speaker B:I don't know.
Speaker B:I.
Speaker B:Maybe I did.
Speaker B:But anyway, it's gone.
Speaker B:And there's.
Speaker B:I thought about, well, maybe a series of blogs breaking down, you know, each.
Speaker C:Yeah.
Speaker D:But I.
Speaker D:I've never seen someone so cracked out after a chili dog.
Speaker D:You were energized.
Speaker B:Well, I was.
Speaker B:I was so excited about that movie.
Speaker B:And I'm telling you, man, if.
Speaker B:If he didn't plan all that stuff, then.
Speaker B:Then the heavens and stars aligned.
Speaker B:Because I really think, you know, that movie is probably one of the best written movies I'VE ever seen.
Speaker B:I just.
Speaker D:I gotta say, though, after.
Speaker D:After that incident of you just.
Speaker D:You were so thoughtful about what you were doing and putting it together.
Speaker D:I did go home and watch the Breakfast Club with a new.
Speaker B:Sure.
Speaker D:Like a new passion, I guess.
Speaker D:And I'm actually sympathetic towards Bender now, where previously I was not.
Speaker B:Yeah, no, he.
Speaker D:For sure.
Speaker B:Yes.
Speaker B:No, he is there.
Speaker B:Obvious.
Speaker B:And I didn't get into, like, the archetypal characters.
Speaker B:Okay, But.
Speaker B:But writers will make use of archetypal characters.
Speaker B:So you have the king, the bully, the trickster, the.
Speaker B:You know, and they play roles in the movie.
Speaker B:And at various times, I think he plays different roles, but I think largely he's the.
Speaker B:He's the savior character in that archetype.
Speaker B:Right.
Speaker C:Yeah.
Speaker C:And as far as to take it back to Blake Snyder terms, he's everybody's B story, right?
Speaker B:Yes.
Speaker B:Yes.
Speaker C:Any changes.
Speaker C:Himself too.
Speaker C:But he's.
Speaker C:He's the agent of change for everybody.
Speaker D:All the kids, I would say.
Speaker D:I don't know how much Bender changes throughout the movie.
Speaker D:He seems the same.
Speaker C:Yeah, I guess.
Speaker C:And we can get in there.
Speaker C:We'll get to it when we get to it, or whatever it was.
Speaker C:But, like, at the beginning, I don't feel like he would get with Claire.
Speaker C:Molly Ringwald, but at the end, he does.
Speaker C:So that's why I thought maybe there was change there, you know, but maybe he.
Speaker C:Yes, she's attractive girl from, you know, the opening scene to the end.
Speaker C:So maybe he's a dude.
Speaker C:So maybe always he, you know, wouldn't if he had the chance.
Speaker C:But.
Speaker B:And principally, he says it.
Speaker B:But I think they are genuinely attracted to each other at the end.
Speaker B:And.
Speaker B:Yeah, but he says, you know, what would be a bigger.
Speaker B:I'm paraphrasing.
Speaker B:What would be a bigger way to, like, shake up things, shake up your parents or whatever, than to date a guy like me or whatever.
Speaker C:Right.
Speaker B:And so I think he's using that as a vehicle to shake things up, but I think there's probably something there, you know, whatever.
Speaker B:Anyway.
Speaker C:Well, you want to do box office and all that stuff.
Speaker B:Yeah.
Speaker B:Well, there's a couple things I wanted to mention.
Speaker B:We need.
Speaker B:We need, obviously, people to listen, and people are listening, but it's.
Speaker B:It's the downside of a movie review podcast, I think, is people will listen to the episodes they want based on the movies they like rather than every single episode.
Speaker B:Obviously, we want people to listen to every single episode who are absolute complete story nerds like us.
Speaker B:Okay, so we talked about this not being a crazy podcast we don't have a lot of sounds and maybe, I don't know, but because we delve so deeply into the writing and the mechanics and everything that makes that movie come together, we want to talk about.
Speaker B:And that's completely nerdish.
Speaker B:Like, if we were comic book podcast, we'd be talking about, you know, origin stories and Superman and, you know, we would delve that deep into the nerdom of comic books or whatever.
Speaker B:But we're doing that with story.
Speaker B:And so I don't know that that is necessarily going to appeal to the casual listener or the casual movie fan, but I hope that there's like a bunch of story nerds out there who will find us and maybe even writers or whatever who want to just comb through things because they love movies that.
Speaker C:Much, you know, and that's what we talked about.
Speaker C:Right.
Speaker C:Like, that's what I feel like it's going to be, you know, a work in progress, finding kind of the fine line because, you know, going, like you said, going that nerdy and breaking down the mechanics of story.
Speaker C:That's what sets us, I feel like, sets us apart from the rest of the podcast out there in the movie.
Speaker C:Podcast at the same time.
Speaker C:Yeah, we want everybody to, you know, to enjoy each episode and all that stuff.
Speaker C:And even, I mean, you hit the nail on the head.
Speaker C:In my own experience checking out other movie podcasts, yeah, I 100% looked through and went, oh, I like this movie better than this.
Speaker C:So that's.
Speaker C:Those are the ones I listened to initially.
Speaker B:Right.
Speaker B:And if, if we have.
Speaker B:Once we get enough episodes, if we decide we want to continue doing this, there will be a snowball effect where people have more options to check out.
Speaker B:And so we're getting more daily listeners, even if it's not every episode or whatever.
Speaker B:Anyway, so that being said, I did want to sort of.
Speaker B:I don't know if this will help or encourage people or if they.
Speaker B:People who listen ever listen again.
Speaker B:But I thought we would do like a shout out to a listener somewhere that.
Speaker B:That I was able to check in, tracking that they listened to.
Speaker B:So I just went way out there.
Speaker B:And so there is a listener in Bengaluru.
Speaker B:I'm gonna not get this right.
Speaker B:Bengaluru, Karnataka, in the country of India somewhere who has listened to our podcast.
Speaker B:So if you're listening now, they listen to Blind Date and so hopefully they'll come back.
Speaker D:Hi.
Speaker D:Hello there.
Speaker B:Hi.
Speaker B:Bengaluru Karma Taka, India.
Speaker C:Yeah, hi.
Speaker C:And thank you for, for listening to our stuff.
Speaker B:Anyway, analytics are.
Speaker B:Are an addiction.
Speaker B:You.
Speaker B:I check them every Day, all the podcasts and you know, anyway, something that is in the notes.
Speaker B:But obviously we want to also mention we have a speak pipe.
Speaker B:Speak pipe speakpipe.com Fellowship of the Real.
Speaker B:You can leave us a voicemail, comments, tell us what you want us to review, what you thought of the movie reviewed and also facebook.com Fellowship of the Real.
Speaker B:You can also comment and post and we try to put stuff up there that's movie related or whatever.
Speaker B:All right, how it came out, money, critics, fans.
Speaker B:I guess we're doing the Breakfast Club first.
Speaker B:Yeah, yeah.
Speaker B:Breakfast Club is mine.
Speaker B:So I guess I got the printed notes.
Speaker B:This movie cost a million dollars to make, which astounded me.
Speaker B:But then I thought about it.
Speaker B:I mean it's, it's up and coming actors and they filmed it in essentially one room.
Speaker B:I think the studio gave him a million dollars.
Speaker B:I think they were, they were seeing if he could do it, gambling on him.
Speaker B:And it had a budget of a million dollars.
Speaker B:And domestically it made 45 million.
Speaker B:Internationally, 5,600,000 for a total of $51,525.
Speaker B:51 million on a budget of 1 million.
Speaker B:So they had to be happy about that.
Speaker B:This movie is universally loved.
Speaker B:Tomatometer.
Speaker B:Over its history, critics that have given it three stars and above is 89%.
Speaker B:And audiences that gave it three stars or above at 92%.
Speaker B:Which I think is about right.
Speaker B:I would be surprised that any numbers less than that.
Speaker B:I, I've become, like I said, totally in love with this movie or whatever.
Speaker B:Yeah.
Speaker D:This was John.
Speaker B:What's John Hughes.
Speaker D:John Hughes.
Speaker D:I was gonna say.
Speaker D:Yeah.
Speaker D:This second movie after Sixteen Candles.
Speaker B:Okay.
Speaker D:Before Weird Science, Ferris Bueller.
Speaker D:So before he really took off.
Speaker C:And before Vacation as well.
Speaker C:Right.
Speaker B:Yeah, well, he, he wrote Vacation.
Speaker C:He didn't direct it.
Speaker C:I don't believe the first.
Speaker C:The National.
Speaker B:Yeah, I think he had a script out there.
Speaker B:Yeah.
Speaker B:Because he wrote.
Speaker B:Yeah, he wrote it.
Speaker B:And they.
Speaker D:He didn't direct Mr.
Speaker D:Mom, National Lampoon, Vacation, all that came before Sixteen Candles and Breakfast Club.
Speaker D:He wrote those.
Speaker B:His lighting writing held up to almost any other writer in Hollywood.
Speaker B:I don't know.
Speaker B:I don't know that many writers and.
Speaker C:Their.
Speaker B:Resumes, but Hughes has got to have more movies than.
Speaker B:I couldn't think of another writer.
Speaker B:Maybe you can.
Speaker B:Chris, that has that many movies that scored a hit that are made.
Speaker B:It's absolutely freaking amazing, you know, because.
Speaker C:He'S got an impressive resume just as the ones that he wrote and directed.
Speaker C:But if you go back and look at the stuff he wrote, I didn't know.
Speaker B:He wrote Mr.
Speaker B:Mom.
Speaker B:I watched Mr.
Speaker B:Mom years ago when it came out.
Speaker C:Right.
Speaker B:Of course, I didn't know him or whatever, but yeah, it's.
Speaker B:It's absolutely amazing.
Speaker B:All right.
Speaker B:Into the Breakfast Club, you said, Chris, did you.
Speaker B:Did you or did you not have all the beats you were not able.
Speaker C:I did not have all of them.
Speaker C:I have some.
Speaker C:I just didn't get them.
Speaker C:Get them all.
Speaker C:What's the.
Speaker C:What do you have for genre?
Speaker B:I didn't actually write it down, but I want to say probably a coming.
Speaker C:Of age, like Rites of Passage.
Speaker B:Rites of Passage, Yes.
Speaker C:Okay.
Speaker B:Yeah, I wrote it down for Tombstone.
Speaker B:I guess I forgot to do it.
Speaker D:What's another example of a rite of passage story?
Speaker B:Stand by me, maybe.
Speaker C:Yeah, probably.
Speaker C:Yeah.
Speaker B:Anything where a kid.
Speaker B:Yeah.
Speaker B:So it says from childhood to adulthood, or.
Speaker C:Yeah, so it says there's a problem.
Speaker C:Right.
Speaker C:I don't know.
Speaker C:That.
Speaker C:I don't know.
Speaker C:I don't know.
Speaker C:Does it.
Speaker C:I think a lot of times it is a kid, but I don't know that it has to be a kid.
Speaker B:No, it probably doesn't.
Speaker C:Because I guess the three ingredients you need are there's a problem and then the wrong way to fix it, and then acceptance.
Speaker B:Yeah.
Speaker C:So like, in this case, it's, you know, teen angst or whatever.
Speaker C:And then the wrong way to fix it is the detention and then acceptance and, you know, and we'll talk about it.
Speaker C:By the end of them accepting, you know, who they are and how their differences.
Speaker C:And then they're also.
Speaker C:They're a lot more alike than they initially think they are.
Speaker B:Absolutely.
Speaker B:All right, so I just have a short set of notes before I get to what I think is the opening image.
Speaker B:This movie is about the kids.
Speaker B:And I'll just briefly go over this.
Speaker B:These kids are on the brink of having their heart die.
Speaker B:Okay.
Speaker B:As Allison says, toward the end of the movie, when you grow up, your heart dies.
Speaker B:So that's where these kids are.
Speaker B:They're right on the brink, I think, of their.
Speaker B:They're in danger of their heart dying and becoming like their parents.
Speaker B:I think a couple times throughout the movie, I.
Speaker B:Are we going to be like our parents?
Speaker B:It's inevitable.
Speaker C:And that ties into what the principal was saying, too.
