Speaker 1: We're Tom of Lorenzos and this is the Bitter Kitten
Speaker 1: Movie Club. I do not have an intro nailed down yet,
Speaker 1: and this is the third time we're trying to record it. Yeah,
Speaker 1: I just don't have a Hello kittens, welcome back to
Speaker 1: the tablet. But this is the Bitter Kitten Movie Club.
Speaker 1: It is a supplemental edition of the Pop Style Opinion
Speaker 1: Fest where each week we look at a movie and
Speaker 1: unpack its themes, motives, whatever. It's just a little short
Speaker 1: supplement and it gets attached every week to a review
Speaker 1: of said movie. This week's movie is Zola from twenty
Speaker 1: twenty by director Janique so Bravo, starring Taylor Page and
Speaker 1: Riley Keyo and Coleman Domingo and Nicholas Braun. Now part
Speaker 1: of the reason I picked this, and at the moment
Speaker 1: I am picking all the films, but I actually do
Speaker 1: want us to do something a little more collaborative here.
Speaker 2: We wanted something you know, quick.
Speaker 1: Right, And I'm the film guy. He's the fashion guy.
Speaker 2: He went to film school.
Speaker 1: Hello, right, and he was the fashion guy. But I've
Speaker 1: mentioned this before. What we're trying to do is is
Speaker 1: a range of genres of styles and of eras. But
Speaker 1: the one thing we need to have for this to work,
Speaker 1: at least as I have envisioned it, is that all
Speaker 1: of these films should be available on streaming platforms. If
Speaker 1: you have to go and rent them and stuff like that, Hey,
Speaker 1: more power to you. I'd love it if you were
Speaker 1: following along. They're very different, but I want the most
Speaker 1: number of people to be able to watch whatever we're
Speaker 1: watching every week. So we pick from streamers and we
Speaker 1: try and and mix it up a little bit. And
Speaker 1: when I looked at the first month last month's movies,
Speaker 1: I was like, that's awfully white. Like I just picked
Speaker 1: four very white movies, no female directors, anything like that.
Speaker 1: And I was like, all right, so we need a
Speaker 1: little bit more diversity in our in our picks. I
Speaker 1: wanted the next film to be fairly recent, so that's
Speaker 1: how we settled on Zola. Jennie Sabrava the director, as
Speaker 1: a black woman. And it's a rarity to get any
Speaker 1: Hollywood movies directed by black women. And I felt like
Speaker 1: this movie, in particular, you kind of needed the black
Speaker 1: woman to be telling this story to give it the
Speaker 1: the the verisimilitude, the truth that it required. I actually
Speaker 1: think you needed a black woman to do that, because
Speaker 1: there are uncomfortable scenes, There are uncomfortable things being said,
Speaker 1: and there are even funny things being said that in
Speaker 1: the hands of a white director or a white male
Speaker 1: director would not have worked. Real quick because I just
Speaker 1: set it before we flipped on the mics. There's a
Speaker 1: scene with ts Madison which we absolutely cannot quote. I
Speaker 1: cannot quote a single word that she says in that scene.
Speaker 1: She's so funny, hilarious. But it's also a white director
Speaker 1: could not have directed that scene in no way. I mean,
Speaker 1: it would have been problematic for a white director to
Speaker 1: direct that. And that's just a classic. That's like the
Speaker 1: best example I have. I mean, Jenique Sobravo is a
Speaker 1: talented director. I'm not suggesting that only her identity is.
Speaker 1: Actually one of the things that I loved about her direction,
Speaker 1: and especially in the early parts of the film, was
Speaker 1: the way she pritified the world of stripping like it
Speaker 1: was harp music, harpstrings plucking, really well done, and you know,
Speaker 1: she's trying on different outfits in front of a mirror,
Speaker 1: and who do you want to be Today's and that
Speaker 1: sort of thing. And I did I loved that. There
Speaker 1: were certain aspects of the film that I didn't love.
Speaker 1: But I'm moving ahead of my up too quick. Why
Speaker 1: don't we start with this, Zola, if you don't know,
Speaker 1: is based is a film, as far as I know when,
Speaker 1: it's the only major Hollywood film that is based entirely
Speaker 1: on a Twitter.
Speaker 2: Thread, which is insane.
