Quinn (they/them): No, you start.
Quinn (they/them): Oh, right.
Quinn (they/them): I started, oops.
Quinn (they/them): Hi.
Quinn (they/them): Welcome to What the Phalange?! The podcast, where we watch every episode of F.R.I.E.N.D.S discuss it, deconstruct it and fan over it.
Quinn (they/them): One episode at a time.
Emilie (she/her): My name is Emilie pronouns she and her also known as the Monica of the group.
Emilie (she/her): You can connect with me on Twitter at @EmilieB__ underscore underscore or on Instagram at @EmilieByoga.
Emilie (she/her): That's Emilie with an I E
Quinn (they/them): My name is Quinn and pronouns zie/zir or they/them on social media as @thebasicNB and @FeministMassageTherapist, and maybe the Ross of the group?
Quinn (they/them): Which is controversial...
Emilie (she/her): very controversial but...
Quinn (they/them): this week we're talking, I don't want to identify that way this week.
Quinn (they/them): We're talking about season two, episode 12, The One After The Superbowl.
Quinn (they/them): And this episode is part one
Emilie (she/her): of two.
Quinn (they/them): Yes.
Emilie (she/her): I don't know if that was necessary, but both part one and part two aired on Sunday, January 28th, 1996.
Emilie (she/her): Surprisingly enough, right after the super bowl it was written by David Crane, Marta Kauffman, Jeff Astrof and directed by Michael Lembek.
Quinn (they/them): According to IMDB, this is the episode where Ross goes to visit Marcel whilst on a trip to California and discovers he is working in commercials.
Quinn (they/them): Joey receives a fan letter from an attractive, but quote unquote unstable woman.
Quinn (they/them): Phoebe is asked to sing for children at a library.
Emilie (she/her): Fun fact, I had to copy and paste this from IMDB and Quinn didn't read it ahead of time.
Quinn (they/them): Fact,
Emilie (she/her): this is also the one where Ross learns that.
Emilie (she/her): Oh wow.
Emilie (she/her): Clearly I did not read my own words ahead of time.
Emilie (she/her): This is also the one where Ross learns that, where he thought his monkey was isn't the truth.
Emilie (she/her): Phoebe sings about the truth.
Emilie (she/her): And Joey decides that sex is better than telling a woman that.
Emilie (she/her): There's a theme.
Quinn (they/them): There is a theme.
Quinn (they/them): There's so many themes,
Emilie (she/her): many, many themes.
Quinn (they/them): Hi, Emilie.
Quinn (they/them): Hey, how's it going?
Quinn (they/them): Ah,
Emilie (she/her): good.
Emilie (she/her): Yeah, it's good.
Emilie (she/her): It's Friday nights, right before a long weekend
Quinn (they/them): It is, and we have a double recording to do today.
Emilie (she/her): Yeah.
Quinn (they/them): We're recording both episodes.
Quinn (they/them): It's Friday evening.
Quinn (they/them): It's been a very long week.
Quinn (they/them): I worked 11 hours yesterday.
Quinn (they/them): But we're doing this and
Emilie (she/her): Yeah.
Emilie (she/her): So you're going to get part one today and part two in two weeks, I guess for,
Quinn (they/them): yeah, we're recording both today, but we're going to split them up because well on crave and Netflix, they're two separate episodes.
Quinn (they/them): However, this originally aired as one, like extra long episode and as it is named, it is the one that aired after the super bowl, which is why it was airing on a Saturday or a Sunday or something
Emilie (she/her): Sunday,
Quinn (they/them): Sunday.
Emilie (she/her): Know about sports.
Quinn (they/them): You know, we, we know about sports.
Quinn (they/them): Yes.
Quinn (they/them): So fun fact, Emilie,
Emilie (she/her): tell me,
Quinn (they/them): this is the most watched episode.
Quinn (they/them): No way on.
Quinn (they/them): And then also on it's like first evening of opening or airing it got 52.9 million viewers.
Quinn (they/them): Wow.
Quinn (they/them): And that's because it played right after the super bowl.
Quinn (they/them): Of course it makes sense.
Quinn (they/them): Yeah.
Quinn (they/them): It makes sense.
Quinn (they/them): I wonder if they had to pay a lot to get that time slot, I assume, I assume so.
Emilie (she/her): I don't know how that works because it's an NBC production.
Emilie (she/her): And so I don't know, I don't know how that time works, but they have a shit ton of like big star actors in this episode.
Quinn (they/them): Yeah.
Quinn (they/them): They have really big actors.
Quinn (they/them): Also the director, Michael Lunbech won the 1996 Emmy award for outstanding, outstanding individual achievement and directing for a comedy series for this episode, for this specific episode.
Quinn (they/them): And it was the only Emmy one by the series that year.
Emilie (she/her): Oh, that's a pretty good episode.
Emilie (she/her): What are your fields?
Quinn (they/them): To be honest, there were so many other things that I was like paying attention to you when I was like, really trying to pick apart this episode that like the directing didn't particularly stick out to me.
Quinn (they/them): I also remember reading a few things.
Quinn (they/them): Like there was a lot of criticism around like John damn van Damme
Emilie (she/her): Jean-Claude van Damme.
Quinn (they/them): I'm so bad at names.
Quinn (they/them): Jean-Claude van Damme essentially like was very criticized even though he's like a very, what,
Emilie (she/her): Just wanted to say something that only people who've watched all the FRIENDS will understand, because you were said shawl clued.
Emilie (she/her): Then when I was like,"Je m'appelle Claude".
Emilie (she/her): Spoilers if you haven't seen all of F.R.I.E.N.D.S,
Quinn (they/them): not a real spoiler, but just, just dangling the carrot to keep watching folks
Emilie (she/her): Ten years later.
Quinn (they/them): But, essentially there was a lot of criticism around his performance in the episode.
Quinn (they/them): I never seen him in anything else.
Quinn (they/them): So I wouldn't
Emilie (she/her): criticism, like as, and he's a bad actor.
Quinn (they/them): Yeah.
Quinn (they/them): They
Emilie (she/her): I literally wrote the note Jean-Claude van Damme is not a great actor.
Emilie (she/her): LOL.
Quinn (they/them): There you go.
Quinn (they/them): So he was very criticized for his role.
Quinn (they/them): I always thought that like his presence in the episode was like very weird and sterial when I was a kid, I didn't actually think that he was a real actor, you know?
Emilie (she/her): Yeah.
Emilie (she/her): I think, well, yeah, we'll probably see that a little bit more when we actually get to that episode.
Quinn (they/them): Yeah.
Quinn (they/them): Well, yeah.
Quinn (they/them): So that's the next one.
Quinn (they/them): But then also, so yeah, here's the thing that folks, we're going to talk about certain themes that run throughout the course of both episodes.
Quinn (they/them): However, we are cutting this into two podcast episodes, but there's certain things that are going to be pulled over to both.
Quinn (they/them): So it is a two parter episode essentially that we're doing today.
Quinn (they/them): Storyline again in the next episode is also really criticized the one again, centered around John clued VanDamme between Monica and Rachel.
Quinn (they/them): It was criticized to be a poor writing, poor and lazy writing for which I think is interesting.
Quinn (they/them): Anyway, we'll talk about that more in the next episode, but for today, Emilie, what are your initial feelings on this first half?
Quinn (they/them): Or actually tell me your initial feelings of like the entire two together and then as them separately?
Emilie (she/her): I would say that, this is probably like the episode of F.R.I.E.N.D.S that I, I dunno if I quote the most, but I know the script the best would probably means I've watched it the most.
Emilie (she/her): Or one of the few that I've watched a lot.
Emilie (she/her): I really think that.
Emilie (she/her): I think it's well done.
Emilie (she/her): I think it's a great episode.
Emilie (she/her): Like obviously there are some issues which we will talk about like, you know, they do-
Quinn (they/them): What?! An episode of F.R.I.E.N.D.S that can be criticized, what,
Emilie (she/her): that's not what we do here.
Quinn (they/them): I know nothing of this.
Emilie (she/her): I feel like they were trying to say like the overarching storyline of these two episodes is Ross with his like relationship with the monkey.
Emilie (she/her): But really, I feel like the overarching storyline of the two episodes is women are crazy.
Quinn (they/them): Yeah, that's exactly.
Emilie (she/her): Yeah.
Emilie (she/her): With both Bookshields portrayal of Erica and the first episode, and then Julia Roberts kind of revenge fantasy, which like also is epic though.
Emilie (she/her): And then like of course, Monica and Rachel kind of having a petty catfight and then, you know, Phoebe singing the truth and she's kind of like crazy and like weird again.
Emilie (she/her): So like, I just feel kind of like, there's a lot of this, like, women are crazy and men are reasonable, except not really, they're not really saying that men are reasonable and this
Quinn (they/them): it is the implication, but I would almost say that Phoebe is the most grounded of people in this house,
Emilie (she/her): for sure.
Emilie (she/her): Well, Quinn, she sings about the truth.
Emilie (she/her): What about you?
Emilie (she/her): What do you feel about this first episode?
Quinn (they/them): Yeah, well, I'm kind of want to go through some themes that kind of run through.
Emilie (she/her): We're going to talk about like three things we're going to talk about today, which I realized we haven't been doing.
Quinn (they/them): I know, feel like we're rusty coming back, but now I feel like we're getting in the rythem of things.
Quinn (they/them): But okay.
Quinn (they/them): So some themes that, cause I was kind of picking apart these two episodes as a whole, and also separately
Emilie (she/her): wa-wa- wait before Quinn starts.
Emilie (she/her): I want you guys to all know what I'm witnessing right now.
Emilie (she/her): Quinn has an iPad to their rights, a notebook to their left and their laptop in front of them.
Emilie (she/her): And they have notes about F.R.I.E.N.D.S on all three of these things, just so you know,
Quinn (they/them): my brain does not work linearly you folks.
Quinn (they/them): I need all the tools.
Quinn (they/them): Okay.
Quinn (they/them): But so essentially we have the crazy woman theme.
Quinn (they/them): Right.
Quinn (they/them): And, even further we have this mental health theme also that sort of plays out and that's like really more specifically in the first episode that I really kind of want to explore.
Quinn (they/them): Yeah, we'll get there.
Quinn (they/them): But generally yes, like this crazy woman theme and like it all being centered around like men and attached to some sort of like sex aspect of it as well.
Emilie (she/her): Oh, interesting.
Emilie (she/her): I didn't think of that.
Emilie (she/her): Yeah, you're right.
Quinn (they/them): But then we also have this theme of essentially animals in the realm of
Emilie (she/her): the cow and the metal goes, moo.
Quinn (they/them): So, okay.
Quinn (they/them): I actually want to, I thought, I think it's actually really interesting that Phoebe has this, this song.
Quinn (they/them): I know
Emilie (she/her): I have so much to say about it.
Emilie (she/her): I want to get there when we get there though.
Emilie (she/her): I don't want us to go, I don't want to talk about it right away.
Emilie (she/her): I love it.
Quinn (they/them): Yeah, I guess I just want to, like, I think it's very fitting that Phoebe talks about this because we have kind of like three main, very central realms when it comes to like the animal industry.
