0:09

Hello

0:09

you and welcome to You

0:11

Are Good, a feelings podcast about movies.

0:14

Today we are talking about planes,

0:16

trains, and automobiles, and we're talking

0:19

about it with the great Clementine Ford.

0:21

I am one of your hosts, Alex Steed. I

0:24

will soon be joined by my wonderful

0:26

co-host, Sarah Marshall.

0:29

Planes, Trains, and Automobiles is a 1987 American

0:31

comedy film written, produced, and

0:34

directed by John Hughes. It stars

0:37

Steve Martin and John Candy.

0:40

Clementine Ford, a repeat guest on our

0:42

show, is an Australian feminist writer,

0:44

broadcaster, and public speaker.

0:47

She is the author of the new book I Don't,

0:49

The Case Against Marriage, which as I understand

0:51

has an Australian publisher. She is presently

0:54

looking for a US publisher, but

0:56

here's a bit about the book.

0:59

Incendiary feminist and best-selling author

1:01

Clementine Ford presents the inarguable

1:04

case against marriage for the

1:06

modern woman, provocative, controversial,

1:08

and above all compellingly

1:10

and persuasively argued. We

1:12

love Clem. She's been on the show to talk about

1:14

Top Gun. She's been on the show to talk about

1:17

Fargo. She's the very best. I'm

1:19

so glad she's back.

1:21

How are you doing? What's going on? How

1:23

is your life? How is your world? What books are

1:25

you reading? What are you thinking about? What are you eating?

1:28

What's happening out there? Let us know. We're You

1:31

Are Good or You Are Good Pod on whichever

1:33

of the social platforms you're

1:35

using these days. We're still on Twitter.

1:39

We're on Instagram. We're on Blue Sky. We're on Threads.

1:42

I'm on TikTok at Alex Steed. I do some

1:45

show-related stuff over there. We would

1:48

love to hear from you

1:50

wherever the social media happens

1:52

in your life. This is a stressful

1:55

time of year. We're entering the holiday

1:57

season. The world is

1:59

a

1:59

scary place, et cetera, et cetera.

2:02

So it can be easy to forget, but I'm

2:04

asking you not to forget that you,

2:07

my friend, are good. You

2:10

are good, a feelings podcast about movies is

2:12

made possible with and by your support. Thanks

2:14

to everybody who supports us on Patreon

2:17

or Apple podcast subscriptions. Thanks

2:20

for supporting the show. Thanks for making the whole thing possible.

2:22

In exchange for your support, you get

2:24

bonus episodes. We have a bonus episode

2:26

coming out about the movie, Debs,

2:29

excited for that. We're taking a quick break from our

2:31

ongoing bonus series about Hannibal

2:34

and Carrie Bradshaw to talk about Debs. It's

2:37

gonna be fun. It'll be out later this month.

2:39

I mentioned in last week's introduction that I was going

2:42

to a demonstration in Los

2:44

Angeles put on by Jewish Voice

2:46

for Peace. Had

2:48

a wonderful time. It was great to see

2:50

all of those people there. So many

2:53

people to hear voices

2:55

from the community, hear rabbis, hear civil

2:58

rights leaders in town, hear

3:00

all sorts of people call in for the peace. It

3:03

was nice. I linked up with folks

3:05

who listened to the show and

3:07

we made some noise. So if you're looking for that

3:09

sort of thing, they have actions and activities

3:12

throughout the country. Look up JewishVoiceForPeace.org.

3:17

Also, I am so late. Despite

3:20

the fact that friends of the show, BJ and

3:22

Harmony Colangelo have told me to check this out.

3:24

I'm so late to the phenomenon that

3:26

is Hood Slam, which is a kind

3:30

of like an indie wrestling event that happens

3:32

in Oakland. Happens every

3:34

two weeks. And I went for the first time last

3:38

week with my friend, Sam. We

3:40

had a delightful time. I

3:43

don't even know what to say about it. It

3:45

is pandemonium. So

3:47

much of the crowd, as far as I could tell, was queer.

3:50

So much of what was going on in the ring had

3:53

at least one foot in being queer. It's

3:57

been going on for a long time. One

3:59

of their mottos is. leave your fucking kids at home.

4:01

It's a 21 plus event. It was a delight. It

4:05

was, I had so much

4:07

fun. I saw wrestlers, Mackie Ito, Laura

4:09

Fraser, hop daddy link

4:12

to the future who is both

4:14

gay and a reference to Zelda.

4:18

So just come in, uh,

4:20

Sawyer, rec dark chic, L.T. Vakabra,

4:24

Vipress, uh, just so, so

4:26

many great folks. And that's just

4:28

the tip of the iceberg. It was a fantastic

4:32

night. Start to finish. I had

4:34

a blast. I can't say enough good about

4:36

this event. I know many of you have known about this for

4:38

well over a decade, but I can't say enough good. I

4:41

look forward to checking out wrestling

4:43

events close to Los Angeles, but this

4:45

was so fun to check this

4:47

out in Oakland. I had a blast. So I

4:49

always ask y'all what you are

4:52

watching and thinking about and listening to. That

4:54

is something that grabbed my attention. I

4:57

can't wait to go again. I it's

5:00

every two weeks. I don't know how I'm going to

5:02

keep up that habit, but I will find a way.

5:05

All right. Let's hear an ad

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That's a lot of pieces. I have the ADHD.

6:16

I have to

6:16

start small. Hello,

6:23

Sarah Marshall. I don't know

6:26

how this movie would say hello. Hello, Alex Seed. Oh

6:36

my gosh. You're probably just

6:38

overwhelmed from being the genuine

6:41

article. I think that that's what's happening right now.

6:43

I am the genuine article. And

6:46

you know what? Yes. Look, this

6:48

movie is about, I think fundamentally,

6:50

and I'm going way above my pay grade here, but

6:53

my understanding as the shlamil and the shlamazal,

6:56

as many of us first heard mentioned,

6:59

if not by a grandparent, than in the opening of Laverne

7:01

and Shirley. Shlamil, shlamazal,

7:04

huffs and suffer incorporated. We're

7:08

going to do it. Okay.

7:12

Classically

7:14

of the shlamil and the shlamazal, one

7:16

spills his soup and one gets

7:18

the soup spilled on him. Oh, great.

7:21

And John Candy in

7:23

this movie is a soup, a real article,

7:25

and I am a soup spiller. You sure are. And

7:28

this is a very deep movie for me. Yeah. This

7:30

movie is a dip. And for people who

7:32

watch it, I feel like everyone has a little

7:34

shlamil and a little shlamazal in them, and

7:37

they debate sort of how

7:39

they could become more of the grass

7:42

is greener other side. I can't wait. I

7:44

cannot wait to talk about this. And who, Sarah

7:46

Marshall,

7:47

who do we have the pleasure of

7:50

diving into planes, trains, and automobiles

7:52

with?

7:53

We're diving with our friend Clementine

7:55

Ford, who is also our

7:58

masculinity correspondent. And

8:00

Clementine, if you want a little plaque, we

8:02

will get you one. But hello, how are you?

8:06

I am all, I'm like

8:08

a hundred times better for having that description

8:10

given to me. I'm going to

8:13

start adding that to my bio. Makes it sound

8:15

like you've got a fedora and you're always standing out in

8:17

an airfield, be like, yeah, troubles of two little people

8:19

don't amount to a hill of beans in this world. I've

8:22

got to go be the masculinity correspondent.

8:24

Dispatches from the front line of patriarchy.

8:27

Uh, I, I'm good. I'm

8:30

here overjoyed thrilled

8:32

to be back with you both. It's always a pleasure

8:35

to come and discuss movies

8:37

and masculinity. I mean,

8:40

I hopefully can bring something

8:43

more than just a deep

8:45

critique

8:45

of men in the world. But

8:48

today, maybe that's, that's what I'm going to bring. And

8:51

there's so much more. And you know, this is a movie

8:53

about so many other things. It is 35

8:55

now 36 years

8:56

old coming up on that, I think. And

9:00

so it's

9:01

a, we're, we're analyzing an American

9:03

millennial. So interestingly, 35, 36 is around

9:06

the age that John Candy was when he made

9:07

it. Yeah. Yeah.

9:11

Isn't that wild? I don't want to talk about it. Yeah. 37 so

9:14

wild. There's something as well

9:16

about this sort of time capsule of

9:19

looking at these two men in

9:21

the eighties. Like masculinity in the eighties

9:24

is so different to

9:26

masculinity now in terms of how it's represented. Like the whole family thing,

9:28

like a working man. Like

9:31

it's just, I don't know. I feel like I

9:33

would see a movie about the Shmiel and the Shmarvel

9:35

now of 37 year old men. And it would,

9:38

they

9:38

would look a lot different. Yeah. It

9:41

would be Seth Rogan and

9:43

Justin Long. And they would just be

9:45

like two guys living in a loft in

9:47

LA with

9:48

different jobs. And like one is, you

9:50

know, divorced. Half a job

9:52

they'd

9:52

have. Yeah. And they would like, and they would like

9:54

wear hoodies and like play Galaga,

9:56

you know? Yeah. We can talk

9:59

about that kind of like.

9:59

evolution

10:02

of or devolution of

10:04

men on film but unfortunately that

10:06

is sort of my type too

10:09

which is terrible. My friend said to me recently

10:11

she's like you like men with half a job and

10:15

sadly true.

10:16

If they have a whole job they don't have time for you.