Speaker 1: Yes, a woman named Aziah King started a thread on
Speaker 1: twenty fifteen on Twitter and it went viral and it
Speaker 1: was this long. I don't even know how many tweets
Speaker 1: were in it, like one hundred, Yeah, like one hundred
Speaker 1: tweets telling the story of how she hooked up with
Speaker 1: another dancer, a stripper. They were both strippers, went down
Speaker 1: to Florida to make some money stripping, got caught up
Speaker 1: in sex trafficking, and all these things unhappened, All these
Speaker 1: wild and insane things happened.
Speaker 2: Yeah, I mean there's a and then he got picked
Speaker 2: up by Rolling Stone magazine that wrote the article, David Kushner,
Speaker 2: I believe, and he wrote the article and that's why
Speaker 2: that's how everyone found out about it.
Speaker 1: Well, it did go viral first, and there were like,
Speaker 1: I don't know, I think it was Nicki Minaj Eva
Speaker 1: de Verne, like a lot of prominent black women on
Speaker 1: social media, were the ones that caught up with this
Speaker 1: story and said, you all need to read this. This
Speaker 1: is amazing. And I will say I have read the
Speaker 1: tweet threat and Isaiah King has away with words. She
Speaker 1: is witty and funny as hell.
Speaker 2: She said that she kind of embellished he in there.
Speaker 1: Yeah she did, but it's all true.
Speaker 2: It really happens.
Speaker 1: The other girl, Stephanie has Jessica. Oh Jessica, she's Stephanie
Speaker 1: in the movie. She does not agree, And I do
Speaker 1: want to unpack a little bit of that, but let's
Speaker 1: start it with the movie itself again. I think only
Speaker 1: a woman could direct a story about sex trafficking in
Speaker 1: a manner that allows it to still occasionally be funny.
Speaker 1: I do think the film suffers from some tonal ships
Speaker 1: that it cannot reconcile. But in the beginning of the film,
Speaker 1: all of the directing is just kind of joyous to watch.
Speaker 1: There's just such a joy in depicting these characters. And
Speaker 1: you know, when you get into films about sex workers,
Speaker 1: I'm always like, I have my antenna up, like are
Speaker 1: they treating them with respect? Are they putting them up
Speaker 1: on a pedestal, or are they dirtifying everything that they do,
Speaker 1: because you know, there's various ways to look at sex workers.
Speaker 1: I mean, respect would be the number one thing. If
Speaker 1: you're not respecting them, then that's not a story worth telling. However,
Speaker 1: I don't know. I think the film did a wonderful
Speaker 1: job of threading the needle of showing that sex work
Speaker 1: doesn't necessarily have to be the sole, crushing, horrifying thing,
Speaker 1: like Riley Keo's character couldn't give a shit either way.
Speaker 1: By the same token, there is that scene in the
Speaker 1: hotel room where she sleeps with like twenty guys on
Speaker 1: one night, and they keep showing Sola cleaning the sheets
Speaker 1: off and everything, and the sheets are very clean, like,
Speaker 1: but they are making a point that this is still
Speaker 1: dirty work, Like this is she's still having sex with
Speaker 1: twenty guys in one night, Like there's there's a toll
Speaker 1: on the body, there's a toll on the room that
Speaker 1: you're doing everything.
Speaker 2: I mean, they show her taking a shower and then
Speaker 2: you can see that you know it's it's yeah, it's
Speaker 2: no fun for them.
Speaker 1: Of course, there's also a very very clever scene with
Speaker 1: the two of them in restroom stalls, side by side,
Speaker 1: and at first they're showing she's showing like Sola's ass,
Speaker 1: and I'm like, why is she showing the black girl's
Speaker 1: ass and she's not doing this with the white girl.
Speaker 1: But then the white girl gets up off the toil
Speaker 1: and this is mean. But like Zola, who is not
Speaker 1: a sex workers, she does stripping, but she doesn't have
Speaker 1: sex with clients. I have to be blunt here. Sola
Speaker 1: gets off the toilet and the toilet's clear. Stephanie gets
Speaker 1: off the toilet and her pee is like very very
Speaker 1: you know, not clear, and stuff like that. As good
Speaker 1: as the film is about depicting sex work and not
Speaker 1: falling into a lot of traps, I do feel it
Speaker 1: was a little judgmental. And I think part of that
Speaker 1: is because Zola herself is judgmental about women who do
Speaker 1: sex work, And that is one of the issues with
Speaker 1: the film is that it's based on this Twitter thread.
