Speaker 1: We're Tomy Lorenzo and this is the Bitter Kitten Movie Club.
Speaker 1: Hellicit's welcome back to another edition of the b k MC,
Speaker 1: a supplemental edition of the PSO podcast where we take
Speaker 1: a look at one film per week and give it
Speaker 1: the t low treatment. This week's film is Dolomite Is
Speaker 1: My Name, and this is the first time I haven't
Speaker 1: screwed up the intro. So yay me, we are officially
Speaker 1: a podcast because I can get through the intro without
Speaker 1: screwing it up. Okay, So, this week's film is Dolomite
Speaker 1: Is My Name, by director directed by Craig Burwer, starring
Speaker 1: Eddie Murphy as the semi legendary Rudy Ray Moore, also
Speaker 1: starring d I enjoy, Randolph Keaty and Michael Kay, Wesley
Speaker 1: Snipes and just an a list collection of black actor
Speaker 1: and honestly, we had so much fun watching this. Now.
Speaker 1: I have seen this film when it first came out,
Speaker 1: and in fact, we had a it's still floating out
Speaker 1: in the world. I don't know what's going to happen
Speaker 1: with it, but we had a movie costume book proposal
Speaker 1: where we picked a bunch of movie costumes to talk about,
Speaker 1: and one of them was the lattice work pink suit
Speaker 1: that Eddie Murphy wears by costume designer Ruthie Corder. I'm
Speaker 1: going to get into all of that, but my point
Speaker 1: is that this movie's actually been on my radar for
Speaker 1: a long time. We loved it when we watched it
Speaker 1: the first time in twenty nineteen. I have written stuff
Speaker 1: that you haven't seen about the costume design, and yet
Speaker 1: I came away with something new, and that is what
Speaker 1: I want to talk about in this podcast. We're gonna
Speaker 1: talk about all of it.
Speaker 2: But.
Speaker 1: So Dolomite is not Let's start with this. Dolomite is
Speaker 1: My name is Joyous, right, I mean, that's such a
Speaker 1: feel good movie.
Speaker 2: It's as you said, we watched it back in twenty nineteen,
Speaker 2: and I when we sat last night to watch it,
Speaker 2: I could. I was like, I know what it is, right,
Speaker 2: I don't remember everything, but and I forgot how funny?
Speaker 2: How I mean funny.
Speaker 1: Eddie Murphy is so good at this.
Speaker 2: He's bigger than I mean, he's just insane. He explodes.
Speaker 1: It's just the role of a lifetime form. Yes, and
Speaker 1: it is honestly so tragic that he did not get
Speaker 1: nominated for her Now, I can't believe that was an
Speaker 1: Oscar winning performance. It was like the ultimate Eddie Murphy
Speaker 1: performance and just the like I said, feel good, like
Speaker 1: at the end of the movie, how can you not
Speaker 1: feel good at the movie? It's like the highest number
Speaker 1: of motherfuckers you lover hear in any two hour movie,
Speaker 1: and yet it's just so joyous. So we both this
Speaker 1: morning came to a different came to the same conclusion
Speaker 1: for different reasons. One is, I'll start off just start
Speaker 1: off saying what you noticed.
Speaker 2: Well, here's the thing. I completely forgot who was in
Speaker 2: the movie aside from him. So Divine is there, and
Speaker 2: I'm like, oh my god, and she's amazing. From from
Speaker 2: scene one, yes, she's amazing, absolutely amazing. I kept watching
Speaker 2: her the whole time, her character especially.
Speaker 1: And they had a pseudo romantic but not relationship.
Speaker 2: As I said, I forgot about the movie and I
Speaker 2: didn't know all the details, like all right, he's gonna
Speaker 2: end up, you know, having a relationship with her, and
Speaker 2: nothing happens, andthing happened, and then when he gets to
Speaker 2: the sex scene that they're shooting.
Speaker 1: The movie, and he's clearly uncomfortable and she's.
