taylor anne photo

Then you're just not listening to what I'm saying in response because you keep saying the same thing without further acknowledgement that IT DOESN'T NEED TO BE ALTERED AT ALL IN A "MODERN" CONTEXT FOR IT TO MAKE SENSE WHY SHE WANTS TO GET MARRIED. I never said anything about man vs woman bringing this up, and even acknowledged that I understand the frustrations because I too look for those kinds of things in movies, but I personally disagree about THIS specific movie being put into that mindset. The monologue in the car shows the inner struggle she had as an unmarried woman of 40 with her own career in 1950 who is very much in love with a man but also wants her stardom, but later at the dinner she has solved that inner conflict and it makes sense why she makes the decision she does. Even in a modern 2018 movie, if you take the EXACT same scenes it would still make sense to me. I don't want it to be spelled out because that does nothing for the character.

I listen via iTunes so it may be the same as Stitcher which is promising.

I know exactly what you meant, and I still think that's wildly unrealistic. If a movie in 2018 had some girl spell out that she's getting married for herself I would roll my eyes so hard they probably would fall out of their sockets. I think it's more fucked up to question any woman's motive to marry if it's not specifically spelled out to be a terrible relationship. So my point is that even watching this movie from 1950 I do not question Margo's desire in 2018 because this is a realistic character with realistic desires and troubles.

I think that's a wildly unrealistic conversation though. Women don't actually say "Well, I'm doing this for me," when it comes to marriage unless specifically asked. So, if Karen had added to her surprise that she didn't think Margo would actually want to get married then we could get such a specific line, but I believe it's all there in between the lines that she's actually saying. By that point in the movie we've already gotten to know Margo and she's already had her "being a woman" monologue in the car, so we know that this is something she is battling with. And even if this was created now I would still be able to see those nuances to this conversation. I don't need her to say anything point blank because I know for a fact that Margo Channing doesn't do a thing like that if she doesn't want to do it.

Has this issue been fixed at all? I've been holding off on listening to the episode cause I usually listen when I don't really have the opportunity to sit and skip ahead and I really don't want to sit with 2 full minutes of ear blowing static.

I still disagree about some parts of this. I don't think getting married suddenly defined her, which is what a lot of the issues surrounding women's roles in movies seems to reflect, but rather Margo suddenly came to realize who she really was and what was important to her, which was Bill and her's love for each other. She had already been with this man for years but society's and the business's view on married women kept her from taking things to the next step. When she announces their upcoming nuptials, Karen seems shocked that she is settling down and Margo talks about this being the next stage of her life. Well, she's already 40 at this point so it's not like she was truly throwing away things that meant something to her just because she was expected to get married. In my opinion, she was just now more comfortable with being herself, and she herself wanted to be with Bill for the rest of her life. That is just as feminist as if she had told them all she never needed a man and was only going to act until the day she died. Because she got to decide on that without anyone else's thoughts in mind (obviously Bill would have a say in that marriage part, but it doesn't look like he is forcing her into it). Obviously in that era they wanted women to be seen as housewives, so believe me I get this frustration that everyone is sharing, but I just don't think that Margo's ending is anti-feminist. She still is granted a choice and she makes it. That's the most feminist thing about this whole movie.

I think this is why I loved it so much. It's easy to chalk it up as "women be crazy" but there's so much more depth to this story than anything I've seen in a long time (especially from that era). Even with Eve, I'm reluctant to just completely chalk her up as a 100% evil villain because of the things we now know about what women have had to do in order to feel like they can make it in acting. She makes those choices herself of course, but did she make these choices because she is a bad person or was it because she truly felt that was the only way she could get somewhere? Either way she didn't make the right choices and while she certainly became the "It" girl we saw in that ending that her time was already coming to an end (at least in appearances) and she was left alone and vulnerable to someone abusive like Addison and a younger woman that ended up being just like her. This story has so many layers to it that I want to keep peeling at and dissecting, and that makes me overly excited.