Speaker 1: But a Twitter thread is not a movie, and if
Speaker 1: you are, if you try and turn it into a
Speaker 1: movie and keep everything about that intact, including the woman
Speaker 1: the writer's somewhat judgmental attitude towards sex workers, then it
Speaker 1: sort of permeates the film itself. I'm sorry, go ahead, right.
Speaker 2: I have to say that I watched the movie back
Speaker 2: in twenty twenty and I loved it. Absolutely love the movie.
Speaker 2: It's my kind of movie. I love movie about real people.
Speaker 2: I like movie about someone who struggles or who doesn't
Speaker 2: have a lot of money. It, I don't know, it
Speaker 2: grounds me in a way. I know it's fantasy. I
Speaker 2: know it's a movie. It's created, it's not real real,
Speaker 2: But when I watch movies like that, I always go like, Wow,
Speaker 2: I am a privileged person and.
Speaker 1: I'm checking into that shitty hotel, and at least I.
Speaker 2: Feel like I am and uh and then people, yeah, struggle.
Speaker 2: So I do love movies like that, and I think
Speaker 2: the movie does a very good job. I also like
Speaker 2: the fact that the movie tries to tell both stories,
Speaker 2: both sides of the story because in a funny way, yeah,
Speaker 2: because later on, Jessica, the real woman, said that she
Speaker 2: it was all a Ziah. You know, it wasn't her.
Speaker 2: She is the one who convinced her. There's this, you know,
Speaker 2: these two versions of the real story. But the story
Speaker 2: is that as I used to work at a Hooters,
Speaker 2: Hooters restaurant as a waitress, and then Jessica was was
Speaker 2: a customer and then offer her, you know, got her
Speaker 2: caught up in this thing and said, you know, let's
Speaker 2: go to Let's go to Florida, Let's go to Miami.
Speaker 1: But I do have a little bit, you know, It's fine.
Speaker 1: The film has a perspective, and it is Sola's perspective,
Speaker 1: but at no point does the film give Stephanie Riley
Speaker 1: Keo's character. It's not terribly sympathetic to her. And I
Speaker 1: get it, she's a crazy bitch and everything, and she's
Speaker 1: a user and whatever else you can say about her,
Speaker 1: but at the end of the day, she's being sex trafficked,
Speaker 1: and that is very very clear at the end of
Speaker 1: the movie that she is being trafficked, and the movie
Speaker 1: just doesn't have a lot of sympathy of her. She's
Speaker 1: just some crazy bitch, And I get it. Like I said,
Speaker 1: it's Zola's perspective, it's Sola's story. But the film is
Speaker 1: enjoyable and watchable, but I think it is flawed because
Speaker 1: you cannot base an entire movie off of someone's Twitter
Speaker 1: thread with out there being some deficiency in the storytelling
Speaker 1: or tonal shift. That's the big one. Like I said,
Speaker 1: the first half of the movie, there's a lot of
Speaker 1: comedy in it, not like rip roaring comedy, but more
Speaker 1: like cringe comedy.
Speaker 2: Half the time you have the whole thing, I think.
Speaker 1: But then the second half of the film it's like, well, no,
Speaker 1: this is a hostage situation, like these women are in
Speaker 1: serious danger and are being asked to do things that
Speaker 1: they don't want to do. Well, one of them at
Speaker 1: least doesn't want to do and I and the film
Speaker 1: couldn't handle that shift. And so at the end of
Speaker 1: the film you have this very tragic figure in Riley Kieu,
Speaker 1: but the film is not willing or able to unpack
Speaker 1: that she's just the crazy white bitch, and that is
Speaker 1: a failing of the film, I think.
Speaker 2: I think because his sides more with the tweets that
Speaker 2: were they should have developed that we're produced by Zariah
Speaker 2: Zoah and not Jessica.
Speaker 1: I just want to say. Jeremi O. Harris, the celebrated playwright,
Speaker 1: is a co writer of the film along with Jenny
Speaker 1: so Bravo, and they did good with it. They did
Speaker 1: well with it. There's there's wit, and there's there's pathos
Speaker 1: and there's a lot going on in it. But like
Speaker 1: I said, I don't think unless you're willing to rewrite
Speaker 1: parts of that story to tell something a little more holistic,
Speaker 1: then you're just getting a very one sided tale. I'm
Speaker 1: not I'm not coming to the white girls defense. Like
Speaker 1: she's she's a pretty awful person, but she's also clearly
Speaker 1: come on, she's compromised, she's not very smart, she doesn't
Speaker 1: have a lot of opportunities, and she has the kids
Speaker 1: and she's been traffic I.