Speaker 2: So supportive, you know, She's like, no, we'll figure this out.
Speaker 2: We're gonna do I was like, that's interesting.
Speaker 1: Okay, so I just don't say what I can't. So
Speaker 1: I'm watching it last night and like the film. It's
Speaker 1: one of the great things about this film is that
Speaker 1: it pays the man so much respect while also acknowledging like, yeah,
Speaker 1: of course he was a hustler and a clown and
Speaker 1: these were not high quality films that he was making,
Speaker 1: but they gave him his due as the godfather of rap,
Speaker 1: which is something most people probably don't know. And they
Speaker 1: spent time showing how he literally took African American oral
Speaker 1: storytelling traditions and codified them and turned them into a
Speaker 1: form of entertainment. And all I could think through those
Speaker 1: scenes was all the research I had done we had
Speaker 1: done when we were writing Legendary Children, which was a book.
Speaker 1: If you haven't bought it, you really should buy it.
Speaker 1: It'll be great for pride months for your pride reading. Anyway.
Speaker 1: It's an examination of gender non conforming queer artists and
Speaker 1: mostly drag queens, and how queer art has been and
Speaker 1: the history of art and how it has been created
Speaker 1: and all everything that he was doing in those scenes,
Speaker 1: I was like, Wow, this is so queerer, and I
Speaker 1: remember feeling a little guilty and thinking to myself, I
Speaker 1: really can't make that connection because, you know, in the podcast,
Speaker 1: are in the write up, because as a gay white man,
Speaker 1: I don't want to claim kinship with what is clearly
Speaker 1: a black cultural tradition. But I kept thinking about how
Speaker 1: what he was doing was exactly what queer artists doing.
Speaker 1: And I kept thinking about, you know, the cultural tradition
Speaker 1: that he was codifying was called the dozens, which is
Speaker 1: where you do these one up stories with it that
Speaker 1: rhyme and tend to insult one another. You know, people
Speaker 1: go and it's it's the precursor to things like rap battles.
Speaker 1: But it is also clearly a cousin to shade and reading.
Speaker 1: And when we wrote Legendary Children, we did say that
Speaker 1: shade and reading were strictly African American traditions that black
Speaker 1: queens took into gay, you know culture. So I'm thinking
Speaker 1: all this and I'm like, I don't know, I don't
Speaker 1: know if I want to make this connection as a
Speaker 1: white man, because I might be overstepping my bounds. So
Speaker 1: I get up this morning and I'm doing some research
Speaker 1: and it turns out he was probably gay, Rudy, they say, yeah,
Speaker 1: and well, frankly, when someone says that about someone, and
Speaker 1: I don't mean when someone identifies BY, but when someone
Speaker 1: says that about someone, they're just saying they're basically covering,
Speaker 1: but they probably have no connection with ever seeing them
Speaker 1: date women.
Speaker 2: The feeling I get when someone says stuff like that
Speaker 2: is that about another person, about another person specifically, my
Speaker 2: feeling is always like, Okay, the person is gay, but
Speaker 2: I'm letting that person.
Speaker 1: I'm not giving them a backdoor.
Speaker 2: Yeah.
Speaker 1: And also it's not my place exactly, especially people Rudymore's direction.
Speaker 1: I am not and we are not suggesting that people
Speaker 1: who identify as BY are not really By. That's not
Speaker 1: what I'm saying. We're saying it's that people often misidentify
Speaker 1: gay people by because they don't want to call him gay. Anyway,
Speaker 1: I was shocked by that, because I wasn't shocked by it.
Speaker 1: Anybody can be gay. I've been around long enough to
Speaker 1: know you don't have to fit a stereotype. Of course,
Speaker 1: Rudy rymwore. And if you look at some of the
Speaker 1: costumes that guy wore, especially later, extremely flamboyant, like Elton
Speaker 1: John level of flammable.