Speaker C:But no, these kids turned on me, man.
Speaker C:Right.
Speaker C:I mean, it's.
Speaker C:His heart has died.
Speaker C:And.
Speaker B:Yes, absolutely.
Speaker C:The fact that he changed, not the kids.
Speaker B:Brian at the end realizes that this has already started.
Speaker B:He said in his essay we were brainwashed.
Speaker B:And so this is.
Speaker B:This is, I think, where they are Their heart is about to die and they are starting to come to the conclusion and that they've been brainwashed into a certain way of thinking and that they will perpetuate that if they become like their parents, they are prisoners in a prison of another's making.
Speaker B:So this.
Speaker B:This, I think is going to touch on theme as we get into it.
Speaker B:I think Hughes is telling us through the choice of the Colonel Bogey march that the kids whistle together.
Speaker B:The thing that they whistle is from.
Speaker B:Made famous from Bridge on the River Cry, which is about prisoners of war in a prison of war camp being mistreated.
Speaker B:And I think that Hughes is saying this is where they are.
Speaker B:That they are being held prisoner in a prison of another's making.
Speaker B:So living under inhuman conditions imposed upon them by authority figures whose hearts have already died.
Speaker B:So.
Speaker B:So those who are over them are what they are destined to become unless something happens.
Speaker B:And I think they.
Speaker B:This movie, they start to realize that.
Speaker C:Yeah.
Speaker C:I think you could also make an argument for the genre for it to be institutionalized.
Speaker B:Yeah.
Speaker C:As well, because you've got.
Speaker C:So it says every story in this category is about a group.
Speaker C:Right.
Speaker C:So you got a group of kids, family organization, doesn't matter what the group is.
Speaker C:And then the story is a choice.
Speaker C:The ongoing conflict pitting the Brando, like the rebel versus the.
Speaker C:Probably gonna say this wrong.
Speaker C:The naif Knife.
Speaker C:Naif N A I F.
Speaker C:The naf.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker C:The.
Speaker C:The innocent or whatever.
Speaker C:Right.
Speaker C:Yeah.
Speaker C:Versus the system or company man.
Speaker B:Absolutely.
Speaker C:Think is.
Speaker B:You know what this Almost like.
Speaker B:I haven't seen it a long time, but One flew over the Cuckoo's Nest is a institutionalized Godfather issue.
Speaker B:Yeah.
Speaker B:Is it okay?
Speaker B:Yeah.
Speaker B:Yeah.
Speaker C:Because right at the beginning, that's.
Speaker C:That's my family, Kate.
Speaker C:That's not me.
Speaker C:And by the end, he's.
Speaker C:He's joined up because.
Speaker C:I guess.
Speaker C:And that brings us to the third one.
Speaker C:Finally a sacrifice must be made.
Speaker C:And you get three endings.
Speaker C:Either they join, they burn it down, or they commit suicide.
Speaker C:Yes.
Speaker C:Which falls into the.
Speaker B:Yeah.
Speaker B:Because Brian had thought about.
Speaker B:Yeah.
Speaker B:Had thought about committing suicide.
Speaker B:And anyway, so they look.
Speaker B:The authorities.
Speaker B:The.
Speaker B:The ones who's already died, they look at these kids, they see them.
Speaker B:The choice of this.
Speaker B:I didn't know that this song was written for this movie.
Speaker B:I thought it was a song they just used for this movie.
Speaker B:But don't you forget about me was written for the movie.
Speaker B:And so the authorities are, as the song says, looking at them but never loving them.
Speaker B:So they're seeing these kids, but they're not loving them as individuals or allowing them to be whoever they want to be.
Speaker B:They are trying to institutionalize, probably where.
Speaker C:A lot of that million dollars went now, I think about it.
Speaker C:You know, they're single location.
Speaker C:A lot of these kids are.
Speaker C:You know, they weren't big stars at the time.
Speaker B:Yeah, no, these.
Speaker B:They would eventually become the Brat Pack, but I don't think they were that.
Speaker C:You know, this helped make them the Brat Pack.
Speaker B:Right.
Speaker C:Yeah.
Speaker C:So any I just hadn't thought about.
Speaker B:Yeah.
Speaker C:Because a million seems high to me for.
Speaker B:But yeah.
Speaker B:When did this movie come out?
Speaker B:I forgot.
Speaker D:85.
Speaker B:85.
Speaker B:Yeah.
Speaker B:So, yeah, I don't know what that would be today.
Speaker B:Whatever.
Speaker B:But.
Speaker B:So this is a situation that they are on the brink.
Speaker B:They've been subject to brainwashing.
Speaker B:They're on the brink of having their hearts die.
Speaker B:And so this is the most important moment of their life, which is what you want to write a story about.
Speaker B:You don't want to write a story about their everyday life.
Speaker B:You want to write a story about the most important day in their life.
Speaker B:And I think this is it.
Speaker B:Okay, so now we're into the opening image.
Speaker B:We're going to do the mechanics.
Speaker B:I see.
Speaker B:And Chris, you can comment on this.
Speaker B:I see the opening image being the song, the epigraph at the beginning from David Bowie, which is.
Speaker B:These kids that you spit on are quite aware of what they're going through.
Speaker B:They're immune to your consultations.
Speaker B:And the kids being dropped off by what I'm calling their jailer.
Speaker B:So you see them being dropped off by their parents, and there's not a single good situation there.
Speaker B:They're all being, you know, thwarted by the various circumstances of each of their individual lives or whatever.
Speaker D:Right.
Speaker D:Yeah.
Speaker D:Claire is getting dropped off by her dad, and it's really.
Speaker D:Do I have to go to this?
Speaker D:You can't get me out of it.
Speaker B:Right.
Speaker D:And then you've got.
Speaker D:What's the nerd's name?
Speaker B:Brian.
Speaker D:Brian.
Speaker B:Academics.
Speaker D:Yeah.
Speaker D:Brian's, you know, use every opportunity to study.
Speaker D:I don't care what you do.
Speaker D:Study.
Speaker D:Study.
Speaker B:Yeah.
Speaker B:We're not supposed to do anything.
Speaker B:Well, you.
Speaker B:You make.
Speaker B:You find a way, mister.
Speaker B:You know.
Speaker D:Right, right.
Speaker C:And then Andrew's dad is like, you know, like, he just got caught.
Speaker C:We all got caught up or whatever.
Speaker C:Yeah.
Speaker D:You don't want to be a discipline case.
Speaker B:Yeah.
Speaker B:Nobody's going to give a ride to a discipline case.
Speaker C:Right.
Speaker C:And then Bender, you don't see his parents and he just.
Speaker C:He walks straight up.
Speaker C:And I think we had talked about this maybe last time is the.
Speaker C:I don't remember the girl, Ali Sheedy.
Speaker C:I don't remember the character's name.
Speaker C:It slipped my mind.
Speaker C:But she.
Speaker B:Yeah, well, they.
Speaker C:Her parents, whatever, have to slam on the brakes to avoid hitting Bender.
Speaker C:And I think we talked about, like, from moment one, you see him, he's here to shake things up and be different.
Speaker C:Everyone else is being dropped off in this kind of mundane, depressive way.
Speaker C:And here he is just walking through.
Speaker C:Yes, zero, you know, fucks given about what's going on around him.
Speaker B:Well, her.
Speaker B:Her situation is.
Speaker B:She says, my parents, they ignore me and they just drop her off and.
Speaker C:She looks out and they take off.
Speaker B:And they take off and then run straight into one they cannot ignore.
Speaker B:And I think we had talked about Bender will be this agent of change, the one that nobody.
Speaker B:And he.
Speaker B:And I don't know if I even thought of this last time, but he will say to Claire, you couldn't ignore me if you tried.
Speaker B:When they're having their talk, you know, he's trying to get her goat or whatever, you know.
Speaker B:Yes.
Speaker B:The one they cannot ignore.
Speaker C:You know, I agree.
Speaker C:Those are.
Speaker C:Yeah.
Speaker C:Them being dropped off is the opening image.
Speaker B:Yes.
Speaker C:That's what I had.
Speaker B:This is their starting point, basically.
Speaker B:In a prison camp.
Speaker B:In a prison and on the brink of becoming like their parents being forced to.
Speaker B:And their.
Speaker B:Their heart dying.
Speaker C:Oh, and you'd made a note last time you'd said it, that on the.
Speaker C:The epigraph.
Speaker C:Like, it.
Speaker C:It doesn't just fade away, it actually shatters.
Speaker B:It shatters.
Speaker B:Yes.
Speaker B:Yes.
Speaker B:I think early on, John Hughes is saying, you cannot.
Speaker B:We'll get into it, but you cannot.
Speaker B:You cannot negotiate or.
Speaker B:Or.
Speaker B:Or calmly get out of this.
Speaker B:Things have to break down for the change that needs to happen to come.
Speaker B:There's.
Speaker B:They're gonna have to shatter.
Speaker B:And I think.
Speaker B:I think they spend the rest of the movie doing that anyway.
Speaker B:So I think we got the opening image.
Speaker B:But I.
Speaker B:The theme.
Speaker B:I don't know that I ever heard it clearly stated.
Speaker B:I have that it's hammered throughout, but well stated, late and clearly by Allison.
Speaker B:Are we going to be like our parents?
Speaker B:It's inevitable.
Speaker B:Because when you grow up, your heart dies.
Speaker B:That's.
Speaker B:I think that's the premise of this movie.
Speaker C:Sure.
Speaker B:Are you going to allow your heart to die?
Speaker B:Yes or no.
Speaker B:And then they set about debating and answering that question.
Speaker B:But I think that comes late, which is.
Speaker B:Doesn't concern me necessarily.
Speaker C:I'm going to change my.
Speaker C:I think it's Institutionalized.
Speaker C:I really do.
Speaker B:Yeah.
Speaker C:More than what?
Speaker B:Because.
Speaker C:Yeah, it's.
Speaker C:Are they going to join that.
Speaker C:Are they going to join the.
Speaker B:Right.
Speaker C:Their parents.
Speaker B:And that's good.
Speaker C:Principal.
Speaker C:That have, you know, let their hearts die or they're going to burn it down, you know.
Speaker B:Yes.
Speaker C:Or commit suicide.
Speaker B:Right.
Speaker B:Yeah.
Speaker B:Yes.
Speaker D:Which one of them seriously thought about.
Speaker C:Right, right.
Speaker D:That's kind of on the nose, I would think.
Speaker C:Yeah.
Speaker C:Yeah.
Speaker C:I think it's more that than rite of passage.
Speaker B:Okay.
Speaker C:Yeah.
Speaker C:So the setup.
Speaker C:Five kids are in detention with.
Speaker B:Yeah.
Speaker C:Skinner.
Speaker C:I mean, yes, I have.
Speaker B:The arrival of the kids, the evidence of their brainwashing.
Speaker B:Allison.
Speaker B:Allison.
Speaker B:That's her name.
Speaker B:That's funny that we couldn't remember name.
Speaker B:And she's the one that everybody ignores.
Speaker B:I feel terrible about that.
Speaker B:All of a sudden.
Speaker C:Good job, Mr.
Speaker C:Hughes.
Speaker B:Yeah.
Speaker B:I mean, Alison arrives, the one who is ignored, the outcast, cast off by her parents.
Speaker B:We learn that though she states plainly that her parents ignore her, look her way but never love her, as the song says, all these kids, parents ignore them and instead nurture them with convenient.
Speaker B:What Brian is calling convenient definitions.
Speaker B:And that's what they're being defined with.
Speaker B:And that's how they're defining each other at this point in the setup.
Speaker B:And then, of course, we talked about Bender.
Speaker B:Across the path of these jailers passes one they cannot ignore, who will bring their cult consultations to a screeching halt.
Speaker B:Symbolically, but literally, with the car, Bender arriving, Alison's parents having to see him, the car coming to a stop, he arrives and will be the one to knock over and rearrange things, much as he does on the counter.
Speaker B:His first thing he does is he starts knocking things over.
Speaker B:And that's going to be, I think, what he does.
Speaker D:Yeah.
Speaker D:He's touching and poking and.
Speaker B:And.