Speaker 2: Do appreciate that they make these characters complicated.
Speaker 1: I agree with that as as they.
Speaker 2: Are in real life. As the whole boyfriend thing, it's pathetic.
Speaker 1: Nicholas Brown is very funny but also pathetic, pathetic.
Speaker 2: Aesthetic, and you're like, wow, there are guys like that
Speaker 2: out there.
Speaker 1: There are guys like that. Apparently the real guy is
Speaker 1: married and has a kid.
Speaker 2: Now, Oh really? Yeah, but I was like, my god,
Speaker 2: how can he do that?
Speaker 1: Yeah?
Speaker 2: Yeah, it's real, And he says, like I mean, at
Speaker 2: some point, Sola finds out that she's been doing this
Speaker 2: for a while now, like girls in yeah, and line
Speaker 2: to him about what the trip is going to be about,
Speaker 2: So you know, she's not that.
Speaker 1: No liepending her. But I don't think the film has
Speaker 1: much room, has any sympathy for her. And at the
Speaker 1: end of the day, it's like, well, she is a trafficked.
Speaker 3: Woman, Like come on. One of the things I want to
Speaker 3: talk about when we get back is uh is that
Speaker 3: I want to unpack a little bit more of that
Speaker 3: when we get back.
Speaker 1: So let's take a break and we'll be right back.
Speaker 1: We are back and we're talking about in Sola, and
Speaker 1: I do want to reiterate I think Sola is a
Speaker 1: very entertaining film.
Speaker 2: I think it is.
Speaker 1: I think the performances are great. I think the art
Speaker 1: direction and costume design are great, and it is well
Speaker 1: worth your time. But I mean I also think there
Speaker 1: are some flaws. One of the things I read I
Speaker 1: read an interview with Iszaiah after the film came out,
Speaker 1: and she said something that I was like, yeah, that
Speaker 1: should be in the film, because I struggled with this.
Speaker 1: Zola has a cell phone and about one thousand dollars
Speaker 1: in cash on her Why why didn't she just I mean,
Speaker 1: there were opportunities for her to leave, to call an
Speaker 1: uber or call a cab whatever. At one point she's
Speaker 1: she goes and she sits by the pool in the hotel,
Speaker 1: and I'm like, well, okay, why you're being trafficked like
Speaker 1: you're in a very dangerous situation. And I couldn't. I
Speaker 1: couldn't reconcile that during the whole film. I'm like, Okay,
Speaker 1: I need some sort of statement here. Why is she
Speaker 1: so hopeless? Why why does she feel she can't leave?
Speaker 1: And as Iyah said in an interview, I stayed because
Speaker 1: I was worried about her. I felt that someone needed
Speaker 1: to take care of her because I was. The film
Speaker 1: severely needed that, it needed something to indicate that. I
Speaker 1: also would have changed that.
Speaker 2: I don't want to take that whole situation lightly exactly
Speaker 2: by the fact that what I want to say, you said,
Speaker 2: you know, sometimes it's very hard to leave a situation,
Speaker 2: to leave, Yeah, you were the abuse or I mean
Speaker 2: we see that all the time. Women stay because they
Speaker 2: they were afraid to leave, And I think that was
Speaker 2: kind of the situation.
Speaker 1: I mean, I think that I didn't get that in
Speaker 1: the performances. I well, I think I mean she was scared,
Speaker 1: of course.
Speaker 2: Right, I mean Colmen Dominga had a gun and he said,
Speaker 2: I'll go after you, and I think they had a
Speaker 2: life back home, like she had a boyfriend of life.
Speaker 1: Yeah, she married him. I think, yeah, it's so cool.
Speaker 2: Anyway, so they had a life back you know, in Detroit, right,
Speaker 2: I believe. Yeah. So it's not like they could just
Speaker 2: go someplace house. And I think the common Domingo's character
Speaker 2: knew that that he could go.
Speaker 1: I said he was going to go after them and
Speaker 1: threaten them. But even so, get out of that situation,
Speaker 1: like you are in a danger. That gang bang scene,
Speaker 1: like they walked into that, and I'm like, why, I
Speaker 1: don't I don't quite get this. I don't get why.