Speaker 2: Also, he's frying at the store played by Titus you know,
Speaker 2: he's gay. So interesting because the movie really dances around
Speaker 2: the gayness. At one point, titus burg guest makes this
Speaker 2: so comment about sucking dick in prison. Yea, and Eddie
Speaker 2: just sort of waves off the comment in a way
Speaker 2: that he didn't seem. Let me put a to you
Speaker 2: this way.
Speaker 1: The film is very I have to give a credit
Speaker 1: clever about if you know where to look, it's there,
Speaker 1: if you really know where to look. Now, as two
Speaker 1: gay men who are culturally tuned into queerness, we picked
Speaker 1: up on it, but even we were like, we didn't
Speaker 1: think it was. I did not finish the movie thinking
Speaker 1: that that guy was gay. And I can't tell if
Speaker 1: I think that's a failing of the film or not,
Speaker 1: because here's how I feel. Do you remember that, right,
Speaker 1: of course you do. That Ryan Murphy miniseries Hollywood, and
Speaker 1: part of it was we've talked about this.
Speaker 2: Before, based on a book and some of it, Yeah.
Speaker 1: But part of the miniseries had a fictionalized Rock Hudson
Speaker 1: who took his black boyfriend to the Oscars. You know,
Speaker 1: it was a totally fictionalized version of his life. These
Speaker 1: things could have never happened back then. And I remember
Speaker 1: getting into a tussle with another queer culture writer on
Speaker 1: Twitter at the time because I said, I found the
Speaker 1: whole thing offensive to Rock Hudson's memory, And he said,
Speaker 1: don't you think Rock Hudson would have wanted to be
Speaker 1: able to do that? And I said, honestly, no, I
Speaker 1: don't know that Rock Hudson, someone born in like nineteen twenty,
Speaker 1: whatever year he was born in, as a queer man,
Speaker 1: I'm not sure him someone of that generation, would have
Speaker 1: had that dream to take his boyfriend to the Oscars.
Speaker 1: And I'm not sure rud Ray Moore would have wanted
Speaker 1: his story to be that's the story of a gay man.
Speaker 2: The problem that I have with that that type of
Speaker 2: far and thank yeah, no, I mean the guy on
Speaker 2: Twitter is that you are reinterpreting history. You're you're presenting
Speaker 2: a history that never happened, and at the same time.
Speaker 1: You act like you're doing that person a service.
Speaker 2: Yeah, you hiding what really happened, and that.
Speaker 1: His struggle was his life. So the fact that he
Speaker 1: couldn't do those things.
Speaker 2: So if you're a young person today, a queer person today,
Speaker 2: and if that's what you watch, you don't really know
Speaker 2: what really happened, because you know, we tend to not
Speaker 2: no history at all.
Speaker 1: It's like the bridgetonization of fictionalized history. And I'm not
Speaker 1: I mean everyone, I think everyone looks at Bridge gen
Speaker 1: it's the fantasy that it is, but it is. You know,
Speaker 1: this is not what history was like. This is not
Speaker 1: what it looked like, right, I.
Speaker 2: Mean, it's complicated. It's the same thing going on Blue
Speaker 2: Peter and Jonger right now.
Speaker 1: You know with the Odyssey exactly, well, that's not history,
Speaker 1: that's myth. You can cast anybody in those things like
Speaker 1: that's just silly right wing shit, I know exactly.
Speaker 2: So it's complicated.
Speaker 1: But when it comes I remember when Little Richard died
Speaker 1: and we did write a piece about him under our
Speaker 1: legendary tag which was basically for queer Figures, and tried
Speaker 1: to pay homage to the fact that he was a
Speaker 1: clearly gay black man and it informed his artistry, Like
Speaker 1: you can't look at some of his work and not
Speaker 1: see the queerness in it. But at the same token,
Speaker 1: he was till the day he died. He I mean,
Speaker 1: he flirted with coming out a few times, but for
Speaker 1: the most part, he was not of a generation that
Speaker 1: wanted to make that part of his life public and
Speaker 1: did not want his work to be classified that way.