10:18

And to be fair like this was

10:21

what from a time when you could be a shower

10:23

curtain ring

10:26

salesman and have that be your only

10:28

job. Like this was from a time

10:30

this was from the last time

10:34

where there was one full-time job. And

10:38

on that one full-time job you could

10:41

have a beautiful two-story

10:44

house in is it growth point that

10:46

Steve Martin's house is in at the end? Now somewhere

10:48

in

10:48

the Chicago suburbs

10:50

but like it's in the it's probably in Shermer

10:52

it's in the unnamed Chicago

10:53

suburb where the trees are

10:55

wide and lined with tall trees. That

10:58

house is not an existing house like the Home Alone

11:00

house like the Home Alone house is a house that someone

11:02

bought the other like last year I think that

11:05

is a house they built for the movie.

11:07

Shut up! This was also the

11:09

last time in Hollywood where you just build

11:12

a fucking house for the movie that is in like

11:15

three exterior shots in one interior

11:17

shot.

11:17

And they're like we're gonna need to have an extension

11:19

on this house just to really...

11:21

And it's like John just find

11:24

a house that exists. We're not even in it

11:26

for more than four minutes. The

11:28

other super quick piece of I'm gonna

11:30

be insufferable because I actually read about the movie for

11:33

once but the other super amazing quick

11:35

piece of trivia that's just from Hollywood yesterday

11:38

from a

11:38

time long gone is the

11:40

guy who's in the truck who wants them

11:43

to sit in the back of the truck. He

11:45

was supposed to be in the movie

11:47

for one day which he was supposed to shoot

11:49

for one day. And for $1,000 which in the 19...

11:53

Again like I think like for a day now you go like $200. For $1,000

11:55

in the 80s.

11:58

Which was like $5,000.

11:59

$1,000 now. Yeah. Yes. And

12:02

then they kept changing because

12:05

they were chasing snow for this integral

12:07

scene as well Here

12:09

in gone in 30 seconds, right? They

12:12

kept chasing snow and so I

12:15

think he was on set he said when

12:17

he left to go on the movie He was scrounging $300 for

12:20

his rent and when he finally came

12:22

back from like I think 10 days on Good

12:26

for Dylan Baker future star of happiness

12:30

I For

12:33

a guy I can't even remember what his face looks like He's

12:36

been in a lot of stuff since then probably because

12:39

he could focus on his craft after

12:41

he was in automobiles

12:44

Okay, cool. We're in we're fully in before

12:47

we get further in

12:48

Sarah Marshall. Yeah, what is

12:51

planes trains in automobiles

12:53

about?

12:54

Um for listeners on the spectrum

12:57

this movie is like barely even about

12:59

those things I have to say It's about

13:01

the two guys who are angrily inside of them

13:03

and that's important to emphasize.

13:05

There's so little about trains in this

13:08

movie You don't learn a thing

13:10

about how they work

13:12

I will also say based on that anecdote

13:14

and also how I know the filming of Fargo

13:17

a movie we previously discussed on this

13:19

show Went

13:20

never writes no in your movie,

13:22

especially now

13:24

There was a time that made sense to

13:27

do it and that time was the 80s

13:29

when the money was there But the time was if you

13:31

were making a holiday movie that

13:33

may one day be deemed by TBS

13:36

the movie that they're gonna play for 24 hours

13:38

in a row if you were vying

13:41

for that role Absolutely, but that time

13:43

is long gone. Yeah, but

13:45

as a result, yes Again being more insufferable

13:47

like a movie like this typically takes

13:49

like 30 days to shoot but because they were chasing

13:52

snow It took 80 days to shoot Dylan

13:54

Baker was very happy about that which

13:57

is interesting

13:57

because no isn't even synonymous with

13:59

Thanksgiving so I mean

14:02

I realize they have to well let's get into

14:04

it okay so planes trains and automobiles

14:07

comes out in 1987 which is interesting as a period

14:11

in John Hayes's career because it seems

14:13

as if he is done imagining himself as

14:16

a thoughtful sensitive

14:18

teenage

14:19

girl tomboy depicted generally

14:21

by Molly Ringwald but sometimes Mary

14:24

Stewart Masterson and

14:26

now is ready to just think about himself as a

14:28

beleaguered family man so yes

14:30

this movie she's having a baby Curly

14:34

Sue

14:34

and really John Hughes

14:36

at his most

14:37

mature which is arguably Uncle

14:39

Buck yes so we're not talking about

14:41

that yet shocking

14:44

shocking that that has not come out it

14:46

really is yeah it's maybe because

14:49

it's too perfect to film yeah

14:51

agreed and

14:52

so planes trains and automobiles is

14:54

about Steve Martin having

14:56

the Clark Griswold

14:59

type job of corporate widget

15:02

he works in sales so he's at this big

15:04

New York meeting presenting new cosmetics

15:06

ads to this old man who

15:09

you know any kind of job where you're in a skyscraper

15:11

acting like something stupid is very important

15:14

that's what the dads do in these movies

15:16

and what literally John Hughes did at some point

15:19

oh no he was a copywriter in marketing

15:21

and in this like I think Steve Martin's

15:23

like one step

15:24

above that yeah and we can see that he found it very

15:26

fulfilling also

15:28

like full of other John Hughes regulars

15:31

in a great way so like Steve Martin is

15:33

like trying to slide out of this

15:35

meeting so he can make the six o'clock flight home

15:37

to be back in time for

15:40

Thanksgiving with his young wife Laila

15:42

Robbins who has a very sad face which

15:44

makes it hard for me to tell what she's trying to express

15:47

at any given point in this movie I can't

15:49

wait to talk about this

15:51

later because I've seen this movie so many

15:53

times and never thought to like find

15:56

out why that's the case and there is

15:58

a reason but I it's so fucking

16:00

confounding. Is there? Yeah,

16:02

there's a whole, the editor's cut of this movie

16:04

was four hours long. Was it? So,

16:07

but like, just consider that, like, that's usually when

16:09

the- Really? Whoever cut,

16:11

I want to see that. That sounds insane.

16:14

So like, background on that is like, that's typically when the,

16:16

like, the director goes, here are all

16:19

the things I want to see in the cut so I can scale

16:21

back from that. And the editor will just,

16:23

will hand you all that. But this movie was like, kind of

16:25

a pre-Judd Apatow movie. Apatow.

16:29

Apatow, which I've called him a lot in my life. They

16:31

did what has since become known

16:34

as his method, which they would shoot to

16:36

the script for two or three times and

16:38

then he would give the actors in every scene

16:40

free reign to do it in-brah. That's

16:43

great. And so there was just so

16:46

much film to work with. That's

16:48

sort of what they worked back with. But a whole subplot

16:51

of the movie that had a little bit more explanation

16:54

is something has

16:56

happened in their marriage and

16:59

every time he's like, I'm over here, I'm over

17:01

here, over here, she rightly suspects

17:03

that he's having an affair. Oh yeah.

17:06

There's like a little whisper of that in the beginning, but

17:08

I do wish

17:08

there had been ever so, I mean,

17:10

the

17:11

movie's 85 minutes long. They

17:13

could have afforded 90 seconds

17:16

on that.

17:16

I mean, it feels as well

17:19

that there's a lot in the movie,

17:21

I mean, it makes sense that the filming

17:23

method was just, okay, just improv. Because a lot

17:25

of the movie doesn't seem

17:26

to be driven by story so much as

17:28

it is driven by the desire to see Steve

17:31

Martin face acting. Yes,

17:35

for sure. And you're right, she's got

17:37

like such a beautiful, like

17:39

she's so stunning and just sad

17:41

face it like this. She looks like

17:43

she should be in The Lion, The Witch and the Wardrobe.

17:47

So that single tear that runs

17:50

down her cheek at the end. She looks like

17:51

an angel. Yeah, an

17:54

angel watching you commit murder.

17:59

seconds to give some context.

18:02

Also, by the way, she's afraid that he's

18:04

having an affair. He is so miserable.

18:07

He's

18:07

such a miserable person.

18:10

Who would go there? It makes the-

18:12

and again, we're jumping straight to the

18:14

end, but like, I have always

18:17

found the funniest scene in this

18:19

whole movie, The End,

18:21

which has- Honali

18:23

is in a different movie. That's

18:26

wild. It's like the ending of Thelma

18:28

and Louise, where it's so tragic and intense

18:31

and gay, and then they jump in

18:33

with that Glenn Frey song that's like,

18:35

You're a part of me. And

18:37

you're like, no, no, no, no, no, calm down. Stop doing

18:39

this. The other thing about that is,

18:41

what's that song that they play at the end every time?

18:44

Every

18:44

time you go away, you take

18:46

a piece of me with

18:48

you.

18:48

Yeah, which is a fucking banger.

18:50

It's so weird in the movie, but the reason

18:52

that's there is that Elton John

18:55

wrote the score to this movie. What? And

18:57

then two days before, whatever

18:59

he was supposed to submit it, the label that

19:01

put up the soundtrack was like, is it okay

19:03

if we own the masters? And Elton John was like,

19:06

no, and then he didn't allow it. So

19:08

they shoved that song in

19:10

the end of the movie as opposed to like what was supposed

19:12

to be there. You know, what's funny is that you said

19:14

Elton John, and for a full 30 seconds,

19:17

my brain heard

19:18

and understood Elvis Costello.

19:20

Which would have been awesome. Anyway,

19:26

I'll stop derailing with trivia, but there is, I'm

19:28

so glad you brought that up because the whole, my

19:31

whole time with this movie is I'm like, what

19:33

is going on between these two?

19:36

What is their marriage? I

19:38

mean, and it makes, it does fit really

19:40

well, but like, yeah, he's fucked up.