Quinn (they/them): We have, we talk about like zoos, we talk about in the next episode animals in TV, as entertainment, and then we also have animals as food anyway.
Quinn (they/them): So we're going to touch base on all of these today.
Quinn (they/them): We've kind of like been able to bring it up as a topic here and there with Marcel in the past, but we're going to talk about zoos in this episode, folks, it's going to be.
Quinn (they/them): Enlightening
Emilie (she/her): animal rights conversations from your friendly neighborhood, off and on vegan, currently vegetarian and your friendly neighborhood, trying to reduce their meat consumption and dairy consumption person.
Emilie (she/her): Right.
Emilie (she/her): That's does that make yeah,
Quinn (they/them): that's me.
Emilie (she/her): Yeah.
Emilie (she/her): That's you?
Quinn (they/them): Yeah.
Quinn (they/them): In general.
Quinn (they/them): Yeah.
Quinn (they/them): I think that, yeah,
Emilie (she/her): it's a controversial topic.
Emilie (she/her): Way more than probably anything else that we're going to talk about.
Quinn (they/them): You know what, like, I think that I also want to approach this topic.
Quinn (they/them): Not from, especially, I actually kind of want to distance a little bit away from like the food topic.
Quinn (they/them): I feel like that is one that is like, becomes very central to all the conversations.
Quinn (they/them): I know that like Phoebe talks about it.
Quinn (they/them): I want to just touch on it.
Quinn (they/them): But I think it's one that like really takes on like the central aspect of like the conversation about animals.
Quinn (they/them): And, and I, I don't, I think it's our neighbors playing piano.
Quinn (they/them): Our neighbors is, is I think in a band we have determined.
Quinn (they/them): And if you hear them, well, we're not going to that's as much as we can credit them.
Quinn (they/them): We don't
Emilie (she/her): know what that, I remember that time where we were like, well, we can't record in the front room because our neighbor plays music.
Emilie (she/her): And now here we are recording the front of the room.
Emilie (she/her): Well, we forgot.
Emilie (she/her): Let's just hope they don't start playing the drums.
Quinn (they/them): It is Friday night, I guess this is banned time.
Quinn (they/them): Okay.
Quinn (they/them): Anyway, moving forward.
Quinn (they/them): But anyway, I want to actually stay away from the food topic as much as possible and really kind of talk about like animals and though the way that we use them in society in modern day as a part of the team there, and I guess, yeah.
Quinn (they/them): But, okay.
Quinn (they/them): So should we start off with the opening scene?
Quinn (they/them): Yeah.
Quinn (they/them): Well, what are your feelings about the opening scene here?
Emilie (she/her): Well, it's like the advertisement, right?
Emilie (she/her): And I think that it's particularly well done knowing the fact that this episode came out right after the super bowl and super bowl is known for the like epic advertisements.
Emilie (she/her): And so starting the episode off with an advertisement was a choice.
Quinn (they/them): Oh, that's so interesting.
Quinn (they/them): I didn't even think of that.
Emilie (she/her): Yeah.
Quinn (they/them): Emilie clever.
Emilie (she/her): So they have this like whole big thing where they're like, monkey shine be here.
Emilie (she/her): And like, you don't even see any of the characters for the first, like whatever, 10, 12 seconds.
Quinn (they/them): Right.
Quinn (they/them): Just like an ad.
Emilie (she/her): Yeah.
Emilie (she/her): You could be watching it and being like, oh, it's an ad.
Emilie (she/her): Like in the same way that everything else has been for this,
Quinn (they/them): I feel like you just blew my mind.
Emilie (she/her): Well, thanks.
Emilie (she/her): It's a classic.
Emilie (she/her): Like I feel like they're trying to make fun of beer commercials.
Quinn (they/them): That's what I was going to say.
Quinn (they/them): I feel like, I feel like this is literally what a beer commercial was in the nineties and into the two thousands
Emilie (she/her): and like also kind of,
Quinn (they/them): and I was going to follow up with this.
I actually have in my notes: "What are beer commercials now?" Because I don't really watch commercials.
I actually have in my notes: I don't watch TV.
I actually have in my notes: And so I don't watch commercials
Emilie (she/her): and none of my YouTube commercials, I don't drink neither of us drink so we don't really get any targeted alcoholics commercials.
Quinn (they/them): And I feel like, like on Instagram and stuff, if I do get a targeted ad or like a very un-targeted ad I feel like I end up getting like a hard alcohol commercials for whatever reason.
Quinn (they/them): Oh, it's probably because they know that I'm celiac.
Quinn (they/them): That's why.
Quinn (they/them): Okay.
Quinn (they/them): Anyway,
Emilie (she/her): so sad
Quinn (they/them): but yeah, so what I love in this scene is the line of Ross being like, oh, this reminds me of Marcel.
Quinn (they/them): And I love is like, this really just brings out like Phoebe and Monica and like a, like in a nutshell, the relationship with Marcel and also like ties into like Phoebe later on where he needs, like talking about this monkey, like, like you would a human where it's like big brown eyes and like little up pointed chin, like descriptive of like funky
Emilie (she/her): and Monica is just like so dry and cynical and like, and also the fact that they're both monkeys,
Quinn (they/them): it's just like, okay, well, it's great.
Emilie (she/her): I wrote in my notes, I said, Rachel's hair is so cute here.
Emilie (she/her): Cause I don't know.
Emilie (she/her): It's like, it almost looks like she like just got it.
Emilie (she/her): Freshly cut and like freshly blown out, like it's super volumous and like.
Emilie (she/her): It's just, I'm like, damn, that's pretty.
Quinn (they/them): Okay.
Quinn (they/them): So that this is actually something I noticed in both of these episodes.
Quinn (they/them): And I actually have a note in my thing where it was just like the hair is so volumous,
Emilie (she/her): They definitely put so much more money into this episode.
Emilie (she/her): You can tell, their hair is better.
Emilie (she/her): Their outfits when they're outside.
Emilie (she/her): I just kept being like, damn, like it's January, but I want it to be fall.
Emilie (she/her): Like these outfits are so like OnPoint for like fall weather.
Emilie (she/her): And like, they just like, look Montreal, fall New York, winter.
Emilie (she/her): Like they're just like really, really cute outfits.
Emilie (she/her): And they like clearly put a lot of money into like makeup and hair and high quality cast.
Quinn (they/them): Yeah.
Quinn (they/them): The amount of like big names in this episode or the, in these two episodes is pretty wild.
Emilie (she/her): I do think that they are a little bit self-aware here.
Emilie (she/her): With the, monkey shine, beer advertisement, I think like it's this kind of making fun of beer advertisements and then.
Emilie (she/her): , cause Ross says like, oh, this up, this thing always makes me so sad.
Emilie (she/her): And Joey turning around and being like, yeah.
Emilie (she/her): But like then all those girls come and everything seems to work out.
Emilie (she/her): Okay.
Emilie (she/her): I feel like that's like out of self-awareness of like how ridiculous these beer commercials are, you know, it's like, it almost feels like the only time they're self-aware
Quinn (they/them): F.R.I.E.N.D.S trying to be woke.
Emilie (she/her): No, never, never tried.
Quinn (they/them): So then our next scene is that we're at central perk.
Emilie (she/her): Joey walks in, he's carrying his first fan mail from Erica Ford.
Emilie (she/her): It has 14 eyelashes inside of it.
Emilie (she/her): Which makes you think a little bit of like the first episode of F.R.I.E.N.D.S where Phoebe says, oh, I just pulled out four eyelashes.
Emilie (she/her): That can't be good.
Emilie (she/her): And I was like, I was imagining he putting them in an envelope and sending them off to someone and I feel like she would,
Quinn (they/them): Yeah, she, she could,
Emilie (she/her): she's definitely given someone, her saliva in a bag before you see that later.
Quinn (they/them): At one point had like toenail clippings or something.
Quinn (they/them): Anyway,
Emilie (she/her): but this is like the beginning of when they start using the terms, like crazy whack job weirdo, like throughout the rest of the episode.
Emilie (she/her): So when Chandler says like an crazy world, that means you're married in reference to like the 14 eyelashes,
Quinn (they/them): Right.
Quinn (they/them): So that Monica reads the letter and essentially it has like the 14 eyelashes.
Quinn (they/them): And then they realized that that this letter was written to Joey's home address
Emilie (she/her): with no stamp on it
Quinn (they/them): So the person literally came into the building, knows exactly where Joey lives made their way over.
Quinn (they/them): And I guess also implies that they're like local or at least has been recently local and probably is still currently local it's really.
Quinn (they/them): And yeah, and, you know, stockers let's be real, like
Emilie (she/her): are real
Quinn (they/them): is yeah, they, they are real.
Quinn (they/them): And it also is a very scary thing to experience.
Quinn (they/them): So there's like a certain amount of like being fearful that makes sense at this point being concerned,
Emilie (she/her): well, Joey, you seem too concerned at first.
Emilie (she/her): He's like, I have my very own stocker, like you stoked about it.
Emilie (she/her): And I think there's like a deleted part of this episode where he literally said where Joey says the line, remember we talked about those things.
Emilie (she/her): Like, some things are good or somethings are bad or something along those lines.
Emilie (she/her): Like he has this line of like, this is not a good thing.
Emilie (she/her): But yeah.
Quinn (they/them): And then Ross comes in with a suitcase he's going off to travel the world.
Quinn (they/them): But it's actually just going to LA for San Diego LA going to LA for a conference.
Quinn (they/them): I have the script in front of me, folks.
Quinn (they/them): Amazing.
Quinn (they/them): I don't right.
Quinn (they/them): I was trying really hard to be prepared today.
Emilie (she/her): I have, I have a note in front of me that says, oh, Ross has gel.
Emilie (she/her): It's really rough.
Emilie (she/her): In this episode.
Emilie (she/her): He's like hella jelling hard.
Quinn (they/them): Like they really went all out on everyone's hair, including Ross they splurged on extra gel.
Emilie (she/her): Like literally you look at him and you could imagine touching his hair and feeling the crunch that like nineties gel crunch.
Emilie (she/her): Yeah.
Quinn (they/them): Oh my God.
Quinn (they/them): People, do you have memories of like the nineties gel hair crunch?
Emilie (she/her): Real.
Quinn (they/them): I definitely have that.
Quinn (they/them): So the next thing happens,
Emilie (she/her): who walks in?
Emilie (she/her): Is Chris Isaac?
Quinn (they/them): Emilie, can you tell us a little bit about Chris Isaac?
Emilie (she/her): Chris Isaac is a singer songwriter and he sings a song called we could game, which is really, really well known.
Emilie (she/her): And actually,
Quinn (they/them): Emilie, can you sing it for us?
Emilie (she/her): Oh gosh.
Emilie (she/her): No.
Quinn (they/them): Damnit!
Emilie (she/her): But he is, I do you do this part about Chris Isaac?
Emilie (she/her): The fact that , the song Wicked Game shows up in a later episode of F.R.I.E.N.D.S.
Quinn (they/them): Oh, I didn't know that! Emilie (she/her): Shows up.
Quinn (they/them): I can't even say the name of the episodes.
Quinn (they/them): It's a spoiler.