Speaker 1: And I do feel with queer artists, especially when you're
Speaker 1: talking about like people from marginalized communities, like black artists
Speaker 1: from fifty years ago, sixty seventy, eighty years ago. It
Speaker 1: was the same thing with Gladys Bentley. I cried telling
Speaker 1: those stories on our book tour. Gladys Bentley was a
Speaker 1: non gender conforming female present you know, assigned female at birth,
Speaker 1: but she wore the I'm going to use female pronouns
Speaker 1: because she did her whole life. And this goes to
Speaker 1: my point of you need to respect where people were
Speaker 1: in their lives. Yes, and Gladys Bentley wore tuxedos and
Speaker 1: openly dated women and sang raunchy songs in Harlem about
Speaker 1: you know, eating out women and stuff like that. And
Speaker 1: in the nineteen fifties she found Jesus and started wearing
Speaker 1: dresses and married a man and spoke out against all
Speaker 1: her sinful ways. And we wanted to include that story,
Speaker 1: and it was very important to me in the telling
Speaker 1: of her story to say it's it's easy for us
Speaker 1: to say how sad for her, how tragic for her,
Speaker 1: and I'm not suggesting it wasn't. But at the same time,
Speaker 1: we need to pay respect to who she was and
Speaker 1: where she was. Who am I to claim that a
Speaker 1: mid century lesbian black woman or non gender conforming black
Speaker 1: woman made the wrong choices? Who am I to sit
Speaker 1: in all my priv So I feel that way about
Speaker 1: Rudy ray Moore, and and I do in a lot
Speaker 1: of ways. I respect what the film has done because
Speaker 1: they really do give it all to you without taking
Speaker 1: you right up to it.
Speaker 2: I mean, it's not even the sex scene for the movie.
Speaker 2: In the movie, it's pretty much lady read lines when
Speaker 2: she says, you know, like when she says, you know,
Speaker 2: thank you for making thank me for putting me in
Speaker 2: your movie. And you know, I've never seen myself like that,
Speaker 2: that kind of conversation that a queer guy would have
Speaker 2: with a woman.
Speaker 1: It's so true. Yeah, But the thing is, Eddie Murphy's
Speaker 1: been charged with homophobia a lot in his career, and
Speaker 1: I'm not here to unpack that. I'm not sure if
Speaker 1: I have the knowledge to unpack it. But I do
Speaker 1: get the general sense that he is not a guy
Speaker 1: who wants to play gay on camera. Yeah, probably that
Speaker 1: was a big part of it too. I don't think
Speaker 1: that's something he wants to do, and whatever, you know.
Speaker 1: I mean, I do come from a generation that tends
Speaker 1: to criticize that sort of thing, but actors are allowed
Speaker 1: to make their own choices. Like I said, I I
Speaker 1: picked up on the subtle queerness of it, and and
Speaker 1: I do think they were rather clever about it. And
Speaker 1: in a way, I think telling his story in that
Speaker 1: way is respectful to him. That's what I'm trying to
Speaker 1: get across. It is how he would have wanted that
Speaker 1: story told. He would not have wanted scenes of him
Speaker 1: having sex with men as part of his biography. Probably
Speaker 1: just not it. And you know that's I don't know.