19:42

And, and I will say that Leila Robbins

19:45

is always really interesting presence in whatever

19:47

she is in. And

19:48

I associate her most strongly, unfortunately,

19:50

with the episode of Sex in the

19:52

City where she microaggresses

19:55

Carrie at pastis about

19:57

writing a sex column. So that's. Anyway,

20:01

so Steve Martin rushes

20:03

out of this meeting to try and get a cab to the airport He

20:06

has like a cab getting dual

20:08

with Kevin Bacon star of the John

20:11

Hughes film She's having a baby and like

20:13

bribes him $75 and then

20:16

John Candy Someone who turns out to

20:18

be John Candy goes ahead and takes the cab while

20:20

Steve Martin is buying it from someone

20:22

else

20:23

Because he's a happy-go-lucky guy So

20:25

Steve Martin finally gets

20:26

to the airport His flight is delayed

20:29

and he strikes up a conversation with

20:31

a guy who's reading a book called Is

20:33

it the Canadian Mounted the Canadian

20:36

Mounted? Yep

20:38

It does feel to me like a weird like

20:40

watching it now and not to

20:43

be like to

20:44

Fucking 2023 about things but

20:47

it feels to me Jarring

20:49

to see this guy that you're meant

20:51

to feel not sorry

20:53

for but to feel like so much

20:54

warmth for that he represents the best

20:56

of humanity and You're

20:59

watching him read like an x-rated

21:01

book in the airport and then later on when they're on the bus

21:03

He's like, oh look they're like basically almost

21:05

fucking on the bus Like it's just a bit jarring

21:08

in the context of

21:09

now, you know I don't think and

21:11

not to push back but like I don't think he represents

21:13

the best of humanity I think he just represents

21:16

like a regular guy versus like

21:18

a corporate fuck. Yeah I

21:20

have kind of an emotional response in this movie

21:22

partly because like

21:24

the idea of John Candy being mistreated

21:26

is very upsetting to me

21:28

The scene in the motel. I mean, yeah Skipping

21:31

ahead, but but he is I suppose

21:34

we found the best of humanity It's more like the

21:36

the purity of it like there's something

21:38

about him Standing there and he's

21:41

got his little mustache. Yeah, he's a

21:43

man, but he's a little boy, too He's just

21:45

he's it's standing in the motel and his it is PJ's

21:48

men are always

21:48

boys and their pajamas That's why they don't wear

21:50

them anymore Yeah, it doesn't matter that he's

21:53

sort of also been smoking in bed and like

21:55

exploded all these beer cans He's like

21:57

essentially a kind of child like

22:00

Yeah, for sure. So that there's that you're

22:02

like don't be mean to mark John

22:04

Candy Yeah,

22:05

well, and I think the thing that is set up so

22:07

well is that John Hughes really

22:10

pushes The audience

22:13

on being like it's like you I feel that way about John

22:15

Candy for sure But I'm like if I'm on a plane and

22:17

even if you're just a sweet boy and

22:20

you're getting your socks in my face

22:23

Yeah, mm-hmm. I understand

22:25

that I need to grow as a human a little bit, but you

22:28

need to learn some fucking boundaries I

22:30

mean that is the thing. He is actually quite

22:32

intolerable He's

22:34

a man spreader

22:35

across the board. Well, he's just

22:38

he's just filled with odors and you know

22:41

That plane is And

22:43

that is not his fault. I'm serious.

22:46

Well,

22:46

we were when I was watching last

22:48

night my friend Heather was like She's

22:51

from Massachusetts and she was like

22:53

this plane Like this is

22:55

the 80s. This is American planes in the 80s This

22:57

is too small for American planes in the 80s Like

23:00

I feel like you get with Steve Martin's kind of commotionally

23:03

like I get it He paid for a first-class

23:05

ticket, but you flying to Chicago. It's 45

23:08

minutes. Like what the fuck dude?

23:10

Totally. Yeah, he

23:12

sucks in that interaction. I

23:14

just take it dude This

23:16

is really like a movie about the concept

23:18

of customer service in America, which

23:21

is very interesting I mean, I don't think the

23:23

movie knows it's being thoughtful about it But

23:25

like there's definitely insight to be had and

23:28

like I think customer service is like

23:30

one of the things that truly makes America

23:32

what it is not the actuality but the concept

23:34

of it and the kinds of Expectations

23:37

people have about it and it's like

23:40

one thing that I find interesting is that we now use

23:42

the term emotional labor to refer To anything

23:44

we don't want to do in a relationship But it originally

23:47

meant like the need to perform

23:49

an emotion while doing your job So like you

23:51

can't just give a blizzard to a customer. You have to

23:53

be like

23:54

and here's your blizzard I'm so happy

23:56

to be making this blizzard for you. Yeah, I'm gonna

23:58

turn it upside down to prove that I do did it right,

24:01

which is like so cruel to the teens that

24:03

have to do that. I can't make eye

24:05

contact when that's happening. And just like

24:07

think of the number of

24:10

kids who have like just dumped out

24:12

a slightly soft desert on

24:15

the driveway of a drive-thru and

24:17

had to do it again. Well I

24:19

think to your point about this being about customer

24:21

because we have these great interactions

24:24

between Steve Martin and whoever

24:26

is representing whatever corporation he believes has

24:28

failed them and his responses

24:31

are often fully inappropriate.

24:34

I heard a reviewer be like he's not being,

24:36

he's not being mean to the, what's

24:38

the actress's name who's in Ferris Bueller? Edie

24:41

McClurg. Yeah, yeah, yeah.

24:42

He's not being mean to her, he's being mean to like the company.

24:44

It's like that's a person. No, he's yelling

24:47

at her. That's a woman who's getting yelled at

24:49

by this, getting sworn out, however many steps. And

24:51

he's upset that she's gonna get her crescent

24:53

rolls too. But

24:56

something that's only become more and more

24:58

true since this came, like this was back

25:01

when like corporations certainly were

25:04

fucked in all of their ways but largely

25:06

were seemingly trying to

25:09

make a customer happy. And

25:12

that is gone. That

25:14

is done. Everything

25:16

barely works now and also

25:19

we spent a century being told that

25:21

if it didn't work you should just get in touch with the company

25:23

and they'll make it right. You can't do that anymore

25:25

so everyone's just like an orphan child

25:28

of this like corporate wasteland. Yes. Dealing

25:31

with a Kafkaesque bureaucracy. Yes,

25:33

and that's what makes like, I think that's

25:35

what makes Neil sometimes

25:38

a bit more sympathetic as I've gotten

25:40

older than when I was younger, not because of how

25:42

he behaves.

25:42

It is a masterclass in how not to behave

25:45

but you understand that core frustration.

25:48

Right, and the lack of someone to ever

25:50

talk to, and the,

25:52

you know, also to skip ahead. There's a sequence in this

25:55

movie where he gets dropped off to pick up

25:57

a rental car. The rental car isn't there. The shuttle

25:59

has gone.

25:59

cell phones don't meaningfully exist

26:02

and so he just has to like walk back to the car

26:05

rental agency like down an embankment

26:07

covered in snow across the highway across

26:09

the runway and That's what it feels

26:11

like in many ways today to like deal

26:14

with these companies that you know You can't find

26:16

a person to fix a problem. You can't cancel

26:18

a subscription for something Right really

26:20

anymore and yet also at the same time

26:24

If you buy a single sheet

26:25

pan from a single company

26:28

one time

26:30

I'm looking at you great Joan Stop

26:33

emailing me. I don't need that many

26:35

sheet pans.

26:36

Nobody does Sarah I am

26:38

NOT joking when I say and they've since fixed

26:40

this it seems the only place I

26:42

can get Size 13

26:45

converse Chuck Taylor's in a store

26:47

is that journey which is really funny Yeah,

26:50

it's the only reason why me a person who

26:53

looks just like the 40 year

26:55

old man He is is going in the journey. That's why

26:57

so I'll go in the journeys And I I tried

26:59

to get shoes the last time I was there or two

27:01

times ago because again They since six this and

27:04

they're like can we have your email address and I was like

27:06

no Mm-hmm when they were like what why

27:09

and I was like well now you just don't need it and they're like well We

27:11

need a shoe store right there like we need

27:13

it in case there's a return I was like I'm not gonna return

27:15

it there. They're fine and they're 13. I know it's

27:17

gonna work or no shoes What are you gonna do?

27:20

They didn't sell me the shoes

27:22

What

27:23

They were like well if anything goes wrong We can't do anything

27:25

and then it's gonna be a problem So and then I was just like

27:27

we got so into the conversation that I want

27:29

to admit that this was me I was like I'm I'm

27:32

through I don't need this and I left Yeah

27:34

But the point is that you have to get through like many

27:37

minutes of conversation in order to justify

27:39

not giving your email I was to a company

27:41

and to be fair from an employee who like

27:44

has I'm sure been trained that they have

27:46

to do that It's not their fault. No,

27:49

but it is the fault of somebody else that we can

27:51

be mad at Yeah I have no ill

27:53

will towards this person who is basically

27:56

led under the impression that they'd get fired

27:58

if they didn't

27:59

Which is

28:00

fun and it's like and you know who I don't

28:02

think positively about

28:03

businesses that won't stop

28:06

bothering me Well, it's

28:08

also the ones that the ones that do it was like this not

28:10

even

28:11

sinly veiled passive aggression You

28:13

know like you'll get it's Clementine.