Quinn (they/them): But basically it shows up in an episode in which it's a turning point in two people's relationship.
Quinn (they/them): I think I know what you're talking about.
Quinn (they/them): Is there a radio's involved and like looking through a window with it raining outside?
Emilie (she/her): No.
Emilie (she/her): Did that already happen?
Quinn (they/them): Oh yeah, that already happened.
Quinn (they/them): Whoops.
Emilie (she/her): Oh, you're thinking of the U2 song.
Emilie (she/her): That's
Quinn (they/them): right
Emilie (she/her): With or Without You.
Quinn (they/them): So I also, I guess I wanted to point this out right at the beginning of entering the scene because very soon he's going to make the statement of, I don't know anything about music.
Quinn (they/them): He's like a famous musician.
Emilie (she/her): He lying, he knows a lot about music.
Quinn (they/them): I also want to point out that his face feels like he was a cartoon originally.
Quinn (they/them): And then someone turned him into a real boy,
Emilie (she/her): his face with the hair combo.
Emilie (she/her): I'm looking at the photo combo.
Quinn (they/them): And then his, like his hair line was got
Emilie (she/her): like very harsh jaw and eyebrows,
Quinn (they/them): very angular, but then also very bulbous nose and like with a lot of different like details to it.
Quinn (they/them): Like I just, I feel like every time I watched them, I'm just like, You're a cartoon that keeps life interesting.
Quinn (they/them): Very fun.
Emilie (she/her): I also think that the scene is so freaking cute with Phoebe where she's like, like, and they all get in on it too.
Emilie (she/her): Like, it's this cute, like moment of them being like coming, trying to support her in her quest, this is really cute.
Emilie (she/her): And then she like turns around and goes to heeeellllo
Quinn (they/them): I think it would catch everyone up.
Quinn (they/them): So he walks in and then she's like, okay, everyone pretend that I just told you something really funny.
Quinn (they/them): Okay.
Quinn (they/them): Now and everyone laughs and I'm like, wow.
Quinn (they/them): Only I wish that we had that sort of chemistry to pull that off.
Emilie (she/her): I feel that our life is not always scripted.
Quinn (they/them): I feel like if you would, or I would do that to each other, one of us would be like, huh, what
Emilie (she/her): We would say that probably about 15 seconds after the request is made because we were too busy.
Emilie (she/her): Not paying attention.
Quinn (they/them): Let's move along to the next scene where it Chandler and Joey's apartment and they're just standing around in the kitchen as they do
Emilie (she/her): classic.
Quinn (they/them): What do you wanna do for dinner?
Quinn (they/them): And the buzzer goes off.
Quinn (they/them): Turns out is Erica
Emilie (she/her): Erica Ford,
Quinn (they/them): Erica Ford.
Emilie (she/her): This is like one of my favorite scenes in F.R.I.E.N.D.S.
Emilie (she/her): Not like before she walks in, like right.
Emilie (she/her): Them just coming into this major panic mode.
Emilie (she/her): Like not knowing how to be humans basically.
Quinn (they/them): I think this, this scene itself could be a skit.
Quinn (they/them): It's just, it's just so jam packed with like so much goodness and excellent.
Quinn (they/them): Like their characters in a nutshell, like it should just, yeah.
Emilie (she/her): I like grabbing the frying pan and then, Chandler making the joke about like, they're not in a cartoon and then trying to run out the door and frantically going, like the one time they're not home.
Emilie (she/her): And then, you know, trying to go downstairs.
Emilie (she/her): Like avoid her, which they never think to go upstairs.
Quinn (they/them): Yes.
Quinn (they/them): It bothers me every time.
Emilie (she/her): No sense.
Quinn (they/them): And especially cause it's like in future, we find out there is like a roof, you know, like that people can go on to too.
Quinn (they/them): So it's like extra frustrating that like, they don't just like run, run up to the roof and hide there.
Emilie (she/her): Right.
Emilie (she/her): And also like you could just lock your door and not answer it too.
Emilie (she/her): Like, oh my God, they just put, they can just go through like this major peg and like, don't know how to deal with anything.
Emilie (she/her): And then he's like, he's like, I'll just run by her.
Emilie (she/her): And cause we never met in person Chandler is like, that's how radios radio stars, escape stalker,
Quinn (they/them): which is so good.
Emilie (she/her): And it also makes no sense because a radio star stalker would definitely also know, look up what they look like.
Quinn (they/them): I mean, this was a time before social media
Emilie (she/her): and websites, I guess maybe.
Quinn (they/them): Chandler doesn't get a computer until the end of, this season
Emilie (she/her): true if you're looking things up is a little bit less of a thing, like pulling out your Encyclopedia
Quinn (they/them): we practically are in the radio era.
Quinn (they/them): Emilie.
Emilie (she/her): That's true.
Quinn (they/them): Just kidding
Emilie (she/her): Yeah, and then eventually like running back in and like Chandler grabbing the soap and clicking the soap open, like it's just a 30 second or minute of like pure, excellent writing and acting.
Quinn (they/them): And the execution is great.
Quinn (they/them): Opening the soap.
Quinn (they/them): And so then they're all freaking out and then there's an actual knock at the door and they open it up and it ends up being Erica Ford and Erica Ford is played by Brooke shields.
Quinn (they/them): And you know, if you don't know who Brooke shields is, she's this beautiful, beautiful, very famous actor from, I guess, who was originally famous around that time, right?
Emilie (she/her): What was, what, like, did she do that made her famous?
Emilie (she/her): Like, I feel like I know her from a variety of things, but not necessarily
Quinn (they/them): I don't know her all that well.
Quinn (they/them): Again, it just sort of feels like we're like we were at the younger age when this show originally was airing.
Quinn (they/them): So, and also in general, I think my pop culture recognition when it comes to like celebrities and stuff like that, and people's names -fly right over my head.
Quinn (they/them): But the main point of this is that like she's known, she's known, and I think there's a general society consensus that she is like a bay blee human being, you know?
Emilie (she/her): Oh, okay.
Emilie (she/her): Well now I just like learned an interesting thing.
Emilie (she/her): Her best known films are arguably the blue lagoon, which included nude scenes between teenage lovers on a tropical island shields later testified before us Congress national inquiry that older body doubles were used in some of them because there was controversy in her being a part of child pornography.
Emilie (she/her): Oh, interesting.
Quinn (they/them): Fun facts,
Emilie (she/her): fun facts.
Quinn (they/them): More serious fun facts then.
Quinn (they/them): But I guess the thing that I really want to bring up is this being like the end of the scene, because essentially opened the door.
Quinn (they/them): It's Erica Ford played by Brooke shields, this beautiful woman, you know, again, her hair is very well done.
Quinn (they/them): And, and also her outfit is like spot on, you know, just like very like very well dressed and everything.
Quinn (they/them): And both of them immediately and shock, and immediately also change like pivot in their reaction and their mood.
Quinn (they/them): And I mean, that's like portrayed by Chandler, like squeezing the bottle of soap and bubbles going into the air, which is funny.
Emilie (she/her): Excellent.
Quinn (they/them): But I guess what I really want out of this, like literally just one scene and skit is to start bringing up this conversation about like mental health and how it's portrayed in the media.
Quinn (they/them): I want to start that by kind of pointing out how crazy, the quote unquote, crazy that we were talking about in the last scene is considered bad and scary and not wanted, but the scene it makes it seem as though it's only if that person is ugly, but if that person is hot and there's the possibility of sex of a woman, then it is okay.
Emilie (she/her): Yeah.
Emilie (she/her): They also created this assumption that if someone is quote, unquote crazy, then they are ugly.
Emilie (she/her): They had like this preconception, of what she would look like.
Emilie (she/her): And you know, later on Chandler brings it up and he says , you know, Kathy Bates from misery, she looks like the opposite of that.
Emilie (she/her): And if you know who Kathy Bates is like Kathy Bates in misery is like, she is a bigger woman.
Emilie (she/her): She is older.
Emilie (she/her): She has like green hair, I think, in the movie.
Emilie (she/her): she definitely comes off as the quote unquote classic crazy look.
Emilie (she/her): And so this person is like, not that.
Quinn (they/them): Yeah.
Quinn (they/them): And I also want to point out that you have like this already, this concept of like, de-valuing a human, when we start putting these labels of like crazy and there to like be feared, but then as soon as there's something that you want out of that person like that, like sex can like Trump that, you know, like, am I making sense?
Quinn (they/them): I didn't string that word, that sentence together very well.
Quinn (they/them): But anyway, so this is like, you know, we're going to start deconstructing this a little bit more as we go.
Quinn (they/them): But now we're in San Diego at San Diego zoo.
Quinn (they/them): And Ross is hanging out with monkey cages.
Quinn (they/them): This is there's, there's actually, I feel like a lot of silliness in this whole zoo storyline, to be honest.
Quinn (they/them): And Emilie, do you want to go through what happens here?
Emilie (she/her): Yeah, sure.
Emilie (she/her): Well, so the zoo administrator is played by Fred Willard who, if
Quinn (they/them): you give context to him, I actually don't know him,
Emilie (she/her): honestly.
Emilie (she/her): I don't know much about him.
Emilie (she/her): I just know that if you've ever watched modern family, he's Phil's dad, if you watch Modern Family
Quinn (they/them): oh, right.
Emilie (she/her): And like, he's, he's a character in and of himself.
Emilie (she/her): Like clearly he's just like bit of a dork.
Emilie (she/her): I want to say.
Emilie (she/her): You know, and tells him that.
Emilie (she/her): Marcel has died, he's gotten better.
Emilie (she/her): And then Ross like reacts in a really good way.
Emilie (she/her): He's a, there's a lot of like good feedback between the two actors in this scene I find
Quinn (they/them): sometimes monkeys die.
Quinn (they/them): It's not a great saying, but it is certainly fitting today.
Emilie (she/her): Excellent.
Emilie (she/her): And then yeah, obviously gives them some zoo dollars and.
Quinn (they/them): Who is this guy.
Emilie (she/her): And then he's invited him to, come see a cute thing.
Emilie (she/her): And he's like, it's a lot cuter.
Emilie (she/her): If your monkey hasn't died, like, he's just like clearly has never delivered poor news to someone before.
Emilie (she/her): And it was just like, struggling, like also not tried.
Quinn (they/them): Right.
Quinn (they/them): It was like, just like, well, this is going to be awkward.
Quinn (they/them): So I'm just going to really embrace it and go.
Emilie (she/her): I'd be curious to know what else this actor's been in, like before he was, you know, known, well, what I know him from
Quinn (they/them): was he big then?
Quinn (they/them): Is my question.
Emilie (she/her): I can only imagine.
Emilie (she/her): So, oh, he was in the anchorman films, which is after F.R.I.E.N.D.S to be fair...
Emilie (she/her): Rise to Prominence.
Emilie (she/her): So I guess he, yeah, he was pretty well known in this, in this late seventies is what I'm seeing.
Emilie (she/her): He won awarded an academy award winning short film in 1987.
Emilie (she/her): He was in a couple of NBC sitcoms.
Emilie (she/her): It almost feels like everyone, they picked have been in some form of NBC show.
Emilie (she/her): Like Brooke shields was also in an NBC show.