Speaker 1: I don't have a problem with that. Moving on from that,
Speaker 1: the other thing I wanted to talk about, Actually, we
Speaker 1: should probably take a short break. Why don't we take
Speaker 1: a short break, and when I come back, I want
Speaker 1: to talk about the other connection that I felt the
Speaker 1: movie depicted to our book, Legendary Children. We'll be right
Speaker 1: back we're back talking about Dolamight is my name, and I,
Speaker 1: as I said, I wanted to make another connection to
Speaker 1: our book, but it is not a connection to queerness,
Speaker 1: but it's just a similarity. And it's when we wrote
Speaker 1: Legendary Children. One of the things we came away from
Speaker 1: our in our newfound understanding of cultural history is how
Speaker 1: much of history is just about people on the margins
Speaker 1: or in the underground doing what they need to do,
Speaker 1: turning their patch of dirt into a garden, creating something
Speaker 1: that is queer culture, but that is also one hundred
Speaker 1: percent African American culture. That is exactly and you know
Speaker 1: the beauty of African American well, I mean, it depends
Speaker 1: on how you want to look at it, but they
Speaker 1: created American culture essentially a Black Americans created the music,
Speaker 1: created the humor, created the language that we that we
Speaker 1: use today. And I love the scenes of Rudy and
Speaker 1: his little troop basically creating this new form of entertainment
Speaker 1: and going around to small clubs or going around to
Speaker 1: house parties and you know, recording records at house parties
Speaker 1: and with no more than twenty or thirty people in
Speaker 1: them and all makeshift curtain hanging up. But that's history
Speaker 1: to me, that is culture. To me, that is those
Speaker 1: people create culture. And I love when a story gives
Speaker 1: someone like that, gives scenes like that a place where
Speaker 1: we can because I mean, I'm some white guy. I'm
Speaker 1: not going to get invited to a black house party
Speaker 1: in nineteen seventies, so you know, I get to see that.
Speaker 2: I think the most beautiful part about the movie, I
Speaker 2: think is showing black culture, black history, the struggle, pure love,
Speaker 2: pure love, things you created to survive, to entertain yourself,
Speaker 2: you know. And and the fact that Rudy ray Moore,
Speaker 2: you can tell he never takes a no, never takes
Speaker 2: because he understands that's all he's given, knows and and
Speaker 2: he has to do something to get what he wants
Speaker 2: and he gets there. I also love the fact that
Speaker 2: he's not delusion about the movie. He knows the movie
Speaker 2: is not a great movie, but it's the movie that
Speaker 2: people want. And I think that's such a great message
Speaker 2: because I think we're in terms of culture in general,
Speaker 2: we're so focused on what's going to please everybody, what's good,
Speaker 2: the mass culture, the mass culture, the critics and all that.
Speaker 2: And if we and if weget that sometimes you make
Speaker 2: something to entertain people a certain segment of the population.
Speaker 1: Yes, and that's that's the kind of culture. That's where
Speaker 1: I feel the connection to queer cultural It is about
Speaker 1: people who are like, I'm making this for my people.
Speaker 1: There's a line where a white movie executive says, you're
Speaker 1: just going to make you're going to play this movie
Speaker 1: for in the same five blocks.
Speaker 2: Yeah, I have the quote here he says. He said,
Speaker 2: he says, you're not supposed to make a movie for
Speaker 2: the five square blocks of people, you know, And then
Speaker 2: he says, well, that's fine with me, because every city
Speaker 2: in America got those same five blocks, and those folks
Speaker 2: is going to love it.
Speaker 1: That is it right there. It's it's it's looking at
Speaker 1: your local community and identifying it as part of a
Speaker 1: larger connection of communities who have a similar culture.
Speaker 2: I think.
Speaker 1: And I just love, love love stories like that. I
Speaker 1: love when you give people like that a spotlight and
Speaker 1: elevate them and say look in their time, because we're
Speaker 1: reread to read more died penniless in their time. These
Speaker 1: people were not elevated, but we can look back at
Speaker 1: them now and see the good that they were doing
Speaker 1: for their community for their culture.
Speaker 2: He made he made millions.
Speaker 1: Right, No, I mean he died penniless, I read.
Speaker 2: I don't know. But he made a lot of money
Speaker 2: with the first movie.
Speaker 1: No, No, he had terrible business sense. I mean that's
Speaker 1: pretty clear anyway.
Speaker 2: But they made they made seven more movies. I think.
Speaker 1: I know the movies made money, but I don't know
Speaker 1: what that's going to be actually made all that.