28:16

It's been three months Logged

28:18

on to the website. Don't

28:20

you care about your health? I Think

28:26

I'm just gonna give up

28:27

on all technology. Yeah

28:28

So

28:30

I

28:31

watched I know we're not quite done getting through

28:33

the premise of the movie but One

28:38

of the reasons why I

28:40

don't even know if I love this movie

28:42

or if it's just so deeply embedded in my Experience

28:45

of being a human because I

28:47

watched it so many times with my family when I was

28:49

a kid Which so many people would have done and my

28:52

mother loved it. So it's like that connection to my mom

28:54

too, but

28:55

it feels like One

28:58

of those movies where when you go and rewatch it you're like the plot

29:00

line is fairly simple And it does

29:03

in many ways seem to be like a lot

29:05

of sketches kind of drawn together

29:09

And a lot of it as well now you're like that's

29:12

a bit clunky in terms of like how it's done Like

29:14

the whole sort of like Kevin Bacon

29:16

getting the cab in the first sequence of the filming so for a movie

29:18

That's only 85 minutes

29:21

and they cut out all of the exposition

29:24

material of the of the white Wizard

29:26

that was completely Nonsensical all

29:28

of the

29:28

woman bits They've

29:30

left in a lot of stuff that sort of just

29:33

is kind of like a sketch like oh We

29:35

had to see Steve

29:36

Martin try to get a cab from three

29:38

different Understand

29:40

why the wife was upset that was too much

29:42

Yeah, but I think that one

29:44

of the things that's interesting to me as an Australian

29:47

viewer is I sort of

29:49

Culturally as a bystander

29:51

feel like I have some understanding about

29:54

how Important the holidays are

29:56

to Americans just from watching movies, but

29:59

I don't really get it. So it's like

30:01

fascinating watching all of these. We don't

30:03

get it either. Is it something specifically

30:05

as well to do with the excess of the

30:08

80s, you know, that well, yeah, we're all like

30:10

chasing the corporate dollar, we're all working for the

30:12

man, but at heart we remember what's

30:14

really important and that's family. Yeah.

30:17

It's Christmas. Yeah. It's the spirit of Christmas.

30:19

Totally.

30:20

Yeah. Okay,

30:21

so Steve Martin, he's rushing

30:23

to get on

30:24

this plane, he gets to the airport, he

30:26

meets John Candy, the guy who ended up stealing

30:29

his cab. They kind of have a moment of

30:31

just like, you know, John Candy trying to

30:33

interact and Steve Martin not, you know, particularly

30:36

wanting to,

30:37

which will be a theme and

30:39

Steve Martin gets on the plane. He had

30:41

a first-class ticket. He's put in coach.

30:44

There's like a cut scene where he's like trying

30:46

to eat his plane meal, which

30:48

is such a funny thing that we used to complain about

30:50

because now you're on a nine-hour flight and they come

30:52

around twice and give you pretzels. What do you have to

30:54

pay for? Terrible. I like

30:57

that sometimes you got those tiny little

30:59

buttery flavored pretzels for free,

31:02

but they're like, you know, enough for a meal for a

31:04

guinea pig. You know, and if

31:06

you're a flight attendant, God bless you, that seems

31:08

like the hardest job I can think of. Sure

31:11

does. You get thanked for

31:12

nothing and blamed for everything and

31:14

that's what we're doing now, I guess.

31:16

And so he's on a flight where

31:18

he is seated next to John Candy who is

31:20

trying to have a chat with him

31:23

and he just doesn't want to and

31:25

then because there's a storm in O'Hare,

31:27

which

31:28

attempting to fly

31:29

in and out of Chicago in the winter

31:32

is I think something that a lot of people will have

31:34

to do at least at some point in their

31:36

lives and it often goes completely

31:39

awry and I feel like that's part of why this movie

31:41

is like so directly relatable.

31:43

Holiday Travel in North America is

31:46

asking for trouble. It's interesting that

31:48

we don't have any big obligatory family gatherings

31:51

in fucking June. I love,

31:53

I do love that in the beginning of

31:56

the movie, which I never really see

31:58

as a harbinger of things to come.

31:59

But it's the first time I did Ferris

32:02

Bueller's dad. Mm-hmm. Basically

32:04

like like school Schools

32:07

Steve Martin meal.

32:09

He's like my son has taught me

32:11

a couple things about working smarter

32:13

He's like I'm not flying at six on the Tuesday

32:16

before Thanksgiving Like why not just like leave a couple

32:18

hours later and give yourself some time and like

32:21

yeah like that That's

32:23

the way why did Steve Martin schedule it

32:26

the hour after he gets out of work? It's

32:28

a great question.

32:29

It makes way more sense now what you said

32:32

about this like totally cut backstory

32:34

of the Fractured nature of the marriage,

32:37

but he's like I promised Susan that I'd be home

32:39

by 9 right that

32:41

makes no sense without that 9-11

32:45

what she's got three kids. She doesn't need to see

32:47

you. She's annoyed already

32:49

Right, right. You're totally right.

32:51

I hadn't caught

32:53

I do I remember him saying of I had like I

32:55

hadn't put that in the context of the backstory thing

32:57

is it's like why though? Why like she's she'll

32:59

be fine if you go home

33:01

Yeah, and it's also interesting

33:03

that this whole movie is about

33:05

kind of

33:06

I would say Steve Martin falling in love gradually

33:09

with John Candy and it is the classic

33:11

rom-com structure to be like She's

33:14

a fuss budget and he's an

33:17

Irish guy here

33:20

and They're forced

33:22

to fall in love. She's Reese

33:24

Witherspoon and he's from the south

33:27

I From

33:30

the south and she's also from

33:32

the south She's

33:37

a corporate lawyer and he owns an in

33:39

in Connecticut These

33:42

are classic well, these are also all more

33:44

or less the plots of the Hallmark movies,

33:47

right? Yeah Yeah, like our favorite

33:49

movie Christmas town where Candace

33:51

Cameron gets stranded and what geographically

33:54

has to be what's your

33:57

You

33:59

Oh my god. All

34:02

right, so they're on the plane. So they're

34:04

on the plane. The plane gets

34:05

grounded because there's a storm in Chicago. They

34:07

end up in Wichita. There aren't

34:09

any hotel rooms anywhere or motel

34:12

rooms or holiday in rooms.

34:14

And this happened to me once when

34:16

I missed a connecting flight in Vancouver

34:18

and everybody was trying to get rooms

34:20

who missed their connection.

34:22

And there wasn't a storm or anything. There just

34:25

aren't any hotel rooms

34:26

in Vancouver, I guess. It was a pretty harrowing

34:28

experience. Yeah, I think it's worth

34:31

it. So it's worth bringing up this thing that,

34:33

Sarah, you and I were talking about earlier because you're 30,

34:36

you're an age in

34:38

the middle of that decade. I'm 35,

34:40

I say it a lot. You're 35. It's a fun age

34:43

to say. I was like, I know she said it, but it's not

34:45

for, but you're right. Thanks. You're 35.

34:48

You're correct. You're 35. And this movie

34:50

is 36 years old. And so you're looking at kind of what the world was

34:52

like, at least in the States when you were born. Yeah.

34:56

And what I think about the most about while watching this movie

34:59

is they find out

35:01

that they can't land in O'Hare in

35:04

the air. They don't even necessarily, it seems like

35:06

there wasn't an announcement or if there was an announcement, Steve

35:08

Martin missed it. So they land in Wichita.

35:11

And then your job as a human being

35:14

is to have cash, ideally,

35:16

on you. Or travelers checks.

35:19

And if you don't have a change first already

35:21

filled with change, ready to go, get some change,

35:24

go to a pay phone, look through

35:26

a phone book for any

35:28

hotel, no information about what kind of hotel

35:31

it is, just like a list of hotels. And

35:33

you call them one by one and be like, do

35:35

you have a room for me tonight

35:38

while they're getting flooded with everyone

35:40

else doing the same exact thing?

35:43

Yeah. So that's what's happening

35:46

in travel.

35:47

So when he goes, he can't find any

35:49

motels and gels like,

35:52

oh, well, you know, you called your wife when you

35:54

got off the plane. You big dumb dumb. I

35:56

called the braid would end. And I've got

35:58

myself a room.

35:59

You know, I'm sure that the guy can hook you up. So

36:02

there is this sort of, I mean, I'm

36:05

not saying anything deep here. It's

36:06

so obvious in the movie, but Steve Martin

36:09

has to slum it

36:10

with the blue collar

36:12

workers of America by like making his

36:14

way across

36:15

state lines and like staying in shitty

36:17

motels and whereas Dell

36:20

sort of represents this kind of like

36:21

optimistic, well, yeah, I

36:23

like to talk to these people all the time because I travel

36:26

all over America. I meet all kinds of people

36:28

and I know how to be nice to

36:30

them so that they do stuff for me. Well,

36:32

this is what John Hughes said about this. And this is the best.

36:34

I think this nails everything you just said, Clem.

36:37

And I think it just like nails what the movie is about. You said,

36:39

I like taking dissimilar people, putting

36:41

them together and finding out what's common to us

36:44

all. Part of the point is there is a

36:46

privileged few who operate between New York

36:48

and Los Angeles or London and Paris.

36:51

But if something screws up and they get off

36:53

the executive track, it's someone like Dell

36:55

Griffith, who knows how to get them home. What

36:58

kept the movie going was the opposite to

37:00

dissimilar guys. If it wasn't

37:02

for the storm, someone like Neil Page

37:05

never would have met a guy like Dell. And

37:07

I love that so much. Like

37:10

Neil is hard despite

37:13

the fact that like I feel a bit more like

37:15

Neil than I do it. I'm a Dell at heart, but a

37:17

Neil in operation, you know, and

37:19

that's hard to see sometimes and hard

37:22

to reconcile. But I love

37:24

that, you know, like right down to when

37:26

we get them on the bus and there's like Dell's leading

37:28

everyone in song. And Neil picks like kind

37:30

of like an esoteric song to sing that he believes everyone's

37:32

going to know. And then Dell is the one

37:34

who knows that like everyone knows the Flintstones theme

37:37

song. Let's sing the Flintstones theme song. Like this guy

37:39

like knows how to operate outside

37:42

of first class. And

37:44

that's a huge part of his appeal. Yeah. And he probably

37:46

also saved Neil's marriage. Yeah,

37:49

for sure.