Emilie (she/her): I don't know about Julia Roberts about NBC.
Emilie (she/her): Yeah.
Quinn (they/them): I want to save some zoo conversations until later on.
Quinn (they/them): So then we're over at the last.
Quinn (they/them): And Phoebe is getting ready to sing for the kids.
Quinn (they/them): We have Chandler Monica and Rachel in the background.
Quinn (they/them): And my favorite part of how this scene opens is that Phoebe pulls out her guitar and all the kids go, Ooh.
Quinn (they/them): And she goes, I know, Like, wait from the beginning.
Quinn (they/them): There's like that connection, you know, like between her and,
Emilie (she/her): and again, hair is super on point.
Emilie (she/her): It's like, again, super blown out, but then she's got it back in like a big scrunchy class.
Emilie (she/her): And then like, I guess at this point, Chandler Monica and Rachel are like having a little discussion at the back of the library.
Emilie (she/her): And they're both just like they're catching each other up in a way that catches the audience up.
Emilie (she/her): Like, I think that's like a good way to write these sort of things.
Emilie (she/her): You have to like go through the scene twice.
Emilie (she/her): But he, Joey decides to go out for dinner with this woman.
Emilie (she/her): And Chandler's kind of recounting that.
Emilie (she/her): And then he says a line and I think it's an important line.
Emilie (she/her): He says does she not deserve happiness?
Emilie (she/her): Does she not deserve love in term?
Emilie (she/her): Like after saying like she's crazy, he then says this.
Emilie (she/her): And it's his way of like justifying the fact that Joey just wants to go in the state to sleep with her and it's not justifying anything.
Emilie (she/her): It's just like, it doesn't make any sense, but I find it ridiculous here that in this moment, like the women's criticism is like.
Emilie (she/her): This woman thinks that Joey is on television and Joey hasn't cleared this up.
Emilie (she/her): And yet he's clearly trying to sleep with her because she's so into him.
Emilie (she/her): Yeah.
Emilie (she/her): Like that's not their criticism.
Emilie (she/her): Their criticism is she's crazy that this could be dangerous for Joey or like, this is a bad idea.
Emilie (she/her): Cause she's crazy.
Emilie (she/her): Oh, whack job is the word they use.
Quinn (they/them): There's not actually any concern for her wellbeing.
Quinn (they/them): And, I just want to point out that like within these like few sentences and back and forth, the words that are used as crazy, total lack job and maniac.
Quinn (they/them): And I just want to point out that, these are words that are very genuinely used to dehumanize people and to like write them off essentially.
Emilie (she/her): And she, for the record is deserving of happiness and is deserving of love.
Emilie (she/her): And that's like not up for debate.
Emilie (she/her): The fact that is up for debate is whether or not even should be debated is that she doesn't deserve those things while being kind of like lied to, or like it's not even a lie to it's weird manipulation.
Emilie (she/her): That's like not in starts, not intentional and then moves to be intentional as the episode continues.
Quinn (they/them): Yeah.
Quinn (they/them): it continues down this, theme that is so prevalent in F.R.I.E.N.D.S of essentially.
Quinn (they/them): Men can sleep with women if they say yes, no matter how they get them to say yes, you can manipulate a woman or trick a woman any way that you want, or take advantage of someone.
Quinn (they/them): They're talking about the fact that she like clearly is in a delusional state, you know, like this is like a very serious and real thing that can happen to people.
Quinn (they/them): And at first she's being painted as a threat, which is very often how, like people with mental illness are seen when an actuality people with mental illness are actually more likely to be victims of
Emilie (she/her): abuse, sexual assault.
Quinn (they/them): Exactly.
Quinn (they/them): And then we have like, almost this normalizing of like essentially Joey being like she wants to have sex with me, so I will.
Quinn (they/them): Now that her delusional state is a benefit of me getting sex out of her and then this is okay to me.
Emilie (she/her): Yeah.
Emilie (she/her): And, I do think it's so important that we're talking about this.
Emilie (she/her): And I also think it's important to , bring in a bit of like the aspects of like, this is delusional state that she's in or, or the fact that she's clearly is suffering some sort of mental health situation right now.
Emilie (she/her): I think it's important to point out the fact that , because she's white because she's beautiful because she's like, I don't know, based on her clothing she's wearing, she looks relatively wealthy, we could say, maybe not.
Emilie (she/her): She will get a very different treatment in society for those mental health situations.
Emilie (she/her): We're saying that she is more likely to be a victim, but of all the people that are likely to be a victim, it's also like people who are suffering from mental health conditions, who are people of color, especially black people, you know, like people who don't conform to, like what we believe is like, I, I don't know, the gender binary to start like, I dunno, beauty standards.
Emilie (she/her): If they're not conforming to this like ideal person of what Brooke Shields really conforms to, then they're way more likely to be treated with so much disrespect, you know?
Emilie (she/her): Like what was it last summer that a black man was having a mental health crisis in Montreal and was shot by the police because like, they were just not trained on how to take care of someone in a mental health crisis.
Emilie (she/her): And so this like idea that people who are quote unquote crazy are making your life unsafe, actually their lives are perpetually way more unsafe because of the way that they're treated by everyone around them.
Quinn (they/them): Yeah.
Quinn (they/them): I also want to point out the also the misconception that police can help in situations of mental health crisis which a lot of people who actually work in mental health crisis who are properly trained will point out that they never use a weapon ever and use deescalation tactics because they are properly trained to.
Quinn (they/them): And most people who do this have gone their entire lives with actually , being any truly violent incident where someone gets hurt.
Quinn (they/them): Whereas like most of the time though, when cops are Called to the scene.
Quinn (they/them): Usually the person who is going through a crisis does end up getting injured or killed.
Emilie (she/her): And way more likely for that to happen if the person is also racialized.
Quinn (they/them): Exactly.
Quinn (they/them): And actually I want to pull it a stat here.
Quinn (they/them): Sure.
Quinn (they/them): So I'm going to be linking some resources in the show notes, so you can take a look there.
Quinn (they/them): But it's about 72% of portrayals of people with mental illness in like TV are usually white CIS straight males, but I want to point out that this is like, from the perspective of essentially being the heroes of the story, essentially, like there's a lot, like when there is someone who has a mental health issue, that is a main character, it is a white CIS straight male.
Quinn (they/them): And so you can think of things like a beautiful mind.
Quinn (they/them): Momento things like that and so I want to link that to the fact that there seems to be in society this very large capacity to like see white men as being okay with them, having mental illness and having done really heinous things.
Quinn (they/them): Like very often if there's a school shooting, for example, and it is a white CIS male that has done it it's oh, this person had mental illness.
Quinn (they/them): Right.
Quinn (they/them): Whereas if it is a person of color, It was a terrorist act.
Quinn (they/them): And like there's a lot of different layers that exist in there.
Quinn (they/them): But again, I'm just pointing out that there's just such a large amount of like us creating narratives and stories and like creating compassionate narratives and stories where we explore the minds and like the lives of white CIS men with mental illness, when an actual fact, it's mostly not white CIS males who have mental illness.
Quinn (they/them): And essentially this sort of representation in the media actually gives us just more empathy for white CIS men and continues to play into our racist narratives that exist essentially.
Quinn (they/them): Yeah.
Emilie (she/her): Well, yeah, no, I, I, yeah.
Emilie (she/her): I also, like I realized I pointed out last summer in Montreal, but I'm also thinking of like in Toronto and like, it's just, I mean, not even continue, it's a continuous, like basicly, just destruction of people with mental health conditions.
Emilie (she/her): And, and like you pointed out the fact that, like you were saying that people who work in mental.
Emilie (she/her): Argue that they can deescalate more.
Emilie (she/her): But I would also say that there's like a lot of internal biases in the like psychiatric world as well against people of color and like people of color, you know, also first less likely to be given prescription medication for mental health issues, less likely to be diagnosed for mental health things less likely to be given help.
Emilie (she/her): Just like, yeah, it's just endless.
Emilie (she/her): It's endless people with yeah.
Emilie (she/her): Yeah.
Emilie (she/her): I like where you go on forever about this.
Quinn (they/them): I also want to point out at this point as well, that the portrayal of quote, unquote crazy people or people with mental illness or like the attempt to write people with mental illness is almost always written by people who have no actual real idea about mental illness.
Emilie (she/her): Yeah.
Emilie (she/her): And portrayed by people who don't.
Quinn (they/them): And they're the ones creating these characters and it has become very acceptable in society to sort of like, be very casual about it.
Quinn (they/them): And I want to point out that, like, I think that in the past, five, even 10 years, we've gotten a lot better with talking about mental health in society, but, there still seems to be a real strong bias towards really only centering it around anxiety and depression on like fairly superficial levels and really talking about the productivity levels and how people are allowed to like, not be productive all the time.
Quinn (they/them): And you know, but, but when we, when we're doing mental health awareness and we're advocating for more mental health acceptance in society, we have to reach out further than that.
Quinn (they/them): And also talk about the fact that like, you know, someone making you uncomfortable outside in public, because they're doing things that are not necessarily , what is culturally socially normal for you in like that setting, just because it makes you uncomfortable it doesn't mean that they're dangerous.
Quinn (they/them): And we also just have to talk about like mental health awareness is also about creating support and safe spaces for people who make us uncomfortable with their mental health illness.
Emilie (she/her): Yeah, it's, we've like in the same way that like, you know, when people started accepting queer folks, it started with like the queer people who could conform to heterosexual society, you know, it's like the white gay men who still , are not a feminine and like,
Quinn (they/them): want to get married
Emilie (she/her): and, and do the sports.
Emilie (she/her): And like, you know, like still are productive, et cetera, et cetera.
Emilie (she/her): And then slowly we've started to expand it to now.
Emilie (she/her): We're like having conversations around trans women's rights in a way that we did not have 10 years ago.
Emilie (she/her): And I do think that like the conversations around mental health have kind of started in the same way.
Emilie (she/her): It's like, yes, you can have mental health issues if they're like clean.
Emilie (she/her): And like, you can still be quote unquote, contributing to society, which is one of the most fucked up phrases you could ever say, because yeah, you don't need to contribute to society to still deserve love happiness.
Emilie (she/her): Basic necessities
Quinn (they/them): to be valued by others yeah.
Emilie (she/her): Survive, thrive, you know, like, so I, I do think that it's going to be a continuation of, of, you know, in the same way that we say, like I'm not gay as in happy queers and fuck you or whatever it is.
Emilie (she/her): Like I think that there is a certain level of, we have to open the doors around our mental health conversations, beyond the standard kind of.
Emilie (she/her): Anxiety, depression, ADD sort of conversations.
Emilie (she/her): You know, those are still important.
Emilie (she/her): Don't get me wrong.
Emilie (she/her): Definitely.
Emilie (she/her): As someone who has all three of those very important, but you know, we need to, we need to push past that as well.
Quinn (they/them): I dream of a world where, you know, we all kind of understand how to, deescalate a situation or so moving on in this scene?
Quinn (they/them): I just want to just touch one last phase and actually were, we both kind of pointed it out when we were watching it together.
Quinn (they/them): This on the complete contrary of like, you know, Joey basically taken advantage of a woman, which is not consensual you have this really beautiful demonstration of something really cute consent-ie.