Speaker C:Yeah, then he makes Brian move.
Speaker C:Right.
Speaker D:Yes, he does.
Speaker C:Yeah.
Speaker B:He will be the one to change their minds.
Speaker B:And so I did leave this in.
Speaker B:I cut out a bunch of minutiae.
Speaker B:But I think it is when I saw that and began to realize what was happening.
Speaker B:That's when I think my jaw first hit the ground.
Speaker B:He makes Brian move.
Speaker B:Yeah.
Speaker B:He's a bully.
Speaker B:Bullies do that to the weaker.
Speaker B:And Brian is obviously the weaker, but Brian is the brain.
Speaker B:Brain Brian.
Speaker B:We talked about that.
Speaker B:Okay.
Speaker B:I think he's the saying, all these kids are gonna have to change their mind.
Speaker B:So he moves the brain from one side to the other.
Speaker B:And I.
Speaker B:So I think that's very cool.
Speaker B:I think.
Speaker B:And that's what I'm talking About writers have choices when they're writing these things.
Speaker B:And it depends how much I think they want to have Easter eggs, if you call them or want to hammer theme.
Speaker B:Because a writer has the opportunity to hammer theme at every sentence.
Speaker B:And I think Hughes does that here.
Speaker B:I think if it's too on the nose, it becomes labored.
Speaker B:But I don't.
Speaker B:I think Hughes has just enough nuance that he hammers it.
Speaker B:And he had a choice.
Speaker B:He could have moved any one of those kids.
Speaker B:He could have had Bender, sit down, whatever.
Speaker B:No, he had him move.
Speaker B:And I think he's.
Speaker B:Because it's all about the changing of your mindset.
Speaker B:And I just.
Speaker B:I saw that and I thought, well, that's it.
Speaker B:That's what he.
Speaker C:And I hesitate to even try to compare you and I to Hughes, but we are writers, right.
Speaker C:And I think.
Speaker C:I think it all really kind of just.
Speaker C:If I think about some of the stories we've written together.
Speaker C:Right.
Speaker C:Like, it just boils down to, like, how in tune you are with the theme.
Speaker B:Yes.
Speaker C:Where a lot of it just comes out naturally.
Speaker C:Right.
Speaker C:Because we were the themes in the back of our minds, we're thinking, oh, we could do this, because that pushes our theme.
Speaker B:Right.
Speaker C:I mean, yeah, some of it's, you know, you're.
Speaker C:Like you said, you're.
Speaker C:You're coming up with it.
Speaker C:But just when I think about, you know, I think back on it.
Speaker C:Like, you don't have to force a lot of it if you're really in tune.
Speaker C:It occurs naturally.
Speaker B:If you are.
Speaker B:Yeah.
Speaker B:So, like, for any future.
Speaker B:Like, so.
Speaker B:So as I watched this and as I thought about it, to me, like, the number one thing writer should do first is decide what he wants to say and then build everything else around that.
Speaker B:Because if not, you don't know, oh, I gotta have a funny part here, so let me have him fall down.
Speaker B:Well, okay.
Speaker B:What does that do?
Speaker B:Maybe that's funny, maybe it isn't.
Speaker B:But if everything is serving theme, then you can say, well, this helps.
Speaker B:This doesn't.
Speaker B:This character would do this.
Speaker B:He wouldn't do this.
Speaker B:You know, So I think theme increasingly is the center about.
Speaker B:Around which you should build a story, you know?
Speaker C:Yeah.
Speaker C:Because you can have cool, cool characters and set pieces, but if, you know, that's all you got, or what is that?
Speaker C:How does that relate to theme?
Speaker D:You know, this is obviously watching one of the masters, John Hughes, do it.
Speaker D:So if they're going to be hammering home theme, this is a great one to.
Speaker B:Yeah.
Speaker B:Oh, yeah, my eyes or whatever.
Speaker D:Obviously, you wrote 30 some odd handwritten pages of a love note.
Speaker B:John Hughes run back.
Speaker B:And when I.
Speaker B:When I flipped it over and I saw James eyes get real big, I was like, oh, yeah, this is not working good.
Speaker D:We stopped him from getting the oh, Bender, how I love thee.
Speaker B:Yeah, right.
Speaker B:Ode to Bender.
Speaker B:Like, you know, like in Lord of the Rings where I can't read those books because there's like 75 pages of some guy singing a song as he walks through the forest or something.
Speaker B:Right.
Speaker D:So that's Philip about Bender.
Speaker C:So is the catalyst, Bender moving?
Speaker C:Bryant forcing.
Speaker C:Brian movers a little bit later?
Speaker B:I have it.
Speaker B:Just a little bit.
Speaker C:Okay.
Speaker B:The principal comes in part of setup.
Speaker C:It's just.
Speaker B:Yeah.
Speaker B:So far I think we're still in setup.
Speaker C:Okay.
Speaker B:He wants.
Speaker B:The principal comes in, he wants them each to write an essay.
Speaker B:He gives them each a separate page and tell me who you are.
Speaker C:Right.
Speaker C:And they can't end of them.
Speaker B:So they're all on different pages at this point.
Speaker B:Right.
Speaker B:So there's many pages.
Speaker C:Oh, very nice.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker B:Very nice, Hughes.
Speaker B:Man.
Speaker C:On their own page.
Speaker C:By the end, they're on the one end.
Speaker B:They're all on the same page.
Speaker C:Nice.
Speaker B:You see, I got like.
Speaker B:I started watching this and this is why I wanted a six hour podcast.
Speaker B:I'm like, oh, my God, if I don't do this right, he's going to turn over his grave.
Speaker B:He's going to haunt me because.
Speaker B:But he's had a chance to talk.
Speaker C:About how great this movie was and they didn't.
Speaker B:I don't.
Speaker B:I just.
Speaker B:Yeah.
Speaker D:Anyway, John Hughes out there haunting anybody that ever talks bad about his movie.
Speaker B:Oh, my God.
Speaker B:This.
Speaker B:I think, like if, like if you could only select one, one John Hughes movie.
Speaker B:I love Sixteen Candles.
Speaker B:I love all his movies.
Speaker B:I love planes trains.
Speaker B:Plane trains.
Speaker B:Makes me cry every time.
Speaker B:I love Weird.
Speaker B:I love mall.
Speaker C:I like Me.
Speaker C:My wife Likes Me.
Speaker C:I like that one.
Speaker C:Till James ruined it with that theory of his.
Speaker B:Well, you know, smells over here, but.
Speaker B:But I think this, this movie ought to be taught in writing classes.
Speaker B:I think.
Speaker B:Whatever.
Speaker D:Anyway, probably is.
Speaker D:If you ever take one.
Speaker B:Yeah.
Speaker C:Or we ever teach one.
Speaker C:Huh?
Speaker B:Yeah, sure.
Speaker D:That's where the money's at, you know?
Speaker C:Yeah.
Speaker C:Now, going into this, like Ferris Bueller, hands down.
Speaker C:I love plane trains and automobiles too, but Ferris Bueller, if I've got to pick a John Hughes, because that's so much fun.
Speaker B:Right.
Speaker C:But.
Speaker C:And I don't know, maybe we should watch it at some point to see if it's as deep as this I have a feeling it's probably not gonna be, but, hey, maybe there was so much more going on in this movie than I realized.
Speaker D:Maybe for the holiday movies.
Speaker D:The next one could be Home Alone.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker D:That way.
Speaker B:I'm telling you, man, it's.
Speaker A:Did he do.
Speaker A:Wait a minute.
Speaker A:Home Alone two or just one?
Speaker C:I don't.
Speaker B:I.
Speaker B:I have to look that up.
Speaker C:I don't know.
Speaker C:I know he wrote one.
Speaker C:Did you think he wrote two as well, or.
Speaker D:I don't.
Speaker C:I don't know.
Speaker A:Two is my favorite.
Speaker B:Yeah, yeah, two is.
Speaker B:Yeah, two is good.
Speaker A:But.
Speaker B:And then.
Speaker B:And then you have this odd phrasing.
Speaker B:And again, this is a writer's choice, and you can just listen to it and enjoy it for what it is, or you can understand that Hughes is saying something here beyond the mere words.
Speaker B:This odd phrasing.
Speaker B:Maybe from the principal, Assistant principal, whatever his name is.
Speaker C:Vernon.
Speaker B:Right, Vernon.
Speaker B:Yes.
Speaker B:Maybe you will decide if you want to return.
Speaker B:And that's it.
Speaker B:That's to say, you know, you.
Speaker B:Maybe you will decide if you want to return to detention.
Speaker B:What's the what.
Speaker B:To return where?
Speaker B:To you.
Speaker B:But who says it like that?
Speaker B:You need to decide if you want to ever come back here.
Speaker B:You know, there's a more natural way to say that, I think.
Speaker B:Use the saying, you're at a crossroads.
Speaker B:Do you want to return to who you are?
Speaker B:You have to decide because you guys are rebelling, and we need you back in line in the system.
Speaker B:You need to decide if you want to return to the system or whatever.
Speaker B:And I think at the end, they decide they do not.
Speaker B:But he could have said this a more natural way.
Speaker B:And I think that's.
Speaker B:I think Hughes is asking us in the audience, and these kids, if you look at it a little deeper, do you want to.
Speaker B:You want to be in the group or do you want to be out?
Speaker B:And I think they decided they want to be out.
Speaker C:Yeah.
Speaker C:I think we kind of talked about this before last time, if I remember right.
Speaker C:Yeah, they're all kind of like Neos that are aware that there's something slightly off with their world.
Speaker C:And then Bender's Morpheus.
Speaker B:Yes, I thought about that.
Speaker C:Yeah, I think you mentioned that last time.
Speaker B:Yeah.
Speaker B:Only Bender as the rebel leader challenges his skills at this point are rage and sarcasm.
Speaker B:But I think that will be enough to get them motivated.
Speaker B:Bender himself struggles.
Speaker B:He's full of rage.
Speaker B:He's not the perfect leader, and he doesn't have the perfect plan, but he knows something is wrong, and he's the one that's going to lead the charge.
Speaker B:His skills are rage and sarcasm.
Speaker B:So I think he's the one, like we said, the agent of change.
Speaker B:He says to Allison when she arrives, the one ignored.
Speaker B:I've seen you, you know, which again is There's.
Speaker B:There's going to be a lot of this odd phrasing in the movie.
Speaker B:I've seen you, you know.
Speaker B:You know, and.
Speaker B:And he says it to the one that's been ignored.
Speaker B:So Bender sees what others do not.
Speaker B:I.
Speaker B:I don't know that.
Speaker B:Bender, you don't want to give too much credit to the character.
Speaker B:Okay.
Speaker B:This is the writer speaking through the character.
Speaker B:So Bender may or may not be aware of everything that he's doing as a character, but as a character, he is the one that is playing that role.
Speaker B:I don't know that Bender, at the end of the day, says, I'm going to get all these kids together.
Speaker B:And, you know, I don't think he has that plan.
Speaker C:Yeah.
Speaker B:Okay.
Speaker B:But I think together he will bring them to that realization.
Speaker D:Well, you were saying that his.
Speaker D:His weapons are sarcasm and rage.
Speaker D:Rage.
Speaker D:I didn't realize this till the second time after watching it.
Speaker D:After your love fest was.
Speaker D:Bender was.
Speaker D:He's like, hey, I've seen you around before.
Speaker D:He was, you know, he was a butthead.
Speaker B:Yeah.
Speaker D:But he didn't become nasty until Emilio Estevez turned around and.
Speaker D:And jabbed at him.
Speaker B:Yes.
Speaker D:That's when he turned.
Speaker D:He's like, hey, I'm being attacked here by someone.
Speaker D:My sarcasm.
Speaker B:Yeah.
Speaker B:By someone who probably sounds a lot like his own dad.
Speaker B:Nobody wants you, and they wouldn't have you, and.
Speaker B:And this kind of thing.
Speaker B:So he immediately sets him into his rage mode.
Speaker C:Right.
Speaker B:It's not his fault.
Speaker D:Like, it was.
Speaker D:He was totally antagonized.
Speaker D:Emilio Estevez turns around.