37:50

We see that in her eyes at the last

37:53

weird scene.

37:55

This reminds me of like

37:57

I was talking to Carolina Dell. Anna

38:00

Hu, the greatest living podcast

38:02

or UK edition, and our

38:05

great friend. And she was talking

38:07

about the episode of The Simpsons

38:09

with Lisa's wonderful teacher,

38:12

played by guest voice Dustin Hoffman.

38:14

And her dad disappointing her and him

38:17

apologizing and saying, oh, honey, you're

38:20

going so far. And you're going to places

38:22

where guys like me don't even get to serve drinks.

38:25

You know, and that that's like, I

38:27

don't know that Dallas such a Homer Simpson character.

38:30

And there's a sort of like Homer to Dell

38:33

to Jackie Gleason kind of

38:35

continuum that we're working with. And

38:38

I don't know, this movie is interesting to me

38:40

because it's about a character who

38:42

theoretically is in the right

38:44

in a lot of what he's complaining about.

38:46

And yet

38:48

you also understand that like he I

38:50

don't know that he doesn't

38:52

he's not getting a lot of joy out of life, I

38:54

don't think he wants to get back to his kids.

38:56

And there's a moment where well, yeah, to get on

38:59

track with the movie. So, yeah, he like

39:01

he gets to saying John

39:02

Candy's motel room.

39:04

We have like a mix up with their Diners

39:07

Club cards as well, I think, which is like

39:09

invented by Alfred Bloomingdale. And

39:11

so they share the room. But it's like it's this tiny double

39:14

bed like Dell takes a shower and uses

39:16

all the towels. He like turns

39:19

on the vibrating mattress,

39:20

which by the way, I've been in many crappy

39:22

motels and I've never seen a vibrating

39:25

like magic fingers massage bed ever.

39:28

I'm sure they don't really there must exist somewhere,

39:30

but I think they all burned out around like eighty

39:32

five. Yeah. Yeah. This

39:35

magic fingers repairman's league

39:39

really being as robust. And so like

39:41

he like turns on this magic fingers massage,

39:43

which like explodes some beers

39:45

he has on the bed, which like to be fair, why

39:47

should he have seen that coming?

39:50

And

39:53

so like Steve Martin is just

39:54

like pissed. He has to sleep in a big wet

39:56

pack. She kind of like loses it when Dell

39:58

is clearing his sinus.

39:59

which again, people

40:02

have to do. But the thing about

40:04

living with other people is that there's just no solution

40:07

a lot of the time. Like you just,

40:09

there's nothing to be done. And

40:11

so Steve Martin like

40:13

goes on a tear about how annoying he

40:15

is. And he was trying to like subtly

40:17

communicate to him that he didn't want to talk to him

40:19

on the plane without actually saying it. And

40:22

he just like goes on for too long. It's one

40:24

of those things where like, he has real grievances

40:27

and like, he could have made the point

40:29

in a way

40:30

that painted him in a much better light. But

40:32

like, he goes for too long with

40:34

it.

40:35

And then Dell is like,

40:36

basically is like, do you talk to your kids

40:38

like that? And it's like, does he talk

40:40

to his kids like that?

40:41

Yeah, do you talk to your kids like grown

40:44

Peter Pan from hook? Oh. I

40:49

mean, I did

40:49

feel like when, so

40:51

that whole scene where he's yelling

40:53

at him is pretty heartbreaking

40:55

to watch. Also probably

40:57

because, well, certainly

40:59

for me and I would venture a guess for

41:01

two of you as well. I'm

41:02

always afraid that someone thinks that my stories

41:05

are boring and that they have no

41:06

point and that they're directionless. I

41:09

know everyone's stories are

41:11

boring sometimes. You know, that's why

41:13

we're not

41:14

all at the comedy store.

41:16

So he's like articulating your deepest

41:19

fear, which is that you just

41:20

go on and on and you're like pulling the string out

41:22

and you just can't shut up. But

41:24

when he isn't like,

41:27

they're lying in the bed and he's like, well, now you didn't realize

41:29

that the cans were to explode and so on. Now I

41:31

have to sleep in the big wet patch. And

41:34

he's like, do you slap your kids when they spill milk? It's

41:36

like, yeah, but you're not a kid, Dell. That's

41:38

the thing, you're not, and you're not his child,

41:41

but you are a grown man who

41:44

is smoking in bed and is, you

41:46

know, the beer thing. I mean,

41:49

maybe not foreseeable that they

41:51

would explode, but. Yeah,

41:53

when you share a bed with someone, you just need

41:55

them

41:55

to understand physics, you know? Yeah,

41:58

what are you gonna do?

41:59

And then, you know,

42:00

of course he's a traveling salesman.

42:02

And for reasons we also know that

42:04

he's never had to worry. He hasn't had

42:05

to worry for a long time about like the

42:08

person. Spoiler alert.

42:10

Everyone is going to be spoiled for 15

42:13

seconds. We'll dive in more. Del's wife's dead.

42:15

We find out. And he's been on the road for

42:18

eight years, sort of by himself. And

42:20

that like, in retrospect,

42:22

while you're having the realization with Steve

42:25

Martin later, you're like, ah, like

42:27

he's feral. He's gone to

42:29

sea. His wife died when he was 29, if

42:31

we just assume what John Candy's age

42:34

is at this time. Unless he's meant to be playing

42:36

much older. Right. Unless like that

42:38

perm is meant to give him a decade or

42:40

whatever.

42:40

But probably not. He gets, he's acclimated

42:43

to cheap motels. This is his

42:45

area. And then you're like, okay.

42:48

Like, but to that point, yeah, to your point, Clem, I

42:50

thought the same thing. I was like, but you're a grown

42:52

ass man. Like, even if you're

42:55

going to do sinus clearances, let the room

42:57

know. Just let him know that's coming at

42:59

you. I

42:59

mean, he's undemesticated. And

43:02

or he's allowed himself to become undem, he's

43:04

returned to the wild. This is a movie

43:07

about an indoor and

43:08

an outdoor cat. You have an adventure

43:10

together. Exactly. It's

43:12

about an indoor cat and

43:14

a dog.

43:14

That's it. But

43:19

also, I mean, I know we'll

43:22

talk more about this later on when the revelation,

43:25

when he tells or when Steve Martin figures

43:27

it out, when he'll figure it out, but the sixth sense

43:29

part of it.

43:31

Yeah, it's about loneliness,

43:34

isn't it?

43:34

Yeah.

43:35

Oh, yeah. It's about what happens to

43:37

men when they're and they're both, they're both

43:39

actually lonely. They're both fundamentally

43:41

lonely, but for different reasons. It's

43:44

a buddy movie about two

43:47

deeply heartbroken men. Yeah,

43:49

which is I mean, I don't think I've ever

43:51

you see like now or not.

43:53

I say now and I was going to talk about Lethal Weapon, a

43:56

movie that came out either right before or right after

43:58

this came out. But it's like, you know, The dynamic

44:00

is like there's like a crazy guy and like a put off

44:02

guy or whatever, but like just two

44:05

sad guys together. That

44:08

was the original title. Just

44:10

two sad guys. Just two sad guys.

44:12

And one sad guy through his style

44:15

of sadness teaches the other sad guys some

44:17

lessons.

44:18

And together they become

44:19

not sad.

44:21

So Clementine, I am not making

44:23

good time here. We might say I am

44:25

struggling to get to my destination. I

44:28

would love for you to summarize for

44:31

us and to take the baton from me if you would. Okay,

44:33

I will take the baton.

44:35

They're in the motel room.

44:36

They have this big blow up. Steve Martin,

44:39

Neil realizes that he's gone too far. He's

44:41

hurt and wounded this person, which I guess is like the sliver

44:43

of humanity that's in there, that he's like,

44:46

okay, that's even for me. I don't

44:48

want to be that kind of person. I heard an interview

44:50

with, or it was on Unspooled and that

44:52

when they were talking about this movie in particular,

44:55

they were saying like one of it. I can't remember if it

44:57

has happened at this point in the movie or if it happens

44:59

a little bit later, but there's a part where Steve

45:01

Martin already doesn't like Del and I

45:03

think it might be on the train or something, but he seems

45:05

like sort of lugging his trunk. And

45:09

again, with his face acting, as he said, you seem

45:11

to be grudgingly like be angry at

45:14

it, but he's not going to not help him. Yeah,

45:17

you get these little tiny glimmer. This

45:19

man has a heart. He just can't fucking

45:22

access it at any given time.

45:24

And he works in corporate ads.

45:26

So like we know that the

45:28

80s rule is that anyone who works in corporate

45:30

advertising is either a complete

45:33

schmuck or someone who was

45:35

once good, who has been kind of calcified

45:37

into a complete schmuck or an almost complete

45:40

schmuck. And so the moment is like, how do you

45:42

stop that calcification from becoming

45:44

fully like non-refundable basically?

45:46

So he's like,

45:48

okay, I've gone too far. A couple

45:50

of times I'm back into bed. They go

45:53

back to sleep. They wake up in the morning and they're cuddling.

45:55

And then we have the one weird

45:58

sort of almost obligatory moment.