Emilie (she/her): Yeah.
Emilie (she/her): I think that when we first started bringing about conversations around consent, it was like, oh, well asking someone to like kiss them.
Emilie (she/her): It's not romantic, blah, blah, blah, blah, blah.
Emilie (she/her): And like here you have this really cute moment of like, you know, her being like, are you going to kiss me?
Emilie (she/her): And then him being like, was thinking about it.
Emilie (she/her): And then she says, okay, like this like moment of cute consent in which like, like Phoebe had the space to say no, you know?
Emilie (she/her): And like it was, I just think that it was like a really.
Quinn (they/them): Yeah.
Emilie (she/her): Excellent.
Quinn (they/them): Well, we just need more demonstrations of consensual, interactions like this and I think this is a really great one.
Emilie (she/her): And also just like, I always, I just want to kiss Phoebe too.
Emilie (she/her): Like, she's just like,
Quinn (they/them): it's really funny.
Emilie (she/her): Yeah.
Emilie (she/her): So then get the first of her of her songs,
Quinn (they/them): right?
Quinn (they/them): Yes, we have.
Quinn (they/them): Do you want me to read it?
Emilie (she/her): I would like to sing it.
Quinn (they/them): Okay, go ahead.
Both: Now grandma's a person that everyone likes.
Both: She bought you a train and a bright, shiny bike, but lately she hasn't been coming to dinner.
Both: Last time you saw her, she looked so much thiner.
Both: Now, your mom and dad say she moved to Peru, but the truth is she died and some day you will too la la la la lulalala.
Emilie (she/her): I sing this song a lot and to be honest, I hear the song by heart.
Emilie (she/her): Maybe I kind of want you to cut out us singing.
Emilie (she/her): this
Quinn (they/them): I definitely won't.
Quinn (they/them): So then the next scene is we're in the restaurant with Joey and Erica.
Quinn (they/them): Yeah.
Quinn (they/them): So okay.
Quinn (they/them): I don't want to go through this in too much detail because we have so much to talk about.
Quinn (they/them): But I want to point out that the moment where she laughs
Emilie (she/her): So well done.
Quinn (they/them): It's so good.
Quinn (they/them): I love it.
Quinn (they/them): So all criticisms aside, I think that's just like a really great moment.
Quinn (they/them): Yeah.
Quinn (they/them): She's like totally to run her chair and it was just, it was very well done.
Emilie (she/her): I also, I do think it's important to point out that like Brooke shields took on this role, what, in 1996, we just did in 1997.
Emilie (she/her): And then about what was it like?
Emilie (she/her): I don't know, seven or eight years later, Brooke shields is actually really well known in the media because Tom cruise basically like, you know, Tom cruise Scientology, all that bullshit.
Emilie (she/her): But Tom cruise, like criticized Brooke shields publicly for using antidepressants.
Emilie (she/her): Cause she opened up about the fact that when she had her first kid, she like had really, really bad postpartum depression.
Emilie (she/her): And she was like very openly talking about the fact that she was on medication for her mental health condition.
Emilie (she/her): And so I find it really interesting.
Emilie (she/her): And part of me wonders if Brooke shields would have portrayed this character, like 10 years later after going through this you know, and if she did, would it be like a different per what I have a different perspective on it?
Emilie (she/her): You know what I mean?
Emilie (she/her): Would it be like.
Emilie (she/her): A certain level of criticism of the way that we're portraying people with mental health conditions.
Emilie (she/her): I don't know.
Emilie (she/her): Just makes me, I think,
Quinn (they/them): That is actually really interesting.
Emilie (she/her): But she's a huge advocate for mental health from this like personal experience with it, you know?
Emilie (she/her): And so I do wonder, but again, that's like a different form of mental health than like, you know being in a dilution
Quinn (they/them): and very often again, like circling back to like depression nowadays kind of being more like the acceptable mental illness.
Quinn (they/them): It's like much more mainstream now.
Quinn (they/them): And whereas something that like it's, because we're all depressed because of capitalism.
Quinn (they/them): But something that's more like, like I was reading in forums, some people kind of talking how even though this is a fictional character, be pathologizing, someone is not okay.
Quinn (they/them): But some, I was reading in some forums, like people talking about how as externally, if they were to diagnose this, it would probably be something like schizophrenia, which is something that they're.
Quinn (they/them): Mental illness in society that still has immense amounts of stigma,
Emilie (she/her): Similar to a multiple personality disorder.
Emilie (she/her): Both of those are like really like the only portrayals on television is like them murdering people like being murderers.
Quinn (they/them): And actually, so I am going to link in the show notes, a Ted talk by Elena or log log Longtin Eleanor logged in Longen
Emilie (she/her): how do you spell it?
Quinn (they/them): L O N G D E N.
Emilie (she/her): Longed , Longden.
Emilie (she/her): I feel like that's right.
Quinn (they/them): So Eleanor Longden is essentially someone who is a very prominent in the mental health awareness movement.
Quinn (they/them): And specifically, because when she was going through college, she started hearing voices that only she could hear.
Quinn (they/them): And it's a very interesting Ted talk that really kind of goes through how she immediately really started seeking out help for it and how actually that, how people approached her, having voices in her head basically was actually more damaging than.
Quinn (they/them): If she hadn't gone to see get help.
Quinn (they/them): And essentially like it's anyway, it's a very, I, I originally saw it like many years ago and it has stuck with me ever since, and I definitely suggest watching it
Emilie (she/her): nice.
Emilie (she/her): So next scene, we're back at the zoo.
Emilie (she/her): So I guess, is this the moment where, oh yeah, so we have the actor Dan Castile, Castile and Netta.
Emilie (she/her): I want to say
Quinn (they/them): yes.
Quinn (they/them): And everyone take a moment.
Quinn (they/them): Do you know who this is?
Quinn (they/them): Maybe turn on the TV, take a look at him.
Quinn (they/them): Can you tell, do you know.
Emilie (she/her): Wow.
Emilie (she/her): Quinn
Quinn (they/them): I'm sorry.
Quinn (they/them): I was like, what, what I found out
Emilie (she/her): I already knew.
Emilie (she/her): So it was like less shocking for me, but yeah,
Quinn (they/them): I turned down.
Quinn (they/them): I was like, I was like, do you know who this is?
Quinn (they/them): Do you do?
Quinn (they/them): And Emilie already knew, but so Daniel Kasten Nella, Dan Caspin now, whatever.
Quinn (they/them): Also what does the voice of Homer Simpson and many other characters in the Simpsons, which when I found that out, I was like, that's what he looks like, my childhood isn't that one person,
Emilie (she/her): the only reason why I know that is because when I was like a kid, I I like had to do an exercise where we had to, like in high school or elementary school, we had to like write a letter to like someone from our favorite show or something.
Emilie (she/her): And I, yeah, I forgot what it was, but I let her, I wrote a letter to Matt groaning who is the creator of the Simpsons.
Emilie (she/her): And so I did like a bunch of research into the Simpsons before writing this letter to him.
Quinn (they/them): Do you still have that letter?
Emilie (she/her): No, but I got a letter back actually.
Quinn (they/them): Did you re did you still have that letter?
Emilie (she/her): No, it was like one of those clearly like auto emails, but in the form of like, written letter auto emails, you know?
Quinn (they/them): Right.
Quinn (they/them): Like, like assistant wrote it, he signed it.
Emilie (she/her): Yeah.
Emilie (she/her): Or like assistant had a template of like 12 different letters to send back when someone writes a fan letter.
Quinn (they/them): I think this interaction between Ross and the janitor is I, I feel like their, their chemistry is fairly funny, but again, this is like another really big person.
Quinn (they/them): It's so many big people.
Quinn (they/them): Yeah.
Quinn (they/them): And like, and Simpsons were thinking at this time, you know, anyway.
Quinn (they/them): So Ross thinks that the janitor has different intentions apparently offers him the zoo dollars.
Quinn (they/them): Like you always get one in consolation of his dead monkey.
Emilie (she/her): He was like, I don't really want to make out with you in a closet, but here's some zoo dollars maybe next time.
Quinn (they/them): So then next scene Joey and Erica and the restaurant.
Emilie (she/her): Joey could not save the person because it was a clear case of foodal chokage which is like the most Joe, you think you could come up with I did have some notes about her outfit.
Emilie (she/her): I thought it was like very classic nineties.
Emilie (she/her): So when she gets up, she goes to the straps.
Emilie (she/her): Yeah.
Emilie (she/her): Spaghetti straps that like cut, like right across the chest.
Emilie (she/her): Part like of the dress, the long scarf wrapped around the neck, but like it's a thin scarf.
Emilie (she/her): And then she was like wearing clearly has like slightly different tone lip liner to her lipstick.
Emilie (she/her): And then like very specific 90s eyebrows, the two little like strings of hair framing your face
Quinn (they/them): which, by the way, I remember so many times trying to pull that off and
Emilie (she/her): oh yeah, for sure.
Quinn (they/them): Just doesn't you just can't pull that shit off.
Quinn (they/them): It's just, yeah, unless you're in a movie,
Emilie (she/her): unless your Brook Shields,
Quinn (they/them): or Buffy,
Emilie (she/her): but I do want to point out in this scene, I think this is important to bring up.
Emilie (she/her): when we're talking about like manipulation and consent and like, why did Joey do something wrong?
Emilie (she/her): Do you not do something wrong?
Emilie (she/her): Blah, blah, blah.
Emilie (she/her): I think that there was a very clear moment in this scene in which like Joey was doing questionably inappropriate behavior to like, clearly this is not okay.
Emilie (she/her): And it's the moment where he decides he's going to try to tell her that he's not actually Dr.
Emilie (she/her): Drake Ramorey.
Emilie (she/her): He like tries to tell her and he tries to explain it to her.
Emilie (she/her): And he starts in this moment and then she kisses him.
Emilie (she/her): And first of all, questionably, not a consensual kiss.
Emilie (she/her): She, she kisses him and then he enjoyed the kiss and in that moment he made the executive decision to not try to tell her otherwise.
Emilie (she/her): And he, like, she asks him like, well, what were you saying?
Quinn (they/them): I can get sex.
Emilie (she/her): Yeah.
Emilie (she/her): Like it was just like a very.
Emilie (she/her): Very executive decision not to tell her because he wants to sleep with her.
Emilie (she/her): And I think that that is the moment in which a crossover to no longer being.
Emilie (she/her): Okay.
Emilie (she/her): Because before that it was like, he was kind of just like riding this wave, but this person thinks I'm this person, I'm trying to tell her, but also I'm not really pushing it that hard, you know?
Emilie (she/her): And like, it's kind of an awkward situation.
Emilie (she/her): And then she kisses him.
Emilie (she/her): He's like, I, a hundred percent want to sleep with her.
Emilie (she/her): I'm not going to tell her.
Emilie (she/her): And then he only decides to tell her again, when she becomes inconvenient to him.
Emilie (she/her): Yeah.
Emilie (she/her): And I think that's really important to point
Quinn (they/them): out.
Quinn (they/them): Yeah.
Quinn (they/them): I, yes, I am very grateful that you pointed that out.