But to be fair, we never actually see Margo's performances of this play either. Everything we see is post the performances. I also found it funny that we never got to see Miss Cresswell act either. It's just assumed that she couldn't hold a candle to Eve and would be subjected to TV, but we get a glimpse that she's nothing to throw away when she goes from being disgusted by Max to infatuated with him in a heartbeat. (Which, at first I thought that's where Eve was getting the ideas to sleep with Bill and Lloyd but then we find out her con had been going on for far longer than when she met Miss Cresswell and Addison.)

I can't figure out why he was left behind at all! Orange tabbys are universally beloved! Black cats are the ones that have the hardest time getting adopted and left behind (which is why I'm so protective of my own), so it may have had more meaning if Oliver had been a black cat? But then again the animation may have looked more flat if he was one solid dark color.

This is my Oliver! Named as such because we found him abandoned by his litter and he was basically a little street rat (Aladdin was also a name we considered). We got him exactly 2 years ago and he went from looking like he was days away from dying to this beautiful perfect healthy little asshole.

I know, but I still say yes. They sound like two people who fought and stayed together anyway, and like I said I think that the Eve business was probably their worst fight. If they can get back together after that then I think they're golden.

They so Disney-fied the shit out of this that it literally took me being in my 20s to realize this was based on Oliver Twist. Whoops. I think I was at work and I had just gotten my Oliver (pics coming soon I promise) and my coworker asked if I named him after Oliver & Co and I said "No, Oliver Twist..." and he just stared at me until it clicked and I went "Holy fuck I'm dumb" lol!

At that point I did, yeah. Margo was more confident about herself for the first time that whole movie, and I think that probably changed a lot in their relationship. Going through that shit with Eve was probably their hardest hurdle to jump, but they did it and I think they'll be able to survive anything.

For me, I took it that she herself had been refusing to marry Bill for much longer than any of us probably saw on screen because maybe in those days married women were automatically cut out of certain roles that Margo still wanted to play, plus add in the fact that she was hung up on their age difference it sounds like she really needed to work on a lot of things internally before she could get married. Once she had accepted that she was probably too old to play a 20 year old character, and Bill was never going to leave her, then she felt comfortable enough in her own skin to stand by him as husband and wife. I totally understand what you mean though because that is something that tires me out in sooo many movies (a group of us just watched The Back-Up Plan for a HDTGM archive special and the whole story hinges on JLo realizing she does in fact need a man.... gross), but Margo's character is so much deeper than that.

I haven't listened to the episode yet but I LOVED THIS MOVIE!!!!! Holy fuck what a good one!!!

I know this is a joke but once someone referred to me as Ms. Photo so I wouldn't think it's impossible for this to be true. (FYI my name is not Photo)

Dale Dye did an even longer interview with Matt Gourley on I Was There Too and it's a great interview and he goes deeper into Platoon (and other movies he did). Definitely worth a listen.

On family road trips I make my mom listen to some HDTGM episodes that I know she'll enjoy (this time was Timecop) and she made me pause halfway through to tell me about how they NEED to do The Snowman because it was one of the worst things she's ever seen. C'mon gang, please do this for my mom.

Hello friends, I was at the beach for a little bit and got burnt to a crisp because I forgot about that whole re-applying sunscreen after 2 hours business. I swear I'm an adult that knows how to take care of myself... Anyway this story (not necessarily this specific movie but more Oliver Twist by Dickens) is how I got the name for my lil Oliver so expect pictures later.

I shouldn't be surprised that Jason had no idea about spilling tea but honestly I'm still surprised.

Scarabocchi

As someone that performed for 10 years, Opera is so hard.

IT'S SCRIBBLES

Idk sounds like the Hamilton of its time to me

Yes, PART of the criteria, but what I'm saying is that we can't just blanketly say that something has to stay on the list because of its influence because that does not equal greatness. I'm just repeating myself now so I'm going to end my part of this discussion.