45:59

in any

46:00

kind of 80s movie between two men,

46:02

which is the homophobic theme, where

46:04

they realize that they've been cuddling

46:07

and they have to mask man up. Like,

46:09

oh, did you see the Chicago Bears

46:11

game? Yeah, great game, great game. Because God

46:13

forbid two men, two

46:15

deeply lonely, deeply

46:17

broken

46:17

men, find solace and comfort

46:19

in platonic touch with each other. This was the

46:22

first time, I'm curious about your take on that, because this

46:24

was the first time I... I'm not going to

46:26

say I enjoyed that scene necessarily, but this is the first

46:28

time that I was like, they let that scene play

46:31

out for a long enough time where they let their

46:33

insecurity be the blood of the joke. They

46:37

seem, when they're like, they're like, oh, you know,

46:39

did you see the Bears game? They're going to go all the way

46:41

this season. Yeah. They look like

46:43

such clowns in their recovery.

46:46

And I don't think that John Hughes was going for

46:48

a woke homophobia

46:50

scene. No,

46:51

no, no, no. He wasn't like, how do

46:53

we subvert people's ideas about homophobia

46:55

here and change the nation? Right. But

46:57

I was surprised because they let

46:59

it go beyond the like the hand pillows,

47:02

kissing ear thing, that they let

47:04

it get to the point where they just look like clowns

47:07

trying to make up for it. That I was like, oh, like that's that's

47:10

less hard to watch than like almost any

47:12

scene in 16 candles. Yeah.

47:14

Well, I mean, yeah, for

47:16

many reasons, the 16 candles

47:18

one. I think that I agree with you. I mean,

47:20

I think I recognize that it's played in terms

47:22

of being the obligatory kind of like, we need

47:25

to remind everyone that male affection

47:27

is fraught. But I

47:30

also feel like

47:31

watching it, I wasn't like, oh, this

47:33

is so homophobic. I'm going to turn

47:35

this off now and not enjoy it. Like I didn't

47:37

even feel guilty about enjoying it necessarily.

47:40

But I think that if the exact same like

47:43

if they remade that movie

47:44

now, which at some point I'm sure

47:46

they'll try to do even the same

47:48

length of time, it just wouldn't wouldn't

47:51

hit the same. Like, yeah, I think it's something as well about

47:53

the Steve Martin and John Candy

47:56

play characters who we love, but ultimately

47:59

we love them because it's. Steve Martin and

48:01

John Candy. So there's something very warm

48:03

about these two. And John Candy

48:05

in particular, who was not a very

48:07

masculine

48:08

guy, there's

48:10

no world in which you could imagine him not,

48:12

I don't know, like jumping up and having to

48:14

like reassert their masculinity. It's just so ridiculous,

48:17

as you said, it's like almost, it's almost endearing

48:19

that they feel like they would need

48:21

to reassert a masculinity they don't even have,

48:24

you know? They're like eight year old boys.

48:27

Can I pitch finishing this in 30

48:30

seconds? And then we can talk about

48:32

the actual themes of the movie. I'll give you

48:34

a minute. They keep missing connections

48:36

back and forth on whatever travel

48:39

medium they're engaging in until

48:41

the end. It's

48:44

all vignettes and funny bits

48:47

and John Candy singing the mess

48:49

around and car accidents and it

48:51

keeps happening. They reconcile

48:53

in the hotel room, but he keeps getting

48:55

on Neil's nerves. They go their

48:57

separate directions, but they keep coming back together.

49:00

Fate has put them together. And

49:02

when they finally make it and go

49:05

their separate ways, which Dell has made

49:07

possible, on the train,

49:09

Neil realizes that

49:12

Dell, who's been talking about his wife the entire

49:14

time, his wife is dead.

49:16

Neil goes back to go

49:18

get Dell to be like, what the fuck is going on?

49:21

Let's go to my family and enjoy Thanksgiving.

49:24

Dell explains to Neil his wife has been

49:26

dead for eight years and juries out

49:28

on how un-housed he is. Like,

49:30

does he have a home that he just doesn't go

49:33

to? Is his wife the home and she's

49:35

dead? No, I think he's a

49:37

full-time hotel man. There's a real, there's

49:39

people have feelings. He goes with

49:42

Neil back to the house for Thanksgiving. They make

49:44

it just in time or after Thanksgiving.

49:46

The marketing for this movie suggests that they're on the road

49:48

for 72 hours, which doesn't make any sense.

49:51

They are reunited. Neil

49:53

has the weirdest moment in the history

49:56

of cinema reconnecting with his wife and

49:58

the family. now knows

50:01

Dell, who's probably Uncle Dell

50:03

from here on out. I just want to talk

50:05

about the ending of this movie because

50:07

like he brings Dell to his house. It

50:09

is Thanksgiving. The whole family

50:11

is there. There's all these older relatives

50:13

who we don't care about. And then his

50:15

sad faced wife comes slowly down

50:18

the stairs and Steve Martin is like, this is

50:20

my friend Dell or whatever.

50:22

And it's so fraught. It feels like

50:24

he's like, honey, this is we're bringing this man

50:27

into our lovemaking. We're going to

50:29

create a throttle with him. This is my friend's

50:31

loss. He's going

50:32

to live with me now because I love you.

50:35

Yeah, you're right. She calls

50:37

him Mr. Griffith. Yeah. Yes.

50:40

She's like Mr. Griffith. I was like,

50:42

what got cut? What did

50:44

get cut? Why is this the vibe? Because

50:48

it's

50:48

not even clear that he's that Neil

50:50

has spoken about Dell on

50:53

the he barely speaks to

50:55

his

50:55

wife while he's on the road. No, why

50:57

does she know his name? Have

51:00

they had sex? Is

51:02

that the back story? The

51:05

DVD that came out recently that

51:07

they found all of this footage at the Hughes

51:10

estate had 70 extra

51:12

minutes. Wow. There might be

51:14

in that 70 minutes, a 20 minute conversation

51:16

between Neil and his wife where he explains

51:19

what's going on with Dell. We

51:21

have no idea. Yeah.

51:22

When they cut to her upstairs, he

51:25

comes in and the three beautifully dressed children

51:28

just randomly standing in

51:30

the foyer of the house. This is

51:32

a house that has a foyer and

51:35

they're like, daddy's home. Neil's

51:37

home. And they cut upstairs,

51:40

Susan sitting in this very gimly

51:42

lit bedroom.

51:42

He's like scrapbooking. She's

51:46

waiting to hear that maybe he's died

51:48

or something. Thinking about which of her children

51:50

she's going to smother after she puts

51:52

them all to bed tonight. He's home.

51:54

He's been away for three

51:56

days in the middle of the week. But

51:59

he's here.

51:59

away at the war. I know, if I,

52:02

I think if I were married to someone

52:04

and I had three kids

52:05

under eight, if my husband disappeared

52:07

for three days and he wasn't contributing to childcare,

52:10

I would simply not notice.

52:11

And why is it so important, again,

52:14

this is the holiday thing, I know like

52:16

it's formed the basis of a theme

52:18

of countless holiday movies,

52:21

but why is it so important that he be

52:23

home for Thanksgiving?

52:24

Here's what I think

52:26

Clementine, here's my theory. Okay.

52:30

I hate Thanksgiving so much and

52:33

I'm sure a lot of other people do. I'm nodding aggressively,

52:36

I just want people to know. Yeah, and

52:38

I have a great Thanksgiving tradition with

52:41

friends who I spend time with who are like family to

52:43

me and I love my Thanksgiving now, but

52:45

like

52:46

Thanksgiving as a whole and the way I experienced

52:48

it growing up

52:49

is to

52:50

quote Mark Corrigan, a

52:52

macabre charade where

52:54

you sit with your extended family who

52:56

you mostly

52:57

don't talk to around the carcass

52:59

of a giant dead bird, no one really

53:01

has any idea how to prepare in a way that

53:03

people will enjoy. Because

53:06

if it, if

53:06

turkey was a good animal to eat,

53:08

we'd eat it more often. We would not have endless tutorials

53:11

about how to do it. People would know how to do it.

53:14

But anyway. And you're doing it while

53:17

actively through ritual

53:20

upholding a lie in

53:23

which we were sort of good visitors

53:25

to this country and we're

53:27

welcomed by people who were like stoked

53:29

for us to be here. Yes.

53:31

And so it's like lies on top of lies

53:33

on top of lies. It's like the national lying

53:36

day. And also, Clem, do you know about the turkey

53:38

pardon? I do know about the turkey

53:40

pardon mainly, I think from

53:42

Veep. Yeah. That's

53:45

great. Clem, what is the turkey pardon? The

53:47

turkey

53:47

pardon is the

53:49

president every year chooses

53:51

two turkeys to pardon

53:54

from being slaughtered for

53:56

consumption on people's Thanksgiving

53:59

tables.

53:59

It's unclear to me whether or not they just

54:02

go back into the pool of turkeys that may be

54:04

selected for slaughter the following

54:06

year. I'm sure they do. I think as

54:08

a lesbian pointed out on Veep, they're given

54:10

to a petting zoo where they immediately collapse

54:12

under the weight of their own bodies because

54:15

they weren't bred to exist. It's

54:18

a very strange tradition

54:21

to acknowledge

54:23

the widespread unnecessary

54:26

torture. So, I'm not

54:29

sure of a particular breed of animal

54:31

that is otherwise never eaten. Well,

54:33

we eat turkey on sandwiches, but like

54:36

at no other time do people sit around

54:38

an entire

54:39

turkey. We just don't.