Quinn (they/them): So then for the next scene, wait, where are we?
Quinn (they/them): Sorry.
Quinn (they/them): We're back in the library.
Quinn (they/them): Right?
Quinn (they/them): So now we're back to the library and Emilie, do you want to sing with me?
Quinn (they/them): That's
Emilie (she/her): another thing that you don't want to do, everybody.
Emilie (she/her): That's another thing that you don't
Quinn (they/them): want.
Quinn (they/them): Oh, we didn't want to say the first part.
Quinn (they/them): There'll be times.
Quinn (they/them): How do you, how does it go.
Emilie (she/her): I'm forgetting.
Emilie (she/her): It's the
Quinn (they/them): part where like, there'll be times when you get older and you
Emilie (she/her): want
Quinn (they/them): to touch each other or something when you'll want to sleep with people just to make them like you.
Quinn (they/them): But don't cause that's another thing.
Emilie (she/her): That's actually good advice.
Emilie (she/her): Yeah.
Quinn (they/them): I was like, this is actually great advice.
Quinn (they/them): I don't see anything wrong,
Emilie (she/her): decent, decent advice.
Emilie (she/her): Probably not age appropriate, but what very good advice.
Emilie (she/her): Very good advice for the people in the back of the room, adults.
Quinn (they/them): It's a, I mean, it's not age appropriate?
Quinn (they/them): You don't like, I would argue that if as a society, we were able to have more healthy, open conversations with kids of all ages about the, about the sex, about sex and accepting that some people, not everyone choose to have sex, like for pleasure at certain ages and being able to like openly have conversations like this,
Emilie (she/her): I would feel that way if they were like 13 or like 11 to like 15 year olds.
Emilie (she/her): But these kids were like clearly like four and five
Quinn (they/them): Were they look more like eight, at least they were like pretty young.
Quinn (they/them): I would have felt like it was like a library, I guess.
Quinn (they/them): So it's like, yeah, it's not, it's like a, it's an age where maybe you're right.
Quinn (they/them): There's still a little bit too young.
Quinn (they/them): I don't know.
Quinn (they/them): I would love to talk to someone who has maybe
Emilie (she/her): more sex education.
Emilie (she/her): Send us an email at WT g-mail mail.com.
Quinn (they/them): Where is it?
Quinn (they/them): Sounded like you were asking me and I was like a little bit, I'm not,
Emilie (she/her): but then doesn't email people in.
Emilie (she/her): She had gmail.com.
Quinn (they/them): Yeah, so I love, I love the F.R.I.E.N.D.S, the way that they've chosen to support her and like Monica Chandler and Rachel in the background, when she finishes that song where it's like, excellent, very informative, not at all inappropriate.
Quinn (they/them): I'm really trying to like, you know, sway the popular opinion.
Quinn (they/them): Please see this enough will other people believe it.
Emilie (she/her): That's great.
Emilie (she/her): Yeah.
Emilie (she/her): And, and I think that we, you know, we see her do the kiss thing again to him.
Emilie (she/her): Like she kind of reverses it Phoebe with, with Chris Isaac or Rob Dan and whatever his name is in the show.
Emilie (she/her): And then he says to her, I think people are hoping that you could sing more songs about barnyard animals.
Emilie (she/her): And I just think that's like, you know, I think that if Phoebe wasn't a vegetarian that would have been fine.
Emilie (she/her): It would have been fine.
Emilie (she/her): But you know, don't ask him a and to sing songs about barnyard animals.
Quinn (they/them): Yeah.
Quinn (they/them): Because we all know what farms are really about.
Quinn (they/them): But we're, we'll get to that song in a hot sec, but I do want to point out that.
Quinn (they/them): I do feel personal.
Quinn (they/them): I mean, anyway, I don't have kids.
Quinn (they/them): I can't really go about telling people how to raise their kids, because that is the most annoying thing for anyone to do.
Quinn (they/them): But I felt blatantly state my opinion here, because that's what I do.
Quinn (they/them): I do think that it's very easy to get overly protective of your child and like, not want to tell them things that they
Emilie (she/her): actually probably can understand.
Quinn (they/them): They actually probably can process, you know, if done in like a safe environment for the kid to process things like kids can process hard things, you know?
Emilie (she/her): Like she later has a song which like, you know, shits on by people, but what else is new in the nineties?
Emilie (she/her): Like some, like sometimes been like women, sometimes men like men.
Emilie (she/her): Like I do think that that's like a very cute way to like remind children that there's like, you can like different genders.
Emilie (she/her): Quinn (they/them): And yeah, that difficult of a concept.
Emilie (she/her): And but I do also want to point out that sometimes there are bisexuals,
Quinn (they/them): but sometimes I think the resistance.
Quinn (they/them): It's to telling kids hard things is that also parents don't really know themselves, a lot of that information or how to broach that topic even with themselves.
Quinn (they/them): And I think that that's just like something to consider that like it's all cyclical, right?
Quinn (they/them): Yeah.
Quinn (they/them): And also like when you have a kid, is it like, are you uncomfortable?
Quinn (they/them): Like, do you think it's not age appropriate for the child?
Quinn (they/them): Or is it that, like, this might be a difficult topic for you to try to also understand kind of thing, you know?
Emilie (she/her): Yeah.
Emilie (she/her): It's hard to say.
Quinn (they/them): Parenting parenting is very hard.
Quinn (they/them): So I don't have kids don't listen to me.
Emilie (she/her): We've said a lot of controversial things today, potentially the most controversial thing that has been said is quit telling people with children, how to raise their children,
Quinn (they/them): raise their children.
Quinn (they/them): I am just, you know, putting topics like considerations on the table,
Emilie (she/her): for sure.
Emilie (she/her): For sure.
Quinn (they/them): And I guess this is coming up specifically right now, you know, I'll just segue right into it and say that.
Quinn (they/them): So if anyone isn't aware, recently there has been remains of indigenous children that have been found in various unmarked graves across Canada.
Quinn (they/them): This is very integrated into the genocide against indigenous folks that has been the basis of Canada and what Canada has basically been built on.
Quinn (they/them): And Canada, like mainstream and government wide has, has tried to hide this for a very long time, as well as the Catholic church.
Quinn (they/them): And now some indigenous groups have been able to find these unmarked graves.
Quinn (they/them): And anyway, so this has led to schools starting to have more of these conversations with a wider age range, essentially.
Quinn (they/them): And I have heard of some parents struggling because kids are coming back with information and they don't know how to help process with the kids because it has been left out of their school system.
Quinn (they/them): And like just how this like creates this counter effective.
Quinn (they/them): Parents not wanting the kids to learn about this in school, but that's really not.
Emilie (she/her): They have to deal with it because then sit at home,
Quinn (they/them): they have to learn about it and actually process it and be able to conduct these conversations with their kids.
Quinn (they/them): But it's not the teaching it in schools.
Quinn (they/them): That is the problem.
Quinn (they/them): The problem is that the parents weren't taught it and this is something that's been hidden and like kept under wraps for so long.
Quinn (they/them): And and
Emilie (she/her): well, and also it's been very present and a lot of people just have decided not to learn about it too.
Quinn (they/them): Yeah.
Quinn (they/them): I mean more like systemically it's been like on the DL and its sentence.
Emilie (she/her): Yeah.
Emilie (she/her): I think of just how, like, I remember, I remember being a teenager when I understood finally that like colonization was not a good thing.
Emilie (she/her): Like up until then my like entire framework of like the history of Canada had framed it that like colonization benefited indigenous people like this really kind of fucked up understanding of history.
Emilie (she/her): And like my generation is.
Emilie (she/her): I'm a millennial, right.
Emilie (she/her): Like, you know, and I think, I think we're still not there yet in terms of what we're teaching in schools about, about Canadian history.
Emilie (she/her): But yeah, yeah.
Emilie (she/her): All that, to say that sometimes adults have to learn about hard shit and, and sometimes we learn it best from people who are younger than us.
Quinn (they/them): Yeah.
Quinn (they/them): No, exactly.
Quinn (they/them): And yeah.
Quinn (they/them): Yeah.
Quinn (they/them): So we're at the zoo again, do you remember what time we were at
Emilie (she/her): the San Diego zoo?
Quinn (they/them): Oh, wow.
Emilie (she/her): You said that like five seconds ago.
Quinn (they/them): Damnit - I was like Emilie so good at F.R.I.E.N.D.S trivia.
Emilie (she/her): I am.
Emilie (she/her): But also you set up five seconds ago.
Emilie (she/her): I also knew that.
Quinn (they/them): So let's talk about zoos for a hot sec here.
Quinn (they/them): Let's specifically talk with the San Diego zoo.
Emilie (she/her): Wait, that's why I was confused because you're saying in the script, he said, he's, I'm going to the LA
Quinn (they/them): San Diego's in LA.
Emilie (she/her): No, it's not
Quinn (they/them): California.
Emilie (she/her): Yes.
Emilie (she/her): But they're different places in California.
Emilie (she/her): Sandiago and Los Angeles are two hours and 45 minutes away from each other.
Quinn (they/them): Yeah.
Quinn (they/them): But he's, he's in New York, which is the east coast.
Quinn (they/them): Right.
Quinn (they/them): And he's going to LA for a conference,
Emilie (she/her): whatever
Quinn (they/them): Okay.
Quinn (they/them): So let's circle back around here.
Quinn (they/them): We're at the San Diego zoo.
Quinn (they/them): Emilie, I want to tell you a little bit about the San Diego zoo.
Quinn (they/them): Okay.
Quinn (they/them): Just a little bit, a little sprinkle.
Quinn (they/them): So let's start off by saying that like San Diego zoo is known for the fact that has open air cages and is known for having like more like habitat style.
Quinn (they/them): I guess like cages, essentially,
Emilie (she/her): why do I feel like you're about to do.
Emilie (she/her): You know, lul us into a sense of false sense of comfort.
Quinn (they/them): I guess I want to say is that like, by reading that you could assume that like, that, that is why Ross was so happy to get Marcel into this zoo, you know, it's like, he's going to be kind of living in his natural habitat.
Quinn (they/them): They've been known to be like, kind of progressive in that way.
Quinn (they/them): Also a fun fact about San Diego zoo is that it's on a list of the top 10 zoos as being the worst for the treatment of elephants.
Emilie (she/her): Not surprised.
Quinn (they/them): Yeah.
Quinn (they/them): So now let's just talk about zoos as a whole.
Quinn (they/them): Emilie, what are w what do you feel like the like perceptions of zoos in general, my perception, or the general general, the general public's perception you've been monitoring for way too many years.
Quinn (they/them): I'm not talking about your opinion.
Emilie (she/her): I've been in doesn't matter.
Emilie (she/her): I do think that like, people think of zoos as a place in which they can learn about nature.
Emilie (she/her): And it's a great way to learn about nature and teach children and teach each other about animals and the way that animals work, et cetera, et cetera.
Emilie (she/her): And like, I think that we kind of tell ourselves this slide, that, that this is going to allow us to appreciate animals more, et cetera, et cetera.
Emilie (she/her): But in reality, I think that zoos are just created for us.
Emilie (she/her): Put they're just not necessary in my opinion, not necessary.