Speaker B:They flipped his switch, which is his dad.
Speaker C:Yeah.
Speaker B:The cigar burn.
Speaker B:And then at some point, he says, I don't think I need to be with you dildos anymore.
Speaker B:And off he goes, like.
Speaker B:But he's.
Speaker B:He got a knife.
Speaker B:He's ready to pull out.
Speaker B:And, I mean, he is fighting for his life, and he hears.
Speaker B:I think that's an excellent point.
Speaker B:I didn't think about that.
Speaker D:Andrew and Claire both kind of turn around.
Speaker C:It's like, yeah, this visit will be two hits.
Speaker C:Me hitting you and you hitting the floor.
Speaker B:Yeah.
Speaker B:Right.
Speaker B:And that's his dad.
Speaker B:I bet his dad said that to him.
Speaker D:Yeah.
Speaker B:If he's burning him with cigar, he's probably got, you know, because he talks about, you know, bam.
Speaker B:You know, when he's big.
Speaker B:So he's been subject to all of that.
Speaker C:Right.
Speaker B:And so that is what he's fighting against.
Speaker B:And.
Speaker B:And, yeah, that's an excellent.
Speaker B:I hadn't thought about that.
Speaker D:Yeah.
Speaker D:That's why I had that sympathy for Bender.
Speaker D:Now I'm like, man, he didn't start it.
Speaker D:I mean, yeah, he's a butt head.
Speaker D:He come in, he's ruffling feathers.
Speaker D:But yeah, there's the first one.
Speaker C:The one who, you know, taped a kid's, you know, butt cheeks together.
Speaker C:He's the first one that talks about physical, you know, violence or.
Speaker C:And contact with somebody.
Speaker B:And I think he starts to realize this because at the end he says, I think your dad should meet my dad.
Speaker B:You know?
Speaker B:They wind up.
Speaker B:Yeah, no, that's.
Speaker B:That's.
Speaker C:So where is.
Speaker C:Where are we at on the.
Speaker B:I think we're still in the setup.
Speaker B:I have one more thing.
Speaker C:Okay.
Speaker C:Still set up.
Speaker B:Okay.
Speaker B:Bender gives the enemy a name.
Speaker B:He calls him a brownie hound.
Speaker B:Dealing with the currency of favor and basically ass kissing.
Speaker B:That's how you get ahead in this world.
Speaker B:Later, when Vernon is down in the basement looking at files, getting dirt on other people.
Speaker B:Oh, what?
Speaker B:You know.
Speaker B:And the janitor comes in.
Speaker B:Vernon is trying to get dirt on other people, to have control over them in some way, even if it's just mental.
Speaker C:Right.
Speaker B:And the janitor says, okay, well, I'm going to talk unless you give me some money.
Speaker B:50 bucks.
Speaker B:So here's the.
Speaker B:Here's the currency of this world.
Speaker B:Getting stuff over on people.
Speaker B:Bribery, you know, favors.
Speaker B:This is Brownie hounds.
Speaker B:Right.
Speaker B:And that's.
Speaker B:So Bender identifies the enemy.
Speaker D:Yeah.
Speaker D:With Brian standing up, you know.
Speaker D:Yes, sir.
Speaker D:I can assure you, none of us want to come back here.
Speaker D:He's.
Speaker D:Bender is on his own little island.
Speaker B:Yeah.
Speaker D:Amongst a bunch of people trying to survive in that world.
Speaker B:Yes.
Speaker D:And that's what he's so frustrated about again.
Speaker B:Yes.
Speaker D:A lot of sympathy for that character now.
Speaker B:Right?
Speaker B:No.
Speaker B:Yeah.
Speaker B:So that's.
Speaker B:I think.
Speaker B:I think at that point, that is the setup to me.
Speaker B:What do you have as your catalyst, Chris?
Speaker B:Or do you have anything else in Setup or.
Speaker C:No, I don't have anything else.
Speaker C:Okay.
Speaker C:Like, I guess I felt like maybe him removing the screw from the door, like when he starts messing with the door, like that was a catalyst.
Speaker B:Yeah, I have that as.
Speaker C:Is that what you have?
Speaker B:Yes.
Speaker C:Okay, cool.
Speaker B:Bender, because he actually says the words.
Speaker B:He wants to get this party started.
Speaker C:Oh, nice.
Speaker C:Okay.
Speaker B:I missed that.
Speaker C:And it's also the doorways that you like so much.
Speaker B:Yes.
Speaker B:I.
Speaker D:He closes the door on the principal.
Speaker B:Yes.
Speaker D:Type of thing.
Speaker B:He wants to get this party started.
Speaker B:He wants that door closed.
Speaker B:He.
Speaker C:He's physically starting to dismantle the system.
Speaker B:Yes.
Speaker B:He needs that door closed because the door is accessed to them by the.
Speaker D:System and screws fall out all the time, man.
Speaker B:And, and so this.
Speaker D:Sorry to cut you off.
Speaker B:No, no.
Speaker D:When he says screws fall out all the time.
Speaker D:They're prisoners.
Speaker D:Aren't prisoners referred to as screws?
Speaker D:Yeah, screws fall out all the time.
Speaker C:I feel like he was definitely talking about himself too.
Speaker C:Like I've fallen out of this system.
Speaker B:Absolutely.
Speaker C:Your bullshit anymore.
Speaker B:This whole.
Speaker C:On you, man.
Speaker B:Yeah, this whole conversation is absolutely two levels and it's awesome.
Speaker B:You know.
Speaker B:Screws fall out.
Speaker B:Yeah, absolutely.
Speaker B:Everything we just said, he.
Speaker B:He is the screw that has fallen out.
Speaker B:The system must be dismantled.
Speaker B:You got to close off access to the system.
Speaker B:I mean, it's the whole thing in compact writing, is there?
Speaker B:And that's.
Speaker B:It's just.
Speaker D:Or sometimes screws just fall out, man.
Speaker D:Sometimes screws fall all the time.
Speaker B:Okay.
Speaker B:So in any, in any societal change, there has been a screw that has fallen out.
Speaker B:Right.
Speaker B:Okay.
Speaker D:Got a screw loose.
Speaker B:She.
Speaker B:Guevara or whatever.
Speaker B:I'm not, I'm not a big socialist or whatever.
Speaker B:But he's held up as this rebel.
Speaker B:You know, Martin Luther King is the screw that fell out.
Speaker B:Right.
Speaker B:I mean, you know, non violent protests and you know, just pick a time and you know, Braveheart, right.
Speaker B:Is a screw that fell.
Speaker B:So there's the screw that has to fall out.
Speaker B:Right.
Speaker B:And change begins.
Speaker B:That's, you know.
Speaker B:Yeah, that's absolutely.
Speaker B:The door slams and the party begins and there is this whole scene of, you know, Andrew and then fixing the door and everything.
Speaker B:Andrew, as archetypes, the archetype will always try to solve the problem according to their archetypal powers.
Speaker B:And Andrew is physical, so it's always going to be a physical solution.
Speaker B:He wants to fight.
Speaker B:Claire always thinks she can buy her way out of it.
Speaker B:Brian wants to negotiate and reason his way out of everything.
Speaker B:He stands up.
Speaker B:Oh, no, sir, I can just get this over with right now.
Speaker B:We never want to.
Speaker B:Come sit down.
Speaker B:So all these things are going to fail to change the system.
Speaker B:Only the skills that Bender has are going to get them.
Speaker B:Yeah.
Speaker C:Because they physically try to prop the door open with a couple things and it doesn't work.
Speaker B:Yes.
Speaker B:Yeah, absolutely.
Speaker B:And then.
Speaker B:And the system will always try to protect itself.
Speaker B:Vernon ridicules Andrew for the thing he told him to do.
Speaker B:Right?
Speaker C:Yeah, it was his idea.
Speaker C:But when it didn't work, all of a sudden, what are you doing?
Speaker C:Yeah, like, it was Andrew's idea.
Speaker B:Terrible.
Speaker B:And that's.
Speaker B:That's the brownie.
Speaker B:I can't look bad.
Speaker B:I can't.
Speaker B:It's always got to be saving, you.
Speaker D:Know, so that's the other one.
Speaker D:Brian's like, but aren't there fire exit?
Speaker D:Shut up.
Speaker B:Yeah.
Speaker B:Again, he's trying to reason always.
Speaker B:And that's his skill.
Speaker B:You know, Claire would buy her way out of this if she could.
Speaker B:I wish there was an airplane to France, she says later.
Speaker B:You know, I just, you know, money and an airplane can take me to another, you know, so they're always going to be going from their.
Speaker B:Their archetypal roles.
Speaker B:I think the stakes here are reiterated.
Speaker B:And we could talk about this as we go, because Bender's greatest fear is that his life now will be his life forever.
Speaker B:And Vernon says to him, after this whole scene about getting all the detentions, I'm gonna have you for the rest of your natural born life.
Speaker B:And that's the first time, one of maybe one or two times that he actually shows fear.
Speaker B:And I think it's because Bender realizes that unless there is a change, this will be how my natural born life is going to go.
Speaker B:And that's the threat of the system.
Speaker B:We've got you.
Speaker B:You know, you stay in your role.
Speaker B:We've got you.
Speaker D:And he'll be raging his entire life.
Speaker B:Sure.
Speaker B:Yeah.
Speaker B:Yeah, absolutely.
Speaker B:We got the catalyst nailed down, I think.
Speaker B:Is this door slamming in the.
Speaker B:In the hole.
Speaker C:Yep.
Speaker B:All right, so I don't.
Speaker B:We're still not in the break into two as I have it.
Speaker B:We're coming up on it and I'll get to it, and then you could sort of tell me what yours was.
Speaker B:Allison.
Speaker B:We already have a reference to the.
Speaker B:Well, we will have a reference to the bridge over the river cry with the.
Speaker B:With the whistling.
Speaker B:But Allison is drawing a bridge.
Speaker B:I thought she was doing snow, but Chris had pointed out it was probably stars, which makes more sense with her dandruff.
Speaker B:But it's a reference to the bridge.
Speaker B:And there's at least two references with the song and with this picture.
Speaker B:And of course, a bridge is taking you from one place to another.
Speaker B:So I think Hughes is subtly reminding us this is a journey and they're crossing over from one place to another.
Speaker B:Maybe a little reading into it.
Speaker B:But why a picture of a bridge?
Speaker C:Yeah, right.
Speaker C:She could have been drawing anything.
Speaker B:Anything.
Speaker C:I mean, drawing a dildo or Something.
Speaker B:Yeah.
Speaker C:Said it's a bridge.
Speaker B:A bridge.
Speaker B:I just.
Speaker B:And then the song, which I think.
Speaker B:Didn't.
Speaker B:Didn't.
Speaker B:Wasn't.
Speaker B:I don't think it was written for Bridge Over River Kwai.
Speaker B:It was a song before that.
Speaker B:But it's what is made famous by that movie.
Speaker B:The other couple of cool things here as we get.
Speaker B:Move beyond the catalyst, the destruction of the book.
Speaker B:I had mentioned this before, and Chris had said profoundly, don't judge a book by its cover.
Speaker B:Bender is destroying a book.
Speaker B:The book is by Moye Moye, wrote political comedies back in the day and is considered one of the greatest writers of comedies ever.
Speaker B:But every one of a lot of his comedies held up a social issue to get people to look at it.
Speaker C:Right.
Speaker B:And that's the book that Bender is occupied with.
Speaker B:And I think Hughes, like you said, could have picked any book, could have picked any picture, could have picked any character to move from one seat to another.
Speaker B:But he picked Molier and didn't tell us that he was the greatest comedy.
Speaker B:But let's us discover that on our own and then be amazed like I was.
Speaker B:But I think that's purely intentional.
Speaker B:And then Bender looks at it when the others say, oh, yeah, I like his work, or whatever, you know, absolutely.
Speaker B:Choices every step of the way, you.
Speaker C:Know, and they're tearing the.
Speaker C:Like you said, they're tearing the covers off the books.
Speaker B:Yes.
Speaker D:Well, the.
Speaker D:The fact that they all say, oh, I love his work.
Speaker D:It's like, really?
Speaker D:It's like.