Speaker 2: But the scene in the limbo, I love this. That's
Speaker 2: we're in the car and filmmaking and it's just gorgeous
Speaker 2: because they're reading all these reviews and that they're getting
Speaker 2: they're trash in the movie, and they're getting upset. But
Speaker 2: then they see all the crowd outside cheering, And to me,
Speaker 2: that's more important than anything else, is the fact that
Speaker 2: you created something that made someone Helpy happy. And I
Speaker 2: say that kind of like, you know, I get a
Speaker 2: little emotion because it's the same thing, the same way
Speaker 2: when we're we do what we do with our site,
Speaker 2: with our blog, and we feel like, yeah, whatever, and
Speaker 2: then we get an email from somebody saying that you know,
Speaker 2: I love your site, that you know your site has
Speaker 2: helped me blah blah blah. I just love these things
Speaker 2: because you forget who's out there, you do. You forget
Speaker 2: who's out there, who's reading you, who's listening to you, and.
Speaker 1: You other periods where you wonder if people care.
Speaker 2: Yes, exactly so. So that scene when they get out
Speaker 2: of the limo and they see all the crowd, Yeah,
Speaker 2: they see the crowd and they see all the people
Speaker 2: screaming and all that, and it's just beautiful. It's absolutely beautiful.
Speaker 1: It's, like I said, total feel good movie. I know,
Speaker 1: I think it did okay, I know critically it did well,
Speaker 1: but it really should be agree more of a classic
Speaker 1: than it is. It's just the perfose now, I mean,
Speaker 1: all right, if we want to do some critical stuff here.
Speaker 1: The entire structure of the film is a cliche. About
Speaker 1: is a show business cliche. It's just all dressed up
Speaker 1: in like sixty seventies ghetto Chitlin circuit style, but it
Speaker 1: hits every beat of all you know, club owners saying
Speaker 1: don't you do that on my stage? And then suddenly
Speaker 1: the crowd turns and it's a big hit. And then
Speaker 1: there's a montage where they just you know, all of
Speaker 1: that is there all and it's you know, emotionally It
Speaker 1: hits every single beat of those kind of biopics where
Speaker 1: he he stands up and he's like, I don't care
Speaker 1: what everybody else says. I'm going to do this where
Speaker 1: I'm an artist, blah blah blah. None of that's new.
Speaker 1: But I don't really see that as a draw back
Speaker 1: because it's dressed up and stuff in a black exploitation
Speaker 1: setting that gives it a nuance and gives it a
Speaker 1: feeling and gives it a joy that it might not
Speaker 1: otherwise have had.
Speaker 2: Oh what I love about it is that it shows
Speaker 2: that these people are not naive. They know exactly what's
Speaker 2: going on with the life.
Speaker 1: Of course, they're not business savvy, but they know what
Speaker 1: they're doing.
Speaker 2: They're knowing what they're doing. They're know that they're being
Speaker 2: exploited in a way, but they want to move on
Speaker 2: with whatever they have in mind. You know, they what
Speaker 2: they want to do.
Speaker 1: And I think that's what they have a need to
Speaker 1: tell their stories.
Speaker 2: They have a need to tell the story and to
Speaker 2: do what. You know, he started with the records and
Speaker 2: then decided to make movies. And I actually went on
Speaker 2: YouTube and you can watch the movie.
Speaker 1: Oh yeah, you can watch the movie it's not going
Speaker 1: to send some links to any review that we do.
Speaker 2: So over the top, it's ridiculed.
Speaker 1: He was a real clown and a real hustler. And
Speaker 1: I just want to briefly touch on Ruthie Carter's costume design.
Speaker 1: We're gonna have more of that's going to be in
Speaker 1: the post that we accompanyed with this podcast, because we
Speaker 1: can use pictures and stuff. But I just want to
Speaker 1: point out that I think, you know Ruthy Carter. She
Speaker 1: has done She did Sinners last year, She's done both
Speaker 1: Black Panther movies, she did Baps's. She is just an
Speaker 1: icon and a legend, especially with these major, major black films.