Emilie (she/her): I think that there is, there's plenty of ways to learn and interact with animals and wildlife in a way that does not keep animals in captivity.
Quinn (they/them): Yeah.
Quinn (they/them): And so, okay.
Quinn (they/them): I actually really like to use that word captivity because I want to like really emphasize here that these are animals in captivity for entertainment that don't belong here.
Quinn (they/them): Yeah.
Quinn (they/them): The don't belong in captivity.
Quinn (they/them): They do not thrive in captivity.
Emilie (she/her): Don't belong in captivity.
Emilie (she/her): They don't belong here.
Emilie (she/her): Right?
Emilie (she/her): Like, yeah, we don't have pandas in north America.
Emilie (she/her): We don't have lions in north America.
Emilie (she/her): We don't have giraffes in north America.
Emilie (she/her): These are animals that are put on boats and planes don't think planes, you can't put a draft on a plane.
Emilie (she/her): It feels like a knock-knock joke.
Emilie (she/her): Can you feel better off in a plane?
Emilie (she/her): Depends on plane.
Emilie (she/her): Depends on the draft.
Quinn (they/them): Wow.
Quinn (they/them): That's
Emilie (she/her): interesting.
Emilie (she/her): Definitely boats, definitely boats.
Emilie (she/her): Anyway.
Emilie (she/her): Anyway, it's not even animals have been shipped to north America for our entertainment in usually terrible conditions.
Emilie (she/her): And for really no, no reason at all.
Quinn (they/them): So I want to go through like a few different things here.
Quinn (they/them): I want to.
Quinn (they/them): First point out that zoos exist for profit.
Quinn (they/them): The majority of zoos even zoos who say that they exist for conservation.
Quinn (they/them): A lot of them it's like they have like 2% of their funds go to conservation efforts kind of thing.
Quinn (they/them): In, in general, zoos exist for entertainment.
Quinn (they/them): It's like going to Disneyland, you know?
Quinn (they/them): I also want to point out that animals are used as commodities in zoos.
Quinn (they/them): So I'm going to just kind of like talk about some pretty, I'm going to state a pretty horrific thing in a second.
Quinn (they/them): So I mean, but the thing is like, it's like horrific, but it's like just casual for the people in the industry.
Quinn (they/them): So In 2014 copenhagen's zoo a one second.
Quinn (they/them): Let me get the right spot here.
Quinn (they/them): The world reacted in shock and outrage when a healthy two-year-old giraffe named Marius was killed and cut up in front of spectators at Copenhagen zoo, and his body was fed to the lions.
Quinn (they/them): Now, in response to this widespread criticism, the Copenhagen zoo's scientific director defended the decision saying that the zoo had a surplus of giraffes and this is something that's done every day.
Quinn (they/them): And this article goes on to explain that essentially like this maneuvering of populations in zoos is a very typical thing.
Quinn (they/them): And on top of that, babies are a really big attraction to zoos.
Quinn (they/them): And so they push to breed the animals as much as possible.
Quinn (they/them): So that there's always a baby around because that brings people in and then essentially they get overpopulated.
Quinn (they/them): And so what they do is that they kill off these animals and feed them to each other.
Quinn (they/them): And a couple of years later, the Copenhagen zoo ended up killing for healthy lions to make room for this new male lion that they wanted to breed with.
Emilie (she/her): That part, the killing of the drafts to feed to the lions doesn't actually shock me, nor do I find that actually thought controversial.
Emilie (she/her): I do feel like giraffes are eaten by lions in the wild.
Emilie (she/her): I do think the, the weird part is that we've decided to put them into cages and control how this happens.
Quinn (they/them): That's exactly what I'm getting at is that it's a matter of like playing God, playing God in the situation breeding animals to just kill them later.
Quinn (they/them): It's all very, very strange.
Quinn (they/them): And not to mention the fact that like the animals, like very clearly indicate like being, like, we talk about zoos being like a great place to learn about animals and look, let's go see animals and like, learn about how they are and what they do.
Quinn (they/them): But in actuality, experts point out that like animals in zoos basically are in states of extreme anxiety and their habits and what they're doing or entirely a result of being in distress and it's, they're not like it's not like a real representation of how the animals act in the wildlife.
Emilie (she/her): Yeah.
Emilie (she/her): What was I Alyssa?
Emilie (she/her): I was listening to no, I'm going to just digress and then spend forever thinking about it.
Emilie (she/her): So let's not do that.
Quinn (they/them): Yeah.
Quinn (they/them): And I guess I also would just want to point over to I dunno if you heard of, or remember, like, I think it was maybe like a decade ago, there was like this really famous situation where a trainer got killed by the Orca whale that she trained.
Quinn (they/them): The documentary Blackfish that came out a couple of years ago.
Quinn (they/them): And it's just all about the aquatic entertainment industry, essentially like Marine land.
Emilie (she/her): Marine land is the place to go.
Quinn (they/them): Niagara falls, Ontario.
Quinn (they/them): If you're not from Ontario or Canada, everyone loves Marine land.
Quinn (they/them): It was a very catchy tune, everyone
Emilie (she/her): very controversial in general because of like people found out what they were doing to the dolphins in Marine land.
Quinn (they/them): And yeah, and also just in, in general, Marine parks are very known to be like pretty heinous situations for animals.
Quinn (they/them): And I haven't actually personally watched black fish, but I, I watched the trailer and I do want to watch it, but it's pretty horrifying.
Quinn (they/them): And then I also want to point out something like two more things.
Quinn (they/them): One is the fact that we have these animals in cages in places where they're not supposed to be in city centers very often.
Quinn (they/them): And then there's been some sort of like natural disaster.
Quinn (they/them): And either the animals have gotten loose or their cages have been flooded and they die because they can't escape.
Emilie (she/her): This sounds like Jurassic park.
Quinn (they/them): Or they are let out because have the natural disaster and then they're shot down because you don't want a tiger running down a city street.
Emilie (she/her): Not really,
Quinn (they/them): not usually.
Emilie (she/her): They shouldn't have been here to be,
Quinn (they/them): but there's like a reason for like why the separation exists.
Quinn (they/them): Anyway, I think the most important takeaway here is how zoos are actually not a proper representation of learning about animals.
Quinn (they/them): They're not a place to learn about animals.
Quinn (they/them): Also 82% of people surveyed say that they don't go there and to learn about animals.
Quinn (they/them): And then secondly, also the fact that like these spaces are not healthy for animals and that also now we're at a state and the world where to actually learn about animals and see how they function we have so many awesome different tools that we can access through like the internet and through the beautiful art of like videography and photography and film.
Quinn (they/them): And it doesn't take people putting animals in zoos and then playing God and breeding and killing animals at our will because we don't value their lives.
Quinn (they/them): If a lion wants to go eat a giraffe I'm totally fine with that.
Quinn (they/them): But I am not super keen on us deciding
Emilie (she/her): when and how that looks like.
Quinn (they/them): Yeah.
Quinn (they/them): Lastly, I actually just want to take a hot second to point out that there are zoos that do genuinely work on conservation, but they're usually more considered conservationist spaces.
Quinn (they/them): An example of that would be the eco museum in Montreal.
Emilie (she/her): Oh, cool.
Quinn (they/them): Which is even me saying that it works with like the ninish wall, which our dad is on the board of directors for Le Nichoir, which is a bird conservation airy.
Quinn (they/them): And the eco museum only works with native animals.
Quinn (they/them): And it's actually only populated by animals who were found injured or something had happened and they can not be rehabilitated in a way to be re-released released into the wild.
Quinn (they/them): And so and they're all centered around basically preserving habitats for animals.
Quinn (they/them): To live in the wild, but if you are in a Montreal or visiting, I definitely recommend checking out the ecomuseum.
Emilie (she/her): Are they for profit?
Quinn (they/them): No, it's a, not-for-profit
Emilie (she/her): cool.
Emilie (she/her): Okay.
Emilie (she/her): Let's let's move forward.
Emilie (she/her): We gotta move forward.
Quinn (they/them): We have so much more to talk about animal rights and the next episode, don't worry folks.
Quinn (they/them): We'll get there.
Emilie (she/her): Okay.
Emilie (she/her): Yeah.
Emilie (she/her): So I guess we get into our next scene at the library.
Emilie (she/her): It's our last scene at the library.
Emilie (she/her): We get The Cow In The Meadow Goes Moo song.
Emilie (she/her): So she decides that she's going to sing about barnyard animals.
Emilie (she/her): And then again, coming back into this kind of animal rights conversation again, another one were controversial episodes.
Quinn (they/them): Can we sing it though?
Quinn (they/them): The cow in the meadow goes moo, the cow in the meadow goes moo.
Quinn (they/them): Then the farmer hits him on the head and grinds them up and thats how we get hamburgers- now chickens.
Emilie (she/her): I sing that song a lot to Nora.
Emilie (she/her): There is this weird thing that we do when we teach like kids about things that like we
Quinn (they/them): put, like we said, we don't put it in a song like Phoebe's doing no, we like, we slap barnyard animals on everything.
Quinn (they/them): There's barnyard animals in children's books, in songs, in toys, like everything is this , happy-go-lucky good farm that like, looks like a farm from like, I don't know, 300 years ago.
Quinn (they/them): It has a small rural town as opposed to like the way that 99.9% of like our food.
Quinn (they/them): Created.
Quinn (they/them): And it's just like it, I think that from a very young age, we teach children that animals on farms are happy and it's like this cute little farm life and everything is hunky Dory and good to go.
Quinn (they/them): And so I actually have no issue with Phoebe's song because it's like, it's obviously like a joke and it's a very like, you know, maybe exaggerated version of, of what happens, but, you know, farmer hits him on the head and grinds up, you know, is not actually that far off from the stun guns that they do to pigs that like shoving a metal rod in their head does them in stuns them, shooting a metal rod in their head and then grinding them up and making them into our hamburgers.
Quinn (they/them): And we have a very large disconnect from that process.
Quinn (they/them): And from a very young age, we're kind of taught that the process is a lot nicer and calmer and like more like collaborative.
Quinn (they/them): Like we have this like idea that like the animals are in on it too, and we're all together and it's like the circle of life and we're here to do it together.
Quinn (they/them): And that's just like a really unrealistic representation of the way that the majority vast majority of animals are consumed for, or animals are killed and how we raised for animal consumption.
Quinn (they/them): But maybe that's the extent of what we talk about it for today.
Quinn (they/them): Cause I know you didn't want to talk a lot about it.
Emilie (she/her): So then we're in Chandler and Joey's apartment
Quinn (they/them): everyone is sitting, watching the latest episode of Joey's show.
Quinn (they/them): Oh, right.
Quinn (they/them): But in the last scene, ross comes in showing the thing, being like, look it is Marcel.
Quinn (they/them): So that thing has happened.
Quinn (they/them): A monkey shine
Emilie (she/her): monkey.
Emilie (she/her): Yeah.
Quinn (they/them): Which sets us up for the next episode.
Quinn (they/them): And so then they're at Joey and Chandler's apartment and they're all watching days of our lives.
Quinn (they/them): And then there's a knock on the door and who's at the door.
Quinn (they/them): It's Erica.