Speaker D:Is that what you're.
Speaker D:Is that what you're saying?
Speaker D:Just to fit in and be cool.
Speaker D:Have you actually read it?
Speaker D:That's what I was thinking.
Speaker B:Yeah.
Speaker D:They're just all bullshitting each other.
Speaker D:They're not being real.
Speaker B:I think Brian probably is ready.
Speaker C:Only one.
Speaker B:The rest are.
Speaker C:Yeah.
Speaker B:Claire, maybe.
Speaker B:Because she's society.
Speaker B:I don't.
Speaker B:I don't know.
Speaker C:Yeah, right.
Speaker B:I don't know.
Speaker D:What about Bender?
Speaker D:Do you think he actually.
Speaker B:No.
Speaker B:Bender looks at it like, huh.
Speaker C:Yeah.
Speaker B:He's kind of amazed when they say.
Speaker B:Because I'm sure when you heard me, yeah, he was like, oh, you know, brainy, nerdy stuff.
Speaker B:Blah, blah, blah.
Speaker D:Book.
Speaker C:Yeah, right.
Speaker B:And he kind of looks at it.
Speaker B:He looks at it almost the same way as when Claire says to Brian that it's okay for a guy to be a virgin.
Speaker B:He looks completely amazed that someone would admit that.
Speaker B:Almost as much as he is amazed by someone admitting that they read classical literature.
Speaker B:Another odd phrase here.
Speaker B:Nothing you can do when you're trapped in a vacancy.
Speaker B:And again, I had mentioned that I tried to look that phrase up because it sounded okay.
Speaker B:Well, it must be Shakespeare.
Speaker B:No, that is completely unique to this movie.
Speaker B:And what does that mean?
Speaker B:Trapped in a vacancy?
Speaker B:Because it's such an odd phrase to me.
Speaker B:To my ear, it sounded completely odd.
Speaker B:Nothing you can do when you're trapped in a vacancy.
Speaker B:Bender is saying, we are trapped in a.
Speaker B:In a big void of nothing.
Speaker B:That seems like it's something, you know, but it's really nothing.
Speaker B:And I think Hughes is again speaking to us.
Speaker B:Whether Bender knows he's the leader or the savior archetype, later, he will say.
Speaker B:At some point, he will say to Andrew, when they're fighting and Andrew's trying to protect Claire, he says, I'm.
Speaker B:Bender says, I'm trying to help her.
Speaker B:And I think Hughes is again employing that archetype, the writer knowing more than the character, but the character still somewhat maybe aware of what's going on.
Speaker B:You know, the appearance of Carl the janitor, seen as the untouchable peasant, a peon.
Speaker B:His convenient definition is that untouchable peasant, peon, janitor.
Speaker B:What.
Speaker B:What does one have to do to become a janitor?
Speaker B:Janitor associated with.
Speaker B:And he says, you know, untouchable peasant, peon.
Speaker B:So they.
Speaker B:They are on the brink of being brainwashed and really almost already have seeing each other in these roles and then seeing the janitor and.
Speaker B:And having this attitude.
Speaker D:Well, the janitor.
Speaker D:What was his name?
Speaker D:He was in the beginning credits.
Speaker D:He's the man of the Year, right?
Speaker B:Yes.
Speaker D:You know, decade before or so.
Speaker D:So he just.
Speaker D:He's in this life.
Speaker D:He's comfortable in this life.
Speaker D:He's still at the school.
Speaker B:Yeah, it's a.
Speaker B:It's a very quick reference to his picture on man of the Year.
Speaker B:And again, Hughes is not going to.
Speaker B:You don't want to be too on the point.
Speaker B:And Hughes does this so subtly that several viewings.
Speaker B:You might start to pick up on this, because he does have his picture of man of the Year, and now he's a janitor.
Speaker B:Oh, you think, oh, he's fallen.
Speaker B:Oh, my God, what happened to this poor guy?
Speaker B:Right?
Speaker B:But he doesn't see it that way.
Speaker B:I'm the eyes and ears of this place.
Speaker B:You know, I go in.
Speaker D:So he seems he's thriving in that system.
Speaker B:Thriving in.
Speaker B:He has defied the simple definition of janitorial and is fine with it.
Speaker B:He's in a place they need to be because he says, hey to Brian, and Brian wants to be embarrassed.
Speaker B:And then Bender says, oh, your dad works so it's all ridicule.
Speaker B:But the janitor has no problem just dealing with anybody as a person.
Speaker B:And he.
Speaker B:But.
Speaker B:And that's where these kids need to be.
Speaker B:So we want to see a janitor and think, oh, this poor guy, you know, he doesn't see it that way.
Speaker B:He is defying his own simple definition.
Speaker B:He knows what time it is.
Speaker B:He looks at the clock, and he can.
Speaker B:And he sees the clock is fast or slow, I can't remember which, but he knows what time it is.
Speaker B:That's the first thought that occurred to me when he said that the janitor knows what time it is.
Speaker B:What's time for these kids to make a choice?
Speaker B:You know, the time is more than just the time on the wall.
Speaker B:I just dug that whole scene, man.
Speaker B:You know, they whistled the same song together.
Speaker B:The Colonel Bogey March.
Speaker B:They have answered the call.
Speaker B:They're starting to.
Speaker B:Because I think they unify around Bender.
Speaker B:Even though they're separate, they don't rat him out.
Speaker B:Anyway, by the end of the first act, they're whistling this song together, all together.
Speaker B:And I'm seeing that as the act.
Speaker C:Break, they start whistling.
Speaker B:Yes.
Speaker C:Okay.
Speaker B:They have answered the call and are ready for Act 2.
Speaker B:And then we get into fun and games that.
Speaker B:You had your.
Speaker C:I didn't really have it.
Speaker C:I didn't know if them.
Speaker C:When they decided to sneak out in the library.
Speaker B:Yeah.
Speaker C:You know, if that was.
Speaker C:It seemed like that was maybe too late.
Speaker D:They go to the bathroom, don't they?
Speaker D:When he comes in and they're all kind of nodding off, he's like, who needs to go to the bathroom?
Speaker B:Yeah, there's.
Speaker B:There's a.
Speaker B:I think it might be, like, the beginning of Act 2 or whatever.
Speaker B:But, yeah, they.
Speaker B:Up to that point, they were at each other.
Speaker B:It's the first time they do anything.
Speaker C:Together and they were separate.
Speaker C:Yeah.
Speaker C:No, I think you're right.
Speaker C:I think.
Speaker B:Yeah, they're not there yet.
Speaker B:But this is something they weren't doing at the beginning.
Speaker C:Right?
Speaker B:Debating, denying, not answering the call, whatever.
Speaker B:And so this is a clear change in their behavior.
Speaker B:And maybe thought, I don't know.
Speaker B:All right, so the fun and games.
Speaker B:I'll just go through them real quick, and then we can talk about anything that's important.
Speaker B:At this point, they start calling each other by first names.
Speaker B:Okay.
Speaker B:When they're having their various conversations.
Speaker B:Allison and Andrew on the way to get drinks or whatever.
Speaker B:Claire, Bender and Brian talking about being a virgin, not being a virgin.
Speaker B:They start calling each other by first names.
Speaker B:Hughes does several things by showing us unlike things put together.
Speaker B:Right.
Speaker B:So characters being put together.
Speaker B:Claire.
Speaker B:The three of them.
Speaker B:And then.
Speaker B:And then Allison and Andrew.
Speaker B:Brian's socks don't match.
Speaker B:Allison's sandwich has two kinds of bread.
Speaker B:She takes out the meat and makes a sandwich of her own creation.
Speaker D:Sugar.
Speaker D:Deliciousness.
Speaker B:Yes.
Speaker D:Captain Crunch.
Speaker B:Yes.
Speaker B:And Bender's boots.
Speaker B:One only.
Speaker B:Only one has a bandana.
Speaker B:So there's all these things of mismatched items that I think is what Hughes is saying.
Speaker B:I'm going to mix these kids up.
Speaker B:And what appears may not seem normal to them, but it's going to be what has to happen.
Speaker B:Being a virgin is okay.
Speaker B:Then being confronted with Andrew.
Speaker B:Why?
Speaker B:Why are you really here?
Speaker B:Allison doesn't let Andrew get away with an easy answer when they're on their way to the hallway.
Speaker B:Okay, all that's fine.
Speaker B:But why are you really here?
Speaker B:And he won't answer.
Speaker B:He doesn't answer till later.
Speaker B:Sandwich is transformed into something of its own.
Speaker B:Her own choosing.
Speaker B:They also will be transformed.
Speaker B:I talked about the lines being drawn again.
Speaker B:Vernon is making his own sandwich sitting under a rigid character.
Speaker B:A rigid calendar for rigid products.
Speaker B:Right over his head it says rigid Bender.
Speaker B:Is Bender the one who will bend things?
Speaker B:Whatever Part of the.
Speaker B:Funny.
Speaker D:You said that just now with way less enthusiasm than you did last time.
Speaker B:Yeah.
Speaker B:Probably about 20 minutes short.
Speaker D:You're like.
Speaker D:He was sitting under a rigid calendar.
Speaker B:People.
Speaker C:This is how rigid he is.
Speaker C:Man and the system.
Speaker C:Yeah.
Speaker C:You were way into it.
Speaker B:Did you get it?
Speaker B:I said it six times.
Speaker B:Did you get it?
Speaker B:I'll say.
Speaker B:Anyway.
Speaker B:I'm really trying to just.
Speaker B:Because.
Speaker B:Anyway.
Speaker B:The escape scene.
Speaker B:Bender says being bad feels good.
Speaker B:Resisting convenient definitions.
Speaker B:Feels good.
Speaker B:Their heart not dying feels good.
Speaker B:The brain a little less washed feels good.
Speaker B:Okay.
Speaker B:All he's saying.
Speaker B:Being bad feels good.
Speaker B:But he's saying this is.
Speaker B:This is defying your roles.
Speaker B:And it's pretty good.
Speaker B:Huh?
Speaker B:And it does.
Speaker B:All right.
Speaker B:So now there's a song that is playing when they're running away.
Speaker B:Once they.
Speaker B:They're either going to his locker or they have been discovered.
Speaker B:And they're not been discovered.
Speaker B:But they discover Vernon's walking around and they have to run.
Speaker B:There's a song playing.
Speaker B:I think it's called the man on the Run or the man who leads the Way.
Speaker B:I don't know.
Speaker B:I can't remember who sings it.
Speaker B:It's in the credits.
Speaker B:But there are two standout lines.
Speaker B:Because that's what he did with.
Speaker B:With don't you forget about me in the beginning.
Speaker B:I think those Lines of that song are spot on as to what is happening with these kids.
Speaker B:I think this song stands out for what is what Bender is doing.
Speaker B:There are two standout lines to me.
Speaker B:One, the first one is hot on the run from the grip of the power game.
Speaker B:The man who leads the way is a line in that song that is playing when Bender is running on the run from the grip of the power game.
Speaker B:I said, that's.
Speaker B:That's the movie.
Speaker B:Other lines, taking a break from the everyday boy.
Speaker B:Is he for real or is he back to the old way boy?
Speaker B:The song is talking about a crossroads, obviously.
Speaker B:Right, Right.
Speaker B:Are you gonna be the everyday boy?
Speaker B:Are you gonna be the old way boy?
Speaker B:Or are you gonna run and fight the grip of the power game?
Speaker B:And that's the movie.
Speaker B:That's exact.
Speaker B:You know, a choice is made, and that's the movie.
Speaker B:Now they are running and they.
Speaker B:I say they fall to their old fears and shackles.
Speaker B:They.
Speaker B:They've been following Bender, and Bender wants to go a certain way.
Speaker B:Andrew says, no, no, no, that's not the way.
Speaker B:You need to come with us.
Speaker B:Come with me.
Speaker B:And there's this debate, but Andrew seems like the authority and the more stable one, so they follow him and they run up right against the bars of a cage.
Speaker B:And I.
Speaker B:Another choice.
Speaker B:I think that is exactly right.
Speaker B:If you're going to fall into the old ways, you're going to run right back up into your bars.
Speaker B:Bender then Claire says, okay, now we're all caught.