54:40

Turkey is not really an Australian. I mean, you can

54:43

go and you can get like turkey at the deli, you know, you can

54:45

get turkey meat, but like you don't just like

54:47

cook a turkey at home, you know, and I'm

54:49

assuming that like on a random

54:52

March evening, you wouldn't just be like,

54:54

let's roast a turkey. Not unless

54:57

you were having

54:57

a manic episode. And I'm serious

54:59

about that. That's not even exaggeration.

55:02

And so Thanksgiving is like

55:05

you come together.

55:07

It's this ritualistic, this thing

55:09

where like you have to be there. You have to

55:11

be at the table and you have to have

55:13

out, you know, the cranberries of some kind.

55:16

And you can, you know, some people have elitist cranberries

55:19

and some people have normal cranberries. We

55:21

can see the ribbing of the can. It's the

55:23

difference between Neil and Del. It's like,

55:26

those are those two characters as represented by

55:28

cranberry. And

55:30

it's like,

55:31

and we play so much emphasis on like, you

55:33

have to be

55:33

there on the day or else you're a bad family

55:35

member, you're a bad kid, you're a bad dad,

55:37

you're a bad whatever. And then if

55:40

you are there on the day, you

55:42

cannot show up for your family for all the

55:44

other days of the year. Well, and to that point,

55:47

the reason for it, not

55:49

maybe not historically, although capitalism

55:51

has always been around, obviously, but in this country,

55:54

but like part of the reason for

55:56

it is that we've designated

55:58

like one to

55:59

five days where it's possible

56:02

for a family to all be together and the rest

56:04

of them. And then we all have to surge together

56:07

through clogging airport security

56:09

lines across our great nation and then we

56:11

all ignore each other again. Right, but

56:14

specifically because the rest of

56:16

the time we can't all get off from work

56:18

at the same time. Yes. Like

56:20

that's what adds the pressure. And a lot of people can't because

56:22

they have to rent a car to

56:24

Steve Martin. Yeah. Yes.

56:27

And one of the things like leaving aside

56:29

for a second, just the

56:30

horrible truth and history behind

56:33

Thanksgiving in America, it

56:34

is a nice idea outside

56:37

of that to think that there could

56:38

be a day that you spend together with your friends and

56:40

your loved ones where you just give thanks. Yeah.

56:43

And it's different to Christmas because it's not about

56:45

like exchanging gifts or anything. It's just literally

56:47

we've come together and we're just giving thanks for each other. I

56:49

like the idea of that. But I don't understand

56:52

why it's so close to Christmas. I mean, I get the

56:54

date of it. Like I understand.

56:55

It's an important question. But

56:57

Christmas doesn't have to be where it

56:59

is. It's just there because early Christians

57:02

co-opted Saturnalia or whatever. I

57:04

know.

57:04

But this is what I don't understand how you... It's

57:06

like to me when I think about the

57:09

physical weight of it, it's like the end of the year

57:11

is like held down by

57:13

an incredible amount of weight. Yeah.

57:16

Well, from a business perspective, you assume

57:19

like when I ran a company, the

57:21

grand farce is that

57:23

you stay open from November

57:26

1st through the end of the year, even though

57:28

you can't get anything done from November

57:31

15th through the end of the year because everyone

57:33

is in transit or gone or

57:35

sort of they taking some time off or whatever. But we

57:37

all still operate. Like the country's open. Like

57:39

if this were a proper fucking situation,

57:42

we would just take November and December

57:44

off.

57:45

Well, there's something

57:48

in that in the movie, which again, I don't think that John

57:49

Hughes would have intended

57:51

necessarily, but

57:54

the idea that like

57:55

America as the kind of fantasy

57:58

Disney project of America that... that people

58:00

want to believe America is, it runs

58:03

like because of the machinery of the working

58:05

class and the machinery of the people

58:07

who staff the motels and who staff the

58:09

rental, like the car rental places and even

58:12

like the airline staff, the

58:14

diner staff, like... The guy with the pickup truck

58:16

who comes to judge you. Yeah. None

58:18

of those people get to go home for the holidays, you know?

58:20

They just, they keep the country

58:23

moving. And then you've got Neil

58:25

who's like very much part of corporate America.

58:27

It's like, well,

58:28

you guys are fucking making

58:30

this harder for me. And

58:33

I don't know, there's something about

58:34

that, like that meaning of those two.

58:37

I know we've kind of covered that already, but it's

58:39

just interesting to me that when I think when

58:41

people think about why they love this movie, they probably

58:43

don't think

58:44

because it

58:45

shows the working mechanism

58:48

of America. And

58:50

maybe we should think more about that. Yeah. Yeah.

58:53

And I feel like this is, you know, a lot of movies give us the

58:55

chance to think about things by not realizing

58:58

that we're thinking about them. And there's something,

59:00

I don't know, like

59:02

to the theme of like isolation

59:04

that like,

59:05

they're both like clearly

59:06

searching for meaningful connection and

59:09

Steve Martin like really doesn't want to have a meaningful

59:11

connection and is forced to have one by

59:13

circumstance. Yeah, for sure. Oh, and I

59:15

was just going to say when you end up at the end of this

59:17

movie with

59:19

like the view of the big massive

59:22

house and with sort of being

59:24

directed to kind of be relieved.

59:27

Thank God. Thank God this family

59:29

is okay. Yeah. This very

59:31

privileged family in their giant

59:34

house of their extension. Thank God

59:36

they're okay. The couple's okay. The husband and wife

59:38

are going to be okay. And now Del has a, he has

59:40

a little kennel.

59:41

Yeah, a little kennel. He's

59:43

brought on

59:44

this stray dog that he's found and he's going to be loved

59:46

forever. That's what

59:47

makes that scene so weird is because you're right.

59:49

It's like that scene is set up

59:51

in a way where it seems like it thinks

59:53

that it's selling us a resolution that

59:56

none of us were asking for. Like

59:58

I'm not like, Oh, thank God. the families

1:00:00

back together and safe as a nuclear family.

1:00:02

Like Neil was benefiting,

1:00:05

and I, his wife, why don't you call him

1:00:07

a sleeper, by Clem's

1:00:10

book, but Neil was benefiting

1:00:12

by getting outside of this

1:00:15

sort of like all of the expectations of

1:00:18

what he was sort of like putting on himself. Like these

1:00:20

guys were growing together and

1:00:22

the last thing I ever wanted really was to be

1:00:24

like, I just want to see the family back together. So

1:00:29

what we want

1:00:31

in some is the Thelma and Louise

1:00:33

ending where Neil

1:00:35

turns to Dell and says, let's keep driving.

1:00:40

I don't want that poor lady and her

1:00:43

kids to be abandoned. I don't want that, but

1:00:46

their family formation is not helping anybody.

1:00:48

You

1:00:48

know what?

1:00:50

She'll be fine. She'll be

1:00:52

fine. She's resilient. She has the

1:00:54

power of a single tear rolling

1:00:56

down her cheek. One

1:00:59

of the salient tears. Kevin

1:01:02

Bacon wanted to beat Steve Martin

1:01:04

to that cab so he could fly to Chicago first

1:01:06

and point Mrs. Steve. It'll all work

1:01:08

out. Mrs. Steve.

1:01:11

It's interesting to me as well that I

1:01:13

think this movie would be way less compelling

1:01:16

if it didn't have two actors who I love

1:01:18

and I really love Steve Martin and I love John

1:01:20

Candy and they're kind of timeless

1:01:23

in that to me Steve Martin

1:01:25

will sort of always perpetually be 60 years old

1:01:28

and John Candy will always be alive.

1:01:30

And I miss,

1:01:32

I guess I miss the feeling that I had

1:01:35

of

1:01:36

watching a movie like that with your family.

1:01:39

And you know, like that's the great outdoors,

1:01:41

Uncle Buck, that whole series of movies

1:01:43

in the 80s where it just felt very simple

1:01:46

to understand what the

1:01:48

purpose was, what the message was and then the message

1:01:50

of this was like, you know, relax

1:01:52

a little bit, rub along with someone and

1:01:54

get home for the holidays and find a friend

1:01:56

on the road and make him your own, you know? I do

1:01:59

think so, but like...

1:01:59

And in the context of, I

1:02:02

just released a book called I Don't,

1:02:04

the case against marriage. And it talks a lot about

1:02:07

domestic labour

1:02:08

and the history of marriage, etc, etc. But

1:02:10

one of the things that obviously I'm kind

1:02:12

of laughing and joking about in

1:02:14

the book is this threat that women

1:02:16

who

1:02:17

are either unmarried

1:02:19

or certainly unmarried by choice or

1:02:22

who leave marriages, oh well good luck, you're

1:02:24

going to be old and alone, enjoy your cats. Like

1:02:26

this perpetual kind of threat against unpartened

1:02:28

women is that we are the ones who can't

1:02:31

cope with being alone in the world. We are

1:02:33

the ones who like just fall apart the

1:02:35

moment that we don't have someone to go home to. And

1:02:38

obviously we know that that's not true.

1:02:41

Yeah, statistically it's not true because

1:02:43

widowers, like when a man's wife

1:02:46

dies, his life

1:02:47

expectancy goes down and when a woman's

1:02:49

husband dies, her life expectancy goes up.

1:02:51

Exactly. I mean when a man's wife

1:02:53

dies, he doesn't know how to hang the towels up

1:02:55

in the

1:02:56

shower and he's using the vibrating bed.