Speaker 1: I think this is her best work. To be quite honest,
Speaker 1: I think this exceeds Black Panther. And the reason I
Speaker 1: think that is because I am very much of the
Speaker 1: opinion that costume design is not simply about massive ball gowns,
Speaker 1: period pieces and superhero costumes, because that is what people
Speaker 1: think of when they think of costume design, and of
Speaker 1: course those are the showiest examples, those are the most
Speaker 1: elaborate examples, and they deserve. You know, her work in
Speaker 1: Black Panther. I'm pretty sure she won the Oscar for it.
Speaker 1: But what I love about Dolomite is how much love
Speaker 1: and respect are in those costumes because she I mean,
Speaker 1: if you see Rudi ray Moore back then, the costumes
Speaker 1: were flamboyant and typical of pimpware of that period. They
Speaker 1: were cheap, I mean, they were not expensively made, and
Speaker 1: she really threaded this needle, no pun intended where she
Speaker 1: sourced polyester fabrics from the seventies, from the sixties and
Speaker 1: the seventies. She wasn't using couture fabrics. But the pieces
Speaker 1: are impeccable. Everything is accurate. She just slightly elevated it
Speaker 1: to give him and the other characters dignity.
Speaker 2: Everything is gorgeous.
Speaker 1: It would be so easy to make jokes those outfits,
Speaker 1: to have to just like, look at this ridiculous pimp
Speaker 1: wear that he's wearing. But the outfits are actually gorgeous.
Speaker 1: They are beautifully fitted, beautiful, beautifully instructed. And I think
Speaker 1: that goes hand in hand with the whole film's approach
Speaker 1: to Rudy ray Moore, which is to sort of elevate
Speaker 1: him to this mythic status that he did not actually
Speaker 1: have while he was alive. And they did the same
Speaker 1: thing with the costumes, where it's like, Okay, he wasn't
Speaker 1: wearing coature, but he deserves to be wearing it in
Speaker 1: this story, so we're going to give him cauture.
Speaker 2: Right. Eddie apparently had seventy five costumes, and she said
Speaker 2: that every single one, hats, everything was built from you know, scratch,
Speaker 2: because she works.
Speaker 1: She builds the ground up.
Speaker 2: And she said because it was hard. It also was
Speaker 2: hard to find vintage Striker. Right.
Speaker 1: That stuff does not survive.
Speaker 2: No, it doesn't, it doesn't.
Speaker 1: Those clothes were cheaply made back then. True they were.
Speaker 1: They were very cheaply made. And that's what I love
Speaker 1: about the clothses Stylistically, they are absolutely accurate, but they
Speaker 1: actually look expensive on screen. All right? Do you have
Speaker 1: anything else you want to add? Much more to say
Speaker 1: in the review that accompanies this little pot all right?
Speaker 2: I mean, aside from the strong language that might you know,
Speaker 2: trigger you.
Speaker 1: I mean, yes, there's like ten motherfuckers in the first.
Speaker 2: That's a lot more than that, yeah, in the jokes,
Speaker 2: but aside from that. I when we were done watching
Speaker 2: the movie, I was so happy, which still to say good,
Speaker 2: but I was just like please and happy that I
Speaker 2: watched it. I was like, this is so wonderful. Yeah,
Speaker 2: just great.
Speaker 1: More people need to see this. It is just fun
Speaker 1: and uplifting and just a great, you know, sort of
Speaker 1: rags to not exactly riches but pseudo rags to riches story.
Speaker 1: All right, we will be back next week with a
Speaker 1: regular podcast and also another b KMC where we are
Speaker 1: looking at Nicole Kimmins to die for, which I love.
Speaker 1: The spoiler I probably shouldn't. I shouldn't admit this. I've
Speaker 1: never seen that.
Speaker 2: What I know, Oh my god, it's one of the best.
Speaker 1: I know, it's kind of embarrassing. Oh she's great, I know,
Speaker 1: I know. All right, we'll be back next week. Until then,
Speaker 1: take care of yourself. Let you mean it.
Speaker 2: Bye bye bye