Speaker 1: I guess the film was saying that, Like I didn't
Speaker 1: get how she was able to just not have sex
Speaker 1: like she just did, Like, Okay, you're being trafficked. Your
Speaker 1: pimp has a gun, but so far and not so
Speaker 1: far through the whole movie, she never once has She's
Speaker 1: able to turn down all these guys.
Speaker 2: I think the point they were trying to make in
Speaker 2: the beginning that they were always going for the white
Speaker 2: girl and not the black girl. Yeah, they made that
Speaker 2: point in the beginning that the guy said I was
Speaker 2: expecting a white girl or something like that. So I
Speaker 2: think they lightly.
Speaker 1: Touched that, but too much missing from I think the story.
Speaker 1: There's there's just stuff that I feel like they could
Speaker 1: have touched on a little bit better. But I'm going
Speaker 1: to drop that. What did you want to talk about?
Speaker 2: Well, maybe she got away with it because she pretty
Speaker 2: much made uh Riley's character make more money, So maybe
Speaker 2: she was like a second pimp kind of.
Speaker 1: Well he did treat her like that, Yeah, but maybe
Speaker 1: that's why. I just felt like some of that was
Speaker 1: not quite making sense to me in terms of what
Speaker 1: I know about sex trafficking and prostitution. Like, Okay, you
Speaker 1: can just say no, but I do few.
Speaker 2: I mean, was watching the movie. I felt, really, I
Speaker 2: felt like the whole thing was real. I mean, I
Speaker 2: can imagine them.
Speaker 1: Can I imagine the hopelessness of being in that situation?
Speaker 2: And I can't. It made sense that those guys were
Speaker 2: the Pamson Town and they were Yes, they were mad
Speaker 2: that these people were traveling and making money, So that
Speaker 2: whole thing made sense.
Speaker 1: Yes, it all goes to a very to a sort
Speaker 1: of violent ending that actually the film did a good
Speaker 1: job of setting up.
Speaker 2: You see that happening.
Speaker 1: No, it's good filmmaking. The one thing I wanted to
Speaker 1: point out Jennicks se Bravo took over as as a
Speaker 1: director because originally James Franco. And this is something that
Speaker 1: I get into in the in the review that we
Speaker 1: wrote up for this is that the film feels like
Speaker 1: such a snapshot of like fifteen or ten years ago.
Speaker 1: James Franco was originally on to direct it, but then
Speaker 1: all of these me too allegations came out and his
Speaker 1: whole career crashed, And and that's to the benefit of
Speaker 1: the film because a black woman took over. I can't
Speaker 1: imagine that.
Speaker 2: I can't even.
Speaker 1: I cannot imagine any white man directing this story and
Speaker 1: doing it justice.
Speaker 2: No, I can't. I can't imagine.
Speaker 1: I mean, it would have been exploitive, it would have
Speaker 1: been racial language everything.
Speaker 2: I mean it. It had to be a black.
Speaker 1: Person at least at least yeah, you know.
Speaker 2: Even better a black woman. Yeah, because you needed that language,
Speaker 2: you need those situations, And I don't think you could
Speaker 2: get away with the.
Speaker 1: Entire movies the eyes of a black woman. Yeah, it's
Speaker 1: not just that, but she's dealing with like crazy white
Speaker 1: people and a threatening black man. Like there's a lot there.
Speaker 1: I do want to say the two leaves.
Speaker 2: Oh my god, they're both so good.
Speaker 1: I don't understand why. I know Taylor Page is working,
Speaker 1: but I would have thought that this would have made
Speaker 1: much bigger star. She is so good in this, and
Speaker 1: so much of what she has to do is like
Speaker 1: deadpan because she cannot react.
Speaker 2: I really appreciate the fact that they played two different characters.
Speaker 2: They make sure that there are two different people. They're
Speaker 2: together in this, but they are two different people. And God,
Speaker 2: that woman has no no shame in nothing, meaning that
Speaker 2: she will go there and she will.
Speaker 1: Do She created a person that is not her, and
Speaker 1: she created her from the ground up, and she is
Speaker 1: a fully believable person.