Speaker B:We're done.
Speaker B:And he says, no, only me.
Speaker B:And again, he's playing the archetypal role of the savior.
Speaker B:He says, only me.
Speaker B:And he runs off saving these kids from further punishment, detention, whatever.
Speaker C:He makes a bunch of noise to get Vernon to come after him.
Speaker C:Yeah.
Speaker B:Yes.
Speaker B:And he sacrifices himself.
Speaker B:And we talked about it.
Speaker B:That image of Bender grabbing the cage and looking up to heaven.
Speaker B:As soon as I saw that, I started looking up Renaissance pictures of Christ of the cross, saying.
Speaker B:And it's specifically the scene painters will paint of Christ saying, why have you forsaken me?
Speaker B:When.
Speaker B:When Christ feels like he has been forsaken by God dying on the cross, it's always sort of a look up to the left.
Speaker B:And that is, as soon as I saw Bender's face, I'm like, oh, my God.
Speaker B:That's.
Speaker B:You know.
Speaker C:So is that like.
Speaker C:Is that what you have?
Speaker C:Is it like the midpoint in the false defeat, or is it Almost.
Speaker C:Almost.
Speaker C:Okay, that's what I had to note, as I guess on mine was, I feel like that was maybe the beat.
Speaker C:There was.
Speaker B:Yeah.
Speaker C:But I guess I'm definitely curious to see what you had.
Speaker B:Okay.
Speaker B:There are benders caught.
Speaker B:And he's put in isolation or whatever.
Speaker B:And this is the second time that.
Speaker C:I got in the gym shooting the basketball because he's working.
Speaker C:He's going to get a scholarship.
Speaker B:Scholarship, yeah.
Speaker B:So, yeah, absolutely.
Speaker D:And he was wearing someone else's shoes.
Speaker C:Yeah, right.
Speaker C:Yeah, right.
Speaker B:It was James or somebody said taking a walk in someone else's shoes.
Speaker B:Oh, my God.
Speaker B:I was like, oh, my.
Speaker B:Yeah, yeah.
Speaker C:Taking his shoes off and had that.
Speaker C:Other listeners.
Speaker D:He was cracked out on chili.
Speaker B:He had.
Speaker B:He was inside it.
Speaker C:He had, you know, athlete shoes on.
Speaker B:Basketball shoes.
Speaker B:Yeah, yeah, absolutely.
Speaker B:There are only two times Benders afraid.
Speaker B:And both is when the system represented by Vernon will never be vanquished.
Speaker B:Rest of your natural born life, and then in isolation, when you've forgotten all about this place.
Speaker B:I'll be there, and I'm going to kick the living shit out of you.
Speaker B:And Bender shows fear at that point, because that, I think, is his greatest fear.
Speaker B:I will never be free of this.
Speaker B:Never be free of this system.
Speaker B:You know?
Speaker C:So when he's in isolation and Werner makes that speech, that's your midpoint or.
Speaker B:No, for his sacrifice, he's put in solitary.
Speaker B:Now, before he is put in solitary.
Speaker C:Yeah.
Speaker B:Because they're back in the room, right?
Speaker B:Yeah.
Speaker B:So he's taken away.
Speaker B:Bender does not wear glasses.
Speaker B:I don't know where he got these glasses.
Speaker B:You don't see Bender wearing glasses in the movie.
Speaker B:He passes Andrew and he lays down the glasses and he.
Speaker B:And he says, for better hallway vision, man.
Speaker B:What is that?
Speaker B:What are you talking about?
Speaker B:Where'd you get these glasses?
Speaker B:There's no setup for the glasses, okay?
Speaker B:He is going to change the way they see things.
Speaker B:There's no other reason for these glasses to even be there.
Speaker B:For better hallway vision.
Speaker B:It's a throwaway line.
Speaker B:Okay, but why glasses?
Speaker B:Why To Andrew, why?
Speaker B:You know, as he's walking away.
Speaker B:Here's glasses for better hallway vision.
Speaker B:He says that.
Speaker B:At that point, I'm like, oh, my gosh.
Speaker B:It's got to be.
Speaker B:He is going to give them eyes to see.
Speaker B:I don't want to lay too much on Bender because he is not an innocent guy.
Speaker B:Okay?
Speaker B:Whatever.
Speaker B:He's not pure.
Speaker B:He's certainly not.
Speaker B:You wouldn't think of Bender and think of Christ.
Speaker B:Okay?
Speaker B:But one of the things.
Speaker B:And I don't think he was meant for this to be a religious or spiritual movie, but I think he did mean it for a story about a character who changes other characters.
Speaker B:And to the degree that that is true, one of the verses about Jesus, he gave them, you have eyes to see, but you do not see.
Speaker B:Talking to the Pharisees and the legal rulers of the time, which is what was brand got him branded a rebel.
Speaker B:Right.
Speaker B:You have eyes to see, but you do not see.
Speaker B:You have ears to hear, but you do not hear.
Speaker B:Bender has given him glasses for better hallway vision.
Speaker B:So you have eyes to see.
Speaker B:You know, if you could come up with a different explanation, I challenge you.
Speaker B:But at that point, I wanted to build an altar, you know, the man who Leads the way.
Speaker B:Okay.
Speaker B:We just had that song, Giving Them Eyes to See because.
Speaker B:Because I thought about these glasses.
Speaker B:Like, where did he get them?
Speaker B:Does he wear them?
Speaker B:We never seen him wearing them.
Speaker C:Yeah.
Speaker C:So does it bother you that it's that they weren't really set up?
Speaker C:Because, I mean, it's really cool.
Speaker C:And I agree with you.
Speaker C:That's got to be what he's saying, what Hughes is saying.
Speaker C:Would it have been better if they were set up?
Speaker C:Because it's almost, you know, you can, I don't know, say you can see the writer's hand.
Speaker C:Right.
Speaker C:The glasses are there because it's because you need them to be there.
Speaker C:You know what I mean?
Speaker B:And it's such a sarcastic, throwaway line.
Speaker C:You know, I think the line is.
Speaker C:The meaning of the line is hidden.
Speaker C:Well, for better hallway vision, man.
Speaker C:Because they, you know, he just took them the wrong damn way in the hallways.
Speaker C:Like, that's cool.
Speaker C:But I don't know.
Speaker C:Like, I think about the glasses.
Speaker C:If they'd been Vernon's or some shit or something.
Speaker B:Yeah, maybe.
Speaker B:I don't know, you know?
Speaker C:But again, it could be like one of those things.
Speaker C:There's so much cool shit going on.
Speaker C:You're forgiven for that one.
Speaker B:And I didn't think about the hallway, but.
Speaker B:Yeah, because Andrew let him down the wrong way in the hallway.
Speaker B:And he's saying, next time you're faced with a choice like that here, you're going to see better after today.
Speaker C:Yeah, because Andrew wouldn't.
Speaker C:Didn't refuse and stay in the library.
Speaker C:No, I'm saying right here, they all got out, so they're starting down the path, but they still went the wrong way.
Speaker B:Yes, because he's falling back into the old way.
Speaker B:They haven't gotten to the point where they can view it the way he does.
Speaker B:Yes.
Speaker D:I wonder.
Speaker D: iterion collection release of: Speaker D:So maybe that's in there.
Speaker B:Yeah, maybe.
Speaker D:But theatrical version, question mark.
Speaker D:Yeah, that might be something, you know, you can put in your altar there.
Speaker B:Yes.
Speaker B:Yeah, yeah.
Speaker B:Okay.
Speaker B:So at this point, I'm at the midpoint, and I'm calling it a false victory.
Speaker B:Bender appears and all but Allison blaze up.
Speaker B:So he's got his marijuana.
Speaker B:You got my dubage.
Speaker B:He has a tool that will tear down the last of their inhibitions, something that will remove the wash from their brains, literally.
Speaker B:Dubage.
Speaker B:So everybody gets high at this point except Allison, and I'm not entirely certain why she doesn't.
Speaker B:I don't know if I've ever nailed that down.
Speaker D:Might mix with her lithium, right?
Speaker D:I don't know.
Speaker B:It could.
Speaker B:But notoriously, marijuana and drugs, especially in the 60s, drugs, have always been alcohol breaks down your nitbit.
Speaker B:So this is a vehicle to tear down walls.
Speaker B:Drugs, right.
Speaker B:You know, drop in and tune out, man.
Speaker B:You know, this whole thing.
Speaker B:So, you know, he has the tool to break down that final wall because they all light up, and then it's party time, and they're all together and they're dancing, I think some of them, you know, And.
Speaker B:Yeah.
Speaker C:Yeah, it turns into, like, a little musical for a minute.
Speaker B:Yes.
Speaker B:And so I think this is a midpoint false victory.
Speaker B:But it's way late.
Speaker B:It's not.
Speaker B:There's only like, 30 or 4 or 35 minutes left in the movie.
Speaker C:Initially, I had that, but then I was.
Speaker C:It bugged me.
Speaker C:Bugged me that it was so late.
Speaker B:Very late.
Speaker B:Yep.
Speaker C:So I thought, okay, well, maybe him getting caught was a false defeat or something.
Speaker B:So, yeah.
Speaker B:Yeah, I got you for the net.
Speaker C:The rest of your natural life just felt like bad guys close into me.
Speaker C:But then.
Speaker C:Then that would mean that the.
Speaker C:The weed thing is a break into three.
Speaker C:And that seems.
Speaker C:That doesn't seem right.
Speaker B:So, yeah, I think there is because.
Speaker B:Because I think from the Midpoint to Act 3 is fairly condensed.
Speaker C:Yeah.
Speaker B:Bad guys close in.
Speaker B:Vernon in the basement.
Speaker B:We see the coin of this realm, the way things are done.
Speaker B:Seeking advantage over people and currying favor.
Speaker B:Vernon buys himself some Brownie points for 50 bucks.
Speaker B:So we get the bad guys close in.
Speaker B:It's not necessarily on them, but it's how things operate.
Speaker B:These are the people they're dealing with, trading in power and money and favor.
Speaker B:Okay, still, bad guys close in.
Speaker B:The kids learn how bad it is for each of them that they have more in common than their convenient definitions would apply.
Speaker B:The conversation between Andrew and Alison.
Speaker B:Is it bad?
Speaker B:Real Bad?
Speaker B:Yes.
Speaker B:What do they do to you?
Speaker B:So this conversation between Allison and Andrew, they are starting to see each other's prisons, right?
Speaker B:At that point, all is lost, of course.
Speaker B:Has to be a false defeat.
Speaker B:They fall back into their old ways, the politics of power.
Speaker B:Instead of being together.
Speaker B:Like at the midpoint, Bender has one more wall to dare to tear down Claire's conceit.
Speaker B:They get into this discussion sitting around in this circle, right?
Speaker B:And Claire is in tears and Bender is ripping into her.
Speaker B:And Brian says, you're so conceited, Claire.
Speaker B:And that's true.
Speaker B:That's that until she can get rid of that, she will never change.
Speaker B:And I think at this point, Brian is saying, we will be friends Monday.
Speaker B:I would never do that.
Speaker B:Others are not so sure.
Speaker B:Allison is saying, it's inevitable your heart will die.
Speaker B:So they're having a defeat here because the high is over.
Speaker B:But they're.
Speaker B:And they're coming down and they're starting to.
Speaker B:Okay, I see what's happening here.
Speaker B:But are we going to be brave enough to make it a permanent change?
Speaker B:I don't think so.
Speaker B:I would.
Speaker B:Yes.
Speaker B:I wouldn't.
Speaker B:No, I wouldn't.
Speaker B:You know, this kind of thing.
Speaker B:So I think they are starting to fall back into their own ways until the break into three, which we'll get in a second.
Speaker B:Dark night of the soul.
Speaker B:The lowest point in the movie.
Speaker B:Everyone is in tears.
Speaker B:Brian is talking about suicide.
Speaker B:Claire is in tears.
Speaker B:Allison is in tears.
Speaker B:Everyone is at the lowest they're ever going to be in this movie, I think.
Speaker C:And Andrew search to sympathize with the kid that he bullied or whatever.
Speaker B:So how do you take something like that back?