1:02:58

But I mean really

1:02:59

more than that, like the loneliness

1:03:01

factor, when you think about who's

1:03:03

lonely, it's this reality

1:03:06

of like women's inevitable loneliness if they

1:03:08

stay single is deeply understood

1:03:10

and held to be true. Why is

1:03:12

it that we have so many movies about

1:03:15

lonely, sad men

1:03:17

who have lost all connection with the

1:03:19

world because they don't have a wife there to socialize

1:03:22

them for everybody? Right. It's

1:03:24

almost like there's a theme emerging

1:03:27

and I want to read that book.

1:03:30

Well, I'm going to send you a copy. Please

1:03:32

do. It's difficult to imagine him being the

1:03:35

way that he is, being so like

1:03:37

intolerant and miserable. It's difficult to imagine

1:03:39

that he goes home and he switches

1:03:42

with his family. Yeah. It's not that like

1:03:44

John Candy isn't one of his kids, but kids

1:03:46

are John Candy, you know? They

1:03:49

smell terrible. Yeah. They

1:03:52

make so much noise. They don't understand

1:03:54

how physics work. They are

1:03:57

a lot less agreeable at certain ages.

1:03:59

Yeah.

1:03:59

He's way too much

1:04:00

water in the bathroom. Well,

1:04:04

we know

1:04:06

that Neil is a father in

1:04:08

this movie.

1:04:10

Technically. Who, Clem,

1:04:13

in your view, is the daddy

1:04:15

of plane strength and automobiles?

1:04:18

Unfortunately, I think I'm

1:04:20

going to have to go with Neil again, not because

1:04:22

he exemplifies the best parts of daddies,

1:04:24

but because he is the

1:04:27

characterization of the worst, most intolerant

1:04:30

kind of daddy, you know, where he, and

1:04:33

he learns a lesson about himself, so

1:04:36

there's like personal growth. But

1:04:39

I mean, there's

1:04:40

not, I feel like there's not a lot of options

1:04:42

for the daddy role in this.

1:04:45

And unfortunately, I don't know enough about his wife

1:04:47

to give it to her. So I'm

1:04:49

going to go with Neil. I'm

1:04:51

going to say, and I don't know what the character's

1:04:54

name is, but I'm going to go with Edie McClurg

1:04:57

character who works at Marathon

1:04:59

Car Rental. Also a good choice. She

1:05:01

has dealt with outraged customers swearing

1:05:04

at her nonstop saying that it's not about

1:05:06

her, but it's about the service, whatever. She has

1:05:09

dealt with this abuse before, has

1:05:11

learned

1:05:12

how to process and respond

1:05:16

in a measured way that probably makes

1:05:18

people in this situation even more wild,

1:05:21

but is probably also satisfying for her. And

1:05:24

she tells him that he's fucked, which

1:05:26

I think is

1:05:28

tremendous. He's great. Sarah

1:05:30

Marshall.

1:05:31

Um, my daddy is obviously John

1:05:33

Candy. He's

1:05:34

perfect. I remember

1:05:36

watching, I don't know what was my dad when I was a kid

1:05:38

and him pointing out John Candy and the tone

1:05:41

that made me know that this was an important person in my

1:05:43

parents' lives and in the adult world,

1:05:45

I was trying to figure out and yeah,

1:05:48

he's just the best. I

1:05:51

do feel like he's still with us, you

1:05:53

know, and as much as anyone can be. And

1:05:56

then best supporting daddy awards to Steve

1:05:58

Martin.

1:05:59

Martin's wife's eyebrows, which

1:06:02

we're doing so much because she isn't really allowed

1:06:04

to do anything else in this movie. But so she's really

1:06:07

doing it all with her eyebrow acting. And

1:06:10

boy, would it have been nice to have spent even one

1:06:12

more minute figuring out what her deal was

1:06:14

of runtime, but whatever,

1:06:16

whatever. And

1:06:18

also to John Candy's trunk, which

1:06:20

is such an important truck. And

1:06:22

it means they always have something to sit on.

1:06:26

Can we take a second just

1:06:27

before we finish to like

1:06:30

really pay homage to John

1:06:32

Candy and how important

1:06:35

he was to all of us, obviously? Yeah.

1:06:38

John Candy to me just feels like

1:06:41

you still feel the

1:06:42

absolute tragedy of someone with that

1:06:44

immense talent and heart and

1:06:47

warmth dying in their sleep

1:06:49

at the age of 43. And

1:06:51

what could we have had from him if

1:06:54

he were able to live longer? And what

1:06:57

might he have enjoyed?

1:06:58

Yeah, the way that I heard

1:07:00

it described by another podcaster in doing some

1:07:02

research for this

1:07:05

is like that John Candy, for a lot of people

1:07:07

of a particular age and we are all this

1:07:09

age, is someone

1:07:12

who just lives entirely

1:07:14

in our childhood and

1:07:16

past young. And as a result,

1:07:19

we just have this kind of, he's

1:07:21

captured in Amber in our imaginations

1:07:24

in many ways. And then when you watch movies with

1:07:26

him, they were very likely movies that you watch

1:07:28

as a child with a family. With

1:07:30

our own relatives, some of whom are not around

1:07:32

anymore. Yeah, exactly. And so

1:07:35

as a result, he is kind of like a super, he's

1:07:37

like a totem. He is really a-

1:07:39

He's like our own uncle. I know this

1:07:41

can sound

1:07:41

so on the nose and I don't mean it to, but he is like

1:07:44

our own uncle bug.

1:07:45

Oh, for sure. Yeah. And

1:07:47

he's like, I'm always of your

1:07:48

favorite uncle who died way too

1:07:50

soon and feeling like, oh, I just

1:07:52

would love to give you one more hug.

1:07:55

For sure. Well, he, the

1:07:57

only other behind the same thing I have that I think applies

1:07:59

to the-

1:07:59

is that he, like, according

1:08:02

to the crew of the movie, Steve

1:08:04

Martin, super lovely, but quiet, and

1:08:06

like, isn't funny off

1:08:09

screen. He just does that on screen. Which

1:08:11

I know many people who like work with and around him,

1:08:14

and that seems to be still the case, which is great,

1:08:16

but extremely generous. But John Candy is the

1:08:18

guy who would learn everybody's first name and

1:08:20

thank them individually at the end of the day. Like,

1:08:22

he would go up to all of the crew on set,

1:08:25

know their name, thank them personally for

1:08:27

like, their work on that day, and then leave.

1:08:29

That's tremendous. Like,

1:08:32

that's the thing that like, nobody

1:08:34

in that position has to do, but they

1:08:36

do it clearly from a like, real

1:08:39

place. And you know, and this is like, not

1:08:41

to be cynical, but this is like, before

1:08:43

you were performing for an audience

1:08:46

beyond just the movie

1:08:48

audience, and he was doing it. So I think

1:08:50

that that's so lovely.

1:08:52

I will just say that I think that this movie

1:08:54

is a great illustration of a Bible

1:08:57

verse. I know I'm not a big Bible girl most

1:08:59

of the time, and that's because most of the Bible seems

1:09:01

to be about Insta. Which

1:09:04

is only acceptable in Virginia Andres books. Exactly.

1:09:10

You just got the Bible a whole bunch of new fans. I'm

1:09:13

so sorry. You're gonna be disappointed.

1:09:16

But this is a good one. Be not

1:09:18

forgetful to entertain strangers, for thereby

1:09:20

some have entertained angels unawares.

1:09:22

I love that.

1:09:23

Perfect. We love you, John

1:09:26

Candy. Thanks for doing it.

1:09:27

Not everything in the Bible is terrible. A lot

1:09:30

of it is, but there are some pretty good life

1:09:32

lessons in there. There's

1:09:33

some poetry. Yeah, yeah. It's

1:09:35

like the 1999 version of House on Haunted Hill.

1:09:40

A complete snooze, but every so often

1:09:42

Jeffrey Rush turns up. Ha ha ha

1:09:44

ha ha ha ha ha ha ha ha ha ha ha ha ha ha.

1:09:46

Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha

1:09:48

ha ha ha ha ha ha ha ha ha ha

1:09:51

ha ha ha ha

1:09:53

ha.

1:09:54

That is it for this week's episode

1:09:57

of You Are Good At Feelings podcast about

1:09:59

movies.

1:09:59

Thank you so much to our

1:10:02

guest Clementine Ford for being here. Check

1:10:04

out her book. I don't Thank you so

1:10:06

much to Miranda Zichler for producing and editing

1:10:08

this episode. Thank you You

1:10:11

for listening. I hope that Whatever

1:10:14

you're doing for these holidays Doesn't

1:10:17

do you in I hope that there are things that you

1:10:19

can do to help maintain your sanity Listen

1:10:22

to back episodes of the show. We'd love

1:10:24

to have your ears on us Thanks to

1:10:26

fresh slash for providing the beats that make our episode

1:10:28

census. We you can find us on

1:10:31

socials wherever Socials

1:10:33

happen you can find us on patreon and Apple

1:10:36

podcast subscriptions We'd love to have

1:10:38

you over there if you are not already and you can get bonus

1:10:40

episodes. So more for those ears

1:10:43

That's it. That's all you

1:10:45

can no longer make the call. That was a reference

1:10:48

to the top five at

1:10:51

five on WCY

1:10:53

why in Portland, Maine They would give

1:10:55

you the phone number to call and make your vote

1:10:58

for whatever song you wanted probably a corn

1:11:00

song or a gold finger Maybe

1:11:05

like in the meantime by space hug and

1:11:07

then you know a minute before the show started this

1:11:10

guy Rob would come on and you say that's it That's

1:11:12

all you could no longer make the call and that

1:11:14

will be in my brain until

1:11:16

the day that I die anyway Thanks

1:11:19

for being here. We look forward to talking

1:11:21

with y'all next week and don't forget