Speaker 2: I went back and read the tweets again and and
Speaker 2: people say, should you read the tweets first before you
Speaker 2: see the movie, and there's different opinions about it. People say, no, no, no,
Speaker 2: see the movie and then read the tweets because the
Speaker 2: tweets are a terre hill I mean, very very funny,
Speaker 2: and she has pictures and they used a lot of
Speaker 2: the language using There's one of the tweets that cracked
Speaker 2: me up. She said, y'all want to hear a story
Speaker 2: about why me and this bitch here fell out. Yeah,
Speaker 2: and then she said, it's kind of a long story,
Speaker 2: but you know, and they they quote that they used
Speaker 2: that in the movie, but they also give you know,
Speaker 2: Riley's character that she has to tell her story, which is.
Speaker 1: Also yes, Christian completely. I didn't think. I don't know
Speaker 1: if the irony was built into it or whatever, but
Speaker 1: I was like, all right, that's Elvis's granddaughter, Elvis who
Speaker 1: made his entire career off of ripping off black artists.
Speaker 1: And I'm like watching her through the entire movie speaking
Speaker 1: in African American vernacular, and I'm like, there is there
Speaker 1: are levels. This very meta and that's it. I enjoyed it.
Speaker 1: I recommend it. It's like an eighty six minute watch.
Speaker 1: It goes into some dark places, as it would have
Speaker 1: to given what it's about, but it's actually a fairly
Speaker 1: entertaining story. And the four leads, the four people at
Speaker 1: the center of it, they just.
Speaker 2: First movie's first movie.
Speaker 1: No I have no, I can't.
Speaker 2: I don't remember.
Speaker 1: You were always bringing these questions right.
Speaker 2: Now because you always know everything. I have to see.
Speaker 2: I'm this is me. I was entertained by it. I
Speaker 2: left out loud many many times, but at the same
Speaker 2: time made me think, made me, you know, as usual,
Speaker 2: reflect and think about, you know, life out there, and
Speaker 2: I think that's that's that's I think the movie does
Speaker 2: a good job when he does it.
Speaker 1: I agree. I Oh, and one final thing on the
Speaker 1: costume design. What I really liked about the costume design
Speaker 1: was that it was very, very specific and it tended
Speaker 1: to avoid cliche. And and one of the things the
Speaker 1: costume designer, whose name I do not have in front
Speaker 1: of me but is in the in the review, she said,
Speaker 1: I thought this was an interesting choice. Zola never wears
Speaker 1: a skirt in the whole movie. Oh, she's only in
Speaker 1: pants or shorts in the whole movie. And she did
Speaker 1: that because she didn't want to fall into cliches about
Speaker 1: how sex workers, yeah, always like an easy access skirt
Speaker 1: or whatever. And she's got a great little outfan on
Speaker 1: through most of the film. It's a blue plaid like
Speaker 1: bra top and blue pad boy shorts. And that was
Speaker 1: a reference to Dorothy and the Wizard of Oz.
Speaker 2: Oh my god.
Speaker 1: As soon as I read that, I was like, that's clever,
Speaker 1: and that's correct for the character.
Speaker 2: I think. I remember the Cosum design saying that she
Speaker 2: was like inspired by Clueless. She wants character to have.
Speaker 1: She was also inspired, yes, she said she was inspired
Speaker 1: by Clueless. Where she wanted Dereka Cole Washington, that's her name.
Speaker 1: She wanted to give them memorable costumes that popped on screen.
Speaker 1: The other thing is at the end of the film,
Speaker 1: Zola's wearing and it's from ASOS. I looked it up.
Speaker 1: Hysterical look the glitter pants, the glitter pants and the
Speaker 1: crop top. And again it's not cliche. It's not the
Speaker 1: cliche of what you think a stripper would dress. But
Speaker 1: it actually I'm like, yeah, that kind of is stripper
Speaker 1: would wear something from Aso's like that in twenty fifteen.
Speaker 1: So anyway, a recommended film, And if you're listening to
Speaker 1: this podcast, first please head to our site because we'll
Speaker 1: have a full review with pictures and clips and everything else.
Speaker 1: So and we'll be back next week with oh oh, Actually,
Speaker 1: I wanted to mention this. Part of the reason we
Speaker 1: picked this film for this week is because it's lighthearted,
Speaker 1: it's modern, et cetera. And next week I'm gonna cry
Speaker 1: through most of this podcast.
Speaker 2: His favorite movie of all time.
Speaker 1: Yes, Wings a Desire nineteen eighty seven foundational text in
Speaker 1: my life and I'm probably going to Yeah, he loves
Speaker 1: loves throughout it. Anyway, we'll be back next week with that,
Speaker 1: So take care of yourself, love you mean it. Bye
Speaker 1: bye bye