Speaker B:You never can.
Speaker C:Right?
Speaker B:Humiliation.
Speaker C:Yeah.
Speaker B:Yes.
Speaker B:Claire says, it's different for you.
Speaker B:You don't understand the pressures we're under.
Speaker B:And Brian says, pressure?
Speaker B:I don't understand pressure.
Speaker B:I almost killed myself.
Speaker B:Right, right.
Speaker B:So the lowest point.
Speaker B:Not until they see the pressure for them is the same and they are stronger together against that pressure.
Speaker B:Are they ready?
Speaker B:They are ready.
Speaker B:When they laugh together.
Speaker B:So they're through all of that.
Speaker B:Then they laugh.
Speaker B:Act three, at that point is what I have.
Speaker C:You know, I definitely had the.
Speaker C:On the always lost.
Speaker C:I had not friends on Monday look.
Speaker C:I had that as the kind of the same in the same beats.
Speaker B:Y.
Speaker C:And I guess just.
Speaker C:I had notes and I guess what we're getting to, like, Claire going to Bender and then Allison showing Andrew her makeover.
Speaker C:As far as, like the breaking in three stuff.
Speaker B:Yes.
Speaker B:Act three is dancing, transforming.
Speaker B:Allison gets transformed.
Speaker B:Claire you know, why are you being nice to me?
Speaker B:Because you're letting me.
Speaker B:Well, that's.
Speaker B:That's the other side of these.
Speaker B:These simple definitions.
Speaker B:People treating other people mean.
Speaker B:Okay, but if someone treats you nice, is your wall so up that you're not gonna let them in?
Speaker B:Well, that's most likely.
Speaker B:Bender is not letting anybody in, right?
Speaker B:Alison, nobody's letting anybody in.
Speaker B:Right.
Speaker B:Why are you being so nice to me?
Speaker B:Because you're letting me.
Speaker B:It's an odd phrase, but it's.
Speaker B:That's.
Speaker B:That's exactly what needs to happen.
Speaker B:It's a two way street.
Speaker B:Right?
Speaker C:Right.
Speaker B:You have to accept, but you have to be accepted.
Speaker C:You know, there was a.
Speaker C:We were talking about the getting high thing and the dancing.
Speaker C:I think we'd mentioned it last time.
Speaker C:I just remembered Andrew goes in there into that room and closes the door and screams, shatters that door.
Speaker B:And Hughes is on record as saying that.
Speaker C:About walls coming down.
Speaker B:Yeah.
Speaker B:That.
Speaker B:He.
Speaker B:He's not fond of that scene.
Speaker B:But I think.
Speaker B:I think it's.
Speaker B:It's there for a reason.
Speaker B:Maybe he thought it was a little too on the nose because it does seem a little implausible.
Speaker B:A little implausible that he would be at a shadow that class.
Speaker D:They had to have something for commercials on mtv, if I remember correctly.
Speaker D:I think it was.
Speaker D:They rolled.
Speaker D:It was just something to catch attention of teenagers.
Speaker D:Like it was a musical scene.
Speaker B:Yeah.
Speaker D:It played well on commercials.
Speaker B:Yeah.
Speaker C:And I was thinking about what you had said about Allison and why she doesn't get high.
Speaker C:Right.
Speaker B:Yeah.
Speaker C:So earlier in the movie says, I've seen you.
Speaker C:Right.
Speaker C:And she's the one of all the people that draws the bridge.
Speaker B:Yeah.
Speaker C:So in a way, like, she's kind of where, like, she's not.
Speaker C:She doesn't need her inhibitors brought down as much as everybody else.
Speaker C:She's.
Speaker C:She's more on the path than she's aware.
Speaker B:She's almost more aware than Bender.
Speaker C:Yeah.
Speaker C:But she didn't need the glasses.
Speaker B:Doesn't have the skills or the courage at this point.
Speaker B:Yeah.
Speaker B:She needs Bender, you know?
Speaker C:Yeah.
Speaker B:The song that is playing here, again, a choice is called.
Speaker B:It's called We Are Not Alone that they're dancing to and all this kind of thing.
Speaker B:And.
Speaker B:And absolute obvious choice because up at that point, up to that point, obviously, they were each in their own cell, each judging another.
Speaker B:According to these convenient definitions here, they're dancing together to a song called We Are Not Alone.
Speaker B:And I think that's intentional.
Speaker B:Hmm.
Speaker B:All the kids on the same page.
Speaker B:Brian writes the essay, a Manifesto of the New Rebellion, is what I'm calling it hereafter known as the Breakfast Club or whatever.
Speaker B:They accept each other.
Speaker B:And the untouchable peon, the Carl peon, Carl the janitor.
Speaker B:The new order on display.
Speaker B:As they're leaving, they all say bye to Carl, and Carl says, bye to them.
Speaker B:See you.
Speaker B:Bender says, see you next Saturday.
Speaker B:Brian says, bye, Carl.
Speaker B:And, you know, he.
Speaker B:So the peon is no longer untouchable.
Speaker B:The peon is no longer the untouchable peasant.
Speaker B:He didn't think of himself that way.
Speaker B:They did it, but now they don't.
Speaker B:And Bender is totally fine with going back there.
Speaker B:And we talked about this.
Speaker B:I think Bender goes back there, I think he starts hanging out with Carl and help him clean up on detention.
Speaker B:And I think at some point he becomes a janitor.
Speaker B:But the Mr.
Speaker B:Miyagi of janitors, maybe.
Speaker B:I don't think he ever feels ashamed about being a janitor ever.
Speaker B:You know, now maybe he doesn't.
Speaker B:But I could see that if you were like, fan fiction, I would write, you know, Bender's story that way or whatever.
Speaker B:They accept each other's.
Speaker B:Good.
Speaker C:I was gonna.
Speaker C:They exchange items of each other, too.
Speaker C:Back to.
Speaker C:I feel like back to that mixing and matching thing you were talking about.
Speaker C:Because Bender takes Claire's diamond earring, I think even puts it in his own ear, right?
Speaker B:Yes.
Speaker C:And then Allison rips off his Andrew's patch or whatever, like.
Speaker C:So it's them becoming one.
Speaker B:Yes, absolutely.
Speaker B:Yeah.
Speaker B:The jailers.
Speaker B:The jailers pick them up again, but they will no longer be held captive by them.
Speaker B:I said, Vernon reads the essay and knows that.
Speaker B:I'm saying Vernon reads the essay and knows he is lost.
Speaker B:Each.
Speaker B:Each one of us is a brain, an outcast, an athlete, a princess, and a criminal.
Speaker B:We will not allow ourselves any longer to be brainwashed and defined by yours or anybody else's.
Speaker B:Convenient definitions.
Speaker B:My words, not in the essay.
Speaker B:But that's what he's saying.
Speaker B:Bender, his job done, puts his fist in the air, which, you know, is the iconic image of rebellion.
Speaker B:You know, fist in the air.
Speaker B:The iconic image of solidarity and freedom.
Speaker B:Cue the music.
Speaker D:Nice.
Speaker C:Yeah.
Speaker C:So if we go with the institutionalized.
Speaker C:I mean, they.
Speaker C:They burned it down.
Speaker B:They burned it down.
Speaker B:Yeah.
Speaker C:Nice.
Speaker B:Yeah.
Speaker D:So that fits really well.
Speaker D:I like that.
Speaker B:Yeah.
Speaker B:No, there's.
Speaker B:There's.
Speaker B:There's a lot going on in that movie.
Speaker B:Nuances, that is, I think, essentially it.
Speaker B:But I would challenge anybody to watch this movie and just pay attention to every single thing that's going on.
Speaker B:And if a name like Moyer is mentioned, look it up.
Speaker B:Because it's intentional, you know, I think.
Speaker D:Yeah.
Speaker D:When after last time again, I went home and viewed it more as in, they're in purgatory.
Speaker B:Yeah.
Speaker D:You know, they all arrive.
Speaker D:They're going to decide if they're coming back here, if they're going on with their former life.
Speaker D:And this movie is awesome.
Speaker B:Yeah.
Speaker D:Like, I never thought of that, seeing it as a kid coming up.
Speaker D:I never looked that far deep into it.
Speaker D:I didn't always thought Bender was the bully.
Speaker D:I don't like him.
Speaker B:Right.
Speaker B:No.
Speaker B:I watched it a bunch of times before this time.
Speaker C:Yeah.
Speaker B:And then I don't know what.
Speaker B:Some.
Speaker B:Something triggered it.
Speaker B:Maybe I looked up Moyer or something.
Speaker B:I don't know.
Speaker B:Because I thought, well, I gotta make notes about this.
Speaker B:Okay.
Speaker B:Why?
Speaker B:Oh, my God.
Speaker B:Oh, my God.
Speaker B:So something pulled the thread and then it started to unravel as far as.
Speaker B:Oh, my God.
Speaker B:There's a lot going on here, you know, So I think once.
Speaker B:And you.
Speaker B:And I'm not saying you have to watch the movie on that level.
Speaker B:And not every movie is going to serve you that way.
Speaker B:Some are straight, one level only, and they have their place.
Speaker B:But this movie, like, you could watch it, and there's more going on than meets the eye.
Speaker B:And I think.
Speaker B:I think Hughes was intentional about that.
Speaker D:They fit a lot of story in and all that stuff.
Speaker D:It says an hour and 37 minutes long.
Speaker D:Yeah, they fit a lot of stuff.
Speaker B:Yeah.
Speaker B:Talk about compact and efficient, economical writing.
Speaker C:Right?
Speaker C:Yeah, I think I'd mentioned it, I think, before, like, on our.
Speaker C:On our group chat or whatever.
Speaker C:That Pitch Perfect with Anna Kendrick.
Speaker C:Like, she's kind of the rebel of the group, and I feel like she's.
Speaker C:In hindsight, I feel like she's kind of the Bender of that movie.
Speaker C:She even dresses in plaid and dresses in similar colors as Bender.
Speaker B:You sent me that picture.
Speaker B:And I was like, well, that's Bender's clothes.
Speaker C:Aren't they starting.
Speaker C:There's this.
Speaker C:Right?
Speaker C:Yeah.
Speaker C:And then the.
Speaker C:She'd never seen the movie.
Speaker C:Like, her boyfriend ends up showing her this movie.
Speaker B:Okay, well, that's intentional then.
Speaker C:Yeah.
Speaker C:Shows her this movie.
Speaker C:Yeah, it shows her the Breakfast Club in that.
Speaker C:In that movie.
Speaker B:Yeah, yeah.
Speaker C:She's very closed off and all this stuff.
Speaker C:And at one point, like, she kind of shrugs it off or whatever.
Speaker C:I remember.
Speaker C:Right.
Speaker C:Initially.
Speaker B:Yeah.
Speaker C:And even, like, he.
Speaker C:He's a big movie fan.
Speaker C:He talks about Star wars and she makes fun of that going Vader literally Means, you know, father.
Speaker C:Like.
Speaker B:Yeah.
Speaker C:He's like, how did you know that?
Speaker C:How did you know?
Speaker C:Because she'd never seen it before anyhow.
Speaker C:But she ends up watching it alone later on in the movie, and she's crying.
Speaker C:Like, she's crying when you're.
Speaker C:Yeah.
Speaker C:When you see Bender with.
Speaker B:Yeah.
Speaker C:You know, with his hand up.
Speaker C:And then she incorporates it into her.
Speaker C:One of their songs, you know, for the.
Speaker C:For the break.
Speaker C:Breaking the three.
Speaker C:Yeah.
Speaker C:I'd never even.
Speaker D:Yeah, I'm glad you told me that, because I've never seen that movie, and nor will I ever.
Speaker D:And now I know.
Speaker C:That's perfect.
Speaker C:Yeah, they're a lot of fun, man.
Speaker C:Like, I don't like musicals, but they're funny and they're, you know, like.
Speaker D:No, I've never seen any of the Pitch Perfects.
Speaker D:Now I don't have to.
Speaker D:Thanks.
Speaker D:I appreciate it.
Speaker B:Whatever.
Speaker C:They're an acapella group, so, like, one of them would literally right now be like, excuse me.
Speaker C:That's what they would say to your response of having not seen it.
Speaker C:You know, stupid.
Speaker C:Stupid.
Speaker C:Like that.
Speaker B:Well, past consider recommend section.
Speaker B:I obviously.
Speaker B:My God, if.
Speaker C:Obviously, it's.
Speaker C:Pass.
Speaker B:Yeah, obviously.
Speaker B:I hate this movie.
Speaker B:I highly recommend this movie.
Speaker D:Yeah, absolutely.
Speaker D:I was probably on in the middle of that last time.
Speaker B:Yeah.
Speaker D:And now I'm definitely.
Speaker B:Yeah.
Speaker D:Recommend hard.
Speaker B:I think it's a good movie on just a surface level.
Speaker C:Sure.
Speaker B:But I think there's a lot going on, and I think it's.
Speaker B:I think it's a good movie.
Speaker B:But it, you know, finger quotes an important movie.
Speaker B:You know, as far as some of the themes that are going that I think they're.
Speaker B:Because you just.
Speaker B:Just fill in.
Speaker B:Just swap out whatever constraining issue you want in place of simple definitions.
Speaker B:Right.
Speaker B:The simple definitions today could be, you know, whatever your politics are, you know, how you identify, you know.
Speaker B:Yeah.
Speaker C:No, Yeah.
Speaker C:I think use work.
Speaker B:Yeah.
Speaker C:You know, just applies today.
Speaker C:Yeah.
Speaker B:Put in civil rights.
Speaker B:Okay.
Speaker B:That was good.
Speaker B:In the 60s.
Speaker B:Put in gender identification, whatever that movie.
Speaker B:The theme of that movie is timeless, and I think he executes it in such a way that.
Speaker B:That it would speak 100 years from now to whatever thing is happening, you know, whatever.
Speaker B:Anyway, Sherry, is your microphone.
Speaker A:Really want to know.
Speaker C:Yeah.
Speaker A:Really want to know what I think?
Speaker B:Oh, no, she doesn't go as deep as I do.
Speaker A:No, I don't.
Speaker A:But while I do appreciate everything that y' all said about the movie and how you broke it down, this, of course, came out when, you know, we're.
Speaker A:I'm the same age as these.
Speaker A:These guys.
Speaker B:These kids were at the time.
Speaker B:Yeah.
Speaker B:How we are now, Right?
Speaker A:Yeah.
Speaker B:Yeah.
Speaker A:I didn't see it in the theater.
Speaker B:Yeah, I didn't see it.
Speaker A:Saw it later.
Speaker A:Couldn't relate to it because, you know, the way I looked at it was.
Speaker A:Okay.
Speaker A:Yeah, it's entertaining.
Speaker A:I couldn't relate to any of them.
Speaker B:Yeah.
Speaker A:As far as me in high school and I was in the band, so I'm.
Speaker A:I'm the band nerd.
Speaker A:That was not represented.
Speaker A:Represented.
Speaker A:Okay.
Speaker A:I worked in the library for 13 years.
Speaker A:I love being in the library.
Speaker A:So I couldn't relate to that.
Speaker A:So I don't look at it on the same level.
Speaker A:It was an entertaining movie.
Speaker A:I watched it.
Speaker A:I've seen it a couple of times, but it's not my favorite of the.
Speaker A:Of.
Speaker A:Of his movies.
Speaker D:Yeah, No, I think you had said something about.
Speaker D:You were real mad about when they were messing up the cards and ripping the Dewey decimal cards.
Speaker D:He was flipping and moving them around.
Speaker A:Tearing up the book.
Speaker A:You don't do that.
Speaker B:I think.
Speaker A:Don't do that.
Speaker B:I don't think I identify specifically with a single one.
Speaker B:But, like, if you had to press me, I would probably be a cross between maybe Brian and Allison.
Speaker B:Like, because I was a loner in high school, not necessarily a brain, but more into reading and this kind of thing.
Speaker D:Why did I think you were a jock?
Speaker B:Yeah, sure.
Speaker B:Right.
Speaker B:All this.
Speaker B:And brains do.
Speaker B:Yeah, yeah.
Speaker B:So.
Speaker B:So.
Speaker B:And I think that's some of the.
Speaker B:The beauty of this movie.
Speaker B:Maybe you're not the jock, but you could see yourself in maybe one or two or.
Speaker D:Yeah, there's elements.
Speaker D:You know, it's like one person split into five fractions.
Speaker D:You're a little bit of all of them.
Speaker B:Right.
Speaker B:Well, at the end of the movie, we're all these things.
Speaker B:And I think that's true.
Speaker B:You know, sometimes, you know, whatever.
Speaker A:And I guess I'm just wrong for not think.
Speaker A:I don't know.
Speaker B:Yeah.
Speaker A:No, that's just the way I came at it, because I'm.
Speaker A:I'm that age when I'm watching the movie and, oh, my God, I can't relate to these kids.
Speaker A:Sorry.
Speaker B:But that's the beauty of it, that it could be enjoyed on almost any level.
Speaker A:Right.
Speaker A:But no, like I said, I appreciate everything.
Speaker A:All the work that went into his movie.
Speaker B:Oh, absolutely.
Speaker A:And I mean, as far as in this, talking about work, I discussed this last time that the books are in this room.
Speaker A:It was actually a gymnasium.
Speaker A:They turned into a library.
Speaker A:Correct.
Speaker B:Yes.
Speaker B:And they did that.
Speaker B:In the.
Speaker B:In the library, in the gymnasium, the books were donated.
Speaker A:They were going to be recycled, but they were actually put in the correct order, so they.
Speaker A:They did take the time even to do that.
Speaker B:The set designer put it in the Dewey decimal system, which you'll never see, but that's cool.
Speaker B:Yeah.
Speaker B:Anyway, so would you pass?
Speaker B:Recommend or consider.
Speaker A:Oh, I'm always recommending you watch a movie.
Speaker A:You know, it was.
Speaker A:It was good movie.
Speaker B:Sure.
Speaker B:Okay.
Speaker A:Yeah, it was good.
Speaker A:I enjoy watching these characters.
Speaker A:I enjoy the actors that play these characters.
Speaker A:But as far as his movies go.
Speaker A:No, I prefer.
Speaker A:What was it, let's see, Sixteen Candles, Ferris Bueller, all those other movies.
Speaker A:Because they're.
Speaker A:They're.
Speaker A:They're.
Speaker A:To me, the other movies are.
Speaker B:Yeah, they're lighter and they're lighter.
Speaker A:They're funnier.
Speaker A:This is.
Speaker A:This is.
Speaker A:It gets kind of.
Speaker B:No, it gets heavy.
Speaker B:I was surprised that Brian had brought a gun to school, which is.
Speaker B:My God.
Speaker B:That's the thing today, right?
Speaker B:I mean, yeah, that was a flare gun, and they use it as a lighter moment, which I think Hughes does intentionally, to sort of bring us out of that darkness.
Speaker B:Um.
Speaker B:But, yeah, he was ready to commit suicide, and maybe that's the only gun he had access to.
Speaker B:You know, whatever.
Speaker B:But, yeah, it gets dark.
Speaker B:It does.
Speaker B:Well, I mean, but Steve Kendall's never gets as dark as this.
Speaker B:I don't think Ferris Bueller gets as dark as this, but I guess.
Speaker A:Okay, I guess where I can relate is.
Speaker A:Yes, when I was in the band, I was friends with different, you know, different age groups.
Speaker A:Different.
Speaker B:Sure.
Speaker A:They.
Speaker A:From.
Speaker B:Yeah.
Speaker A:Also, I mean, you know, right.
Speaker A:From the.
Speaker A:Like, I was in the honor classes to the ones who weren't.
Speaker A:I mean, we were all one as a band.
Speaker B:Yeah.
Speaker A:So, okay.
Speaker A:I guess I could see that you.
Speaker C:Were part of the system, Sherry.
Speaker B:The band system.
Speaker A:I am a band nerd, and I admit it.
Speaker C:That's what I was thinking about with.
Speaker C:We were talking about, you know, the different characters you identify with where there's, like, you know, people our age that are watching it now for whatever reason or even back then.
Speaker C:Right.
Speaker C:And there's the one they identify with is Vernon.
Speaker C:Like, the end of the dream, they go, holy shit, I'm burning.
Speaker C:Well, you know.
Speaker C:And then they have some sort of, like, life, you know, life changing.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker C:Well, these kids turned on me, man.
Speaker B:You know, anyhow, and the other side of that, and I'm not saying this is you or whatever, but we may not be aware of how we simply define people, you know, how you Know.
Speaker B:So you're saying, you know.
Speaker B:Okay, well, I don't.
Speaker B:I just can't identify with any of them.
Speaker B:And.
Speaker B:And I'm not saying that, you know, that you simply define people.
Speaker B:But there.
Speaker B:But looking back, I mean, there may be ways that you did conveniently define and were never brought to your attention.
Speaker C:Or she's just on a higher plane.
Speaker C:She doesn't apply labels to people.
Speaker B:Phil.
Speaker B:Yeah.
Speaker D:No, I thought this at the beginning, after I watched it the first couple times was, these kids need therapy.
Speaker B:No, absolutely.
Speaker C:You said that last night.
Speaker B:No, that's 100 true.
Speaker B:And I think they get it.
Speaker B:I mean, absolutely.
Speaker D:Oh, if.
Speaker D:Generate.
Speaker D:If.
Speaker D:If this was the archetypes for Generation X.
Speaker D:Yeah.
Speaker D:Quote unquote.
Speaker D:You know, you get the jock and all that.
Speaker D:Generation X needs therapy.
Speaker D:All of them.
Speaker B:Yeah.
Speaker D:It's so bad.
Speaker B:Well, Generation X was also the latchkey kids.
Speaker B:Like, you know, you would go home and your parents.
Speaker B:Both parents worked, so you would go home and you would have your.
Speaker B:You unlock the door and you.
Speaker D:For, like, generation.
Speaker B:Yeah.
Speaker B:Most of the.
Speaker B:Most of the day, you'd be alone after school because your parents were working.
Speaker B:And so there was this tendency, as they were caught up in trying to get careers and money, to just ignore you or only pay attention to what you were doing when it started to hit the radar.
Speaker B:Like, oh, my God, your grades are down.
Speaker B:Oh, my God, you know, you're going to lose your scholarship.
Speaker B:Because they were so preoccupied with the system of earning brownie points, of moving up, of making their lives secure that they started treating the kids this way.
Speaker B:You know, whatever.
Speaker D:Anyway, great movie.
Speaker B:Yeah.
Speaker B:So good to go.
Speaker B:All right.
Speaker A:Did you.
Speaker A:I didn't hear your recommendation.
Speaker C:Oh, yeah, it's recommended.
Speaker B:Yeah.
Speaker B:Okay.
Speaker A:So I might be.
Speaker B:All right, we're out then.
Speaker B:Breakfast Club.
Speaker B:To me, like, the number one thing a writer should do first is.
Speaker B:Is decide what he wants to say.
Speaker C:He's here to shake things up and be different.
Speaker C:Everyone else is being dropped up, run.
Speaker B:Straight into the one they cannot ignore.
Speaker B:Because when you grow up, your heart dies.
Speaker B:That's.
Speaker B:I think that's the premise of this movie.
Speaker B:Things have to break down.
Speaker B:For the change that needs to happen to come.
Speaker B:All these kids are gonna have to change their mind.
Speaker B:So he moves the brain from one side to the other.
Speaker B:A writer has the opportunity to hammer theme in every sentence because you guys are rebelling and we need you back in line in the system.
Speaker B:I've seen you.
Speaker D:You know, screws fall out all the time.
Speaker B:Time, man.
Speaker B:At that point, I'm like, oh, my gosh.
Speaker B:That's.
Speaker B:That's.
Speaker B:It's gotta be.
Speaker B:There's many pages.
Speaker C:Oh, very nice.
Speaker C:Yeah.
Speaker C:Anything?
Speaker C:Yeah, very nice.
Speaker B:Hughes.
Speaker C:MAN on their own page.
Speaker C:By the end, they're on the one at the end.
Speaker B:They're all on the same page.