Quinn (they/them): So now it's all six of them in a room and then Erica comes in and what what'd she say?
Emilie (she/her): How did you get here so fast?
Emilie (she/her): I just saw you in Salem.
Emilie (she/her): I'm here for you.
Emilie (she/her): I saw you two kissing in the doctor's lounge.
Emilie (she/her): I love Brooke shields, like dramatization.
Emilie (she/her): Like it feels like you are in the soap opera.
Quinn (they/them): I know exactly.
Quinn (they/them): There's almost like a little aspect of it.
Quinn (they/them): That's like she is a character from the soap opera, like kind of like you know, Rob is actually a cartoon that came to life in this episode where she actually is from the soap opera and then suddenly, somehow got plucked up and placed into the real world
Emilie (she/her): or into the sitcom.
Quinn (they/them): Yeah.
Quinn (they/them): Okay.
Quinn (they/them): Yeah.
Quinn (they/them): The fake real world.
Quinn (they/them): Yes.
Emilie (she/her): And then obviously Joey tries to kind of explain to her that he's, he now decides that she is finally inconvenient enough for him and she's too weird.
Emilie (she/her): He doesn't really want to deal with her from the tone.
Emilie (she/her): It seems as though he's already probably slept with her and, or had some form of like passionate intimacy.
Emilie (she/her): That's the terms I'm going to say.
Emilie (she/her): Cause she says
Quinn (they/them): that it's implied that they had sex.
Emilie (she/her): I don't know.
Emilie (she/her): She says, like you told me I was the only one.
Quinn (they/them): Oh, and interesting yeah.
Emilie (she/her): I don't know.
Emilie (she/her): Like you told me, I was the only one.
Emilie (she/her): I never worked together, but you're right.
Emilie (she/her): That, that does really like the dialogue there does really imply that they did have sex together or maybe not had sex, but like had some form of intimacy right.
Emilie (she/her): In, in, beyond what we saw of her, just looking at the end of dinner, you know, like I, cause, cause that is pretty intimate.
Emilie (she/her): It implies that he said something regarding their relationship that implies a certain level of like one-on-one connection.
Quinn (they/them): Right.
Quinn (they/them): Yeah.
Quinn (they/them): Interesting.
Quinn (they/them): So yeah, and I guess I just want to point out again, like how now that she is of no use to him anymore.
Quinn (they/them): It's like, I just want to get rid of her.
Quinn (they/them): Like I just want to throw you out essentially.
Quinn (they/them): Yeah.
Quinn (they/them): So just kind of fed up and he tries to explain it to her and then Rachel is such a great and she's like, oh, I know.
Quinn (they/them): And turns on the TV.
Quinn (they/them): Yeah.
Quinn (they/them): And
Emilie (she/her): what are you saying?
Emilie (she/her): I do think that this whole scene is actually really, really well.
Quinn (they/them): And I was just gonna say, it's another really great scene.
Quinn (they/them): I also want to point out is again, we, every time this happens where it's a dynamic where it's all of them in a room together.
Quinn (they/them): We always really love it.
Quinn (they/them): And this, again, it was just like a scene where like all of them, it's like, not them segmented off.
Quinn (they/them): It's like, I was like all of them together.
Quinn (they/them): Well, minus Phoebe, but yeah.
Quinn (they/them): Phoebe's not there gonna be getting fired.
Quinn (they/them): And, and you get this excellent banter of like first Ross helping out by saying he's Huns remora, which I do think that him saying Huns is like in reference to die hard because they all really love that movie die hard and they read a lot and yeah.
Quinn (they/them): Oh, that's such a good Emilie
Emilie (she/her): and the main
Quinn (they/them): villain brilliant today.
Quinn (they/them): I mean like always, but like, especially today.
Quinn (they/them): But
Emilie (she/her): then we get the excellent.
Emilie (she/her): Yeah.
Emilie (she/her): Okay.
Emilie (she/her): We'll
Quinn (they/them): follow through of everything.
Quinn (they/them): And yeah, so then we have, you know, Rachel, that's like, yes, it's true.
Quinn (they/them): Because he pretended to be Drake to, to sleep with me and then throws water in his face and then Monica comes up and it's like, and then he told me that he would run away with me and he didn't and then throws water in his face.
Quinn (they/them): And then I want to point out that this was not scripted.
Quinn (they/them): Oh yeah.
Emilie (she/her): Actually I did know this.
Quinn (they/them): Yeah.
Quinn (they/them): Chandler comes in.
Quinn (they/them): And even it wants to tell by the look on his face,
Emilie (she/her): always look on his face.
Quinn (they/them): Yeah.
Quinn (they/them): And apparently what I actually heard in an interview with him was that it was actually a result of him like getting, like, he is like, there's too much lapse happening without me being part of it.
Quinn (they/them): And so he was jealous.
Emilie (she/her): That sounds exactly like Chandler
Quinn (they/them): sounds like Chandler, but yeah, I know.
Quinn (they/them): So he jumps in and he's like, and you left the toilet seat up, you b****** and throws water in his face.
Quinn (they/them): And apparently they're like, like you could just tell for a split second, but like we're was just like stunned
Emilie (she/her): I want to go back and rewatch it now and then,
Quinn (they/them): but then it like quickly changes scene.
Quinn (they/them): So like changes, angles very quickly.
Quinn (they/them): Right.
Quinn (they/them): So it was like probably cut.
Quinn (they/them): Yeah.
Quinn (they/them): And then is all this true?
Emilie (she/her): And then we get a taste of Joey's soap, opera acting real life.
Quinn (they/them): And, and then, you know, he almost doesn't follow through with it because she kisses him again.
Quinn (they/them): And because men cannot control themselves, Emilie.
Quinn (they/them): Yeah.
Quinn (they/them): They have no ability if you kiss them and then it's really not their fault.
Quinn (they/them): Anything they do after that, they actually are not responsible for anything for sure.
Quinn (they/them): That has to do with sex in general.
Quinn (they/them): Yeah.
Emilie (she/her): Yeah.
Emilie (she/her): Hashtag not being serious sarcasm,
Quinn (they/them): hashtag opposite day,
Emilie (she/her): God remember that?
Emilie (she/her): remeber opposite day, the throw back.
Emilie (she/her): So I just wrote in my notes, I wrote like, she's so beautiful.
Emilie (she/her): I know that like that's obnoxious, but like, she was like, they just did such a good job with her.
Emilie (she/her): Look in this last scene.
Emilie (she/her): Like her like black outfit, like with the little like flower around the color.
Emilie (she/her): She just like, she had those when she, when she walked into the school and she goes off her gloves and she does it so well.
Quinn (they/them): And I also want to out, you know, again, like th this is all very much like soap, opera attire.
Quinn (they/them): I know, because I was watching soap operas around that time.
Quinn (they/them): No, wait, not quite six time, but but like, this was just like very typical soap, opera attire.
Quinn (they/them): Right.
Quinn (they/them): And like, you know, with like the like the trench coat that she shows up in originally the gloves, the gowns that she was wearing a dinner, like all of this is very, very soap opera.
Quinn (they/them): So again, Yeah, I'm having like like Stranger Than Fiction vibes coming out of this a little bit, you know, if we want to like put a pin in all of like the, you know, portrayal of mental health stuff.
Quinn (they/them): Yeah.
Quinn (they/them): Portrayal mental health.
Quinn (they/them): It's like, let's like flip over the camera to like the idea of like, you know, some writer that like wrote out a character and then like it got scrapped and thrown out and then it just so happened to like come to life in like in
Emilie (she/her): any, in the form of Brookfields and F.R.I.E.N.D.S.
Emilie (she/her): Yeah.
Quinn (they/them): But yeah, wait, I need to clarify, but like one of the writers on Joey's show, like wrote this character and she was supposed to be in the show and then it got nixed.
Quinn (they/them): And so it's like, he like threw it in the garbage and then like some like magical fairy thing happened.
Quinn (they/them): And then like, you know, she came to be for real life and things that everything in the scripts are real anyway, that's I just need to really bring you down.
Emilie (she/her): This is like the second time that you've gone on a tangent of like this fake reality of like a TV show, you imagine.
Emilie (she/her): And in the last episode I had to cut some of that.
Emilie (she/her): Cut it out.
Emilie (she/her): I cut it out.
Emilie (she/her): Cause it was the second time we were talking about your secret fantasy of Carol and Susan's TV show.
Quinn (they/them): Do you at least put it in the patron feed?
Emilie (she/her): No, but I can, I guess, do you guys want to hear Quinn's really long tangent of their like dream Carolyn season TV show.
Quinn (they/them): Oh my God.
Quinn (they/them): Maybe I should.
Quinn (they/them): Like just go on and like do like a little secret Patrion episode only of like me just talking about my fantasy.
Emilie (she/her): Can we not do it now?
Quinn (they/them): Okay.
Quinn (they/them): So moving on so we're at central perk.
Quinn (they/them): The whole gang is there.
Emilie (she/her): No, we're not.
Emilie (she/her): First Phoebe's getting fired.
Emilie (she/her): Phoebe gets fired.
Emilie (she/her): And then basically she, the scene begins and she's sitting on the couch with Chris Isaac and she's just like fired.
Emilie (she/her): And then he's like, you know, we thought kind of that you would play some regular kiddie songs.
Emilie (she/her): And then she doesn't know who Bernie is and basically that's kind of the end
Quinn (they/them): and where my some big purple dinosaur.
Emilie (she/her): We get a, a scene later where we'll see it a bit more.
Quinn (they/them): Shout out to us on social media.
Quinn (they/them): If you have seen the Barney movie on the ship, where are they saying?
Quinn (they/them): My Bonnie lies over the ocean?
Emilie (she/her): The, the pirate one,
Quinn (they/them): the pirate one.
Emilie (she/her): Imagination island.
Emilie (she/her): Thank you very much.
Quinn (they/them): I dunno how many times we've watched that
Emilie (she/her): Barnie imagination island which is also an NBC show.
Quinn (they/them): Oh my God.
Emilie (she/her): Wow.
Emilie (she/her): home on the NBC sprint.
Emilie (she/her): Yeah.
Quinn (they/them): I want to do a special shout out to Rachel, our cousin who forced us to watch a lot of Barney growing up.
Emilie (she/her): And then she says specifically Phoebe says specifically in the scene, she says the kids want to hear the truth.
Emilie (she/her): And I think that's interesting because I think kids, most of the time, do you want to hear the truth?
Emilie (she/her): Right?
Quinn (they/them): I agree.
Emilie (she/her): Okay.
Emilie (she/her): So now everyone's in central perk.
Emilie (she/her): And then Joey walks in and he says
Quinn (they/them): well I track down Marcel and get this he's happy, happy, healthy.
Quinn (they/them): And right here in New York filming outbreak too, right?
Quinn (they/them): Yes.
Quinn (they/them): That's the scene.
Quinn (they/them): And so Rachel's like, you're kidding.
Quinn (they/them): And then a kid enters
Emilie (she/her): little, that kid, he looks,
Quinn (they/them): so he does look super familiar probably from NBC.
Quinn (they/them): Can you look it up?
Quinn (they/them): But then also I love like the very, it's a very Oliver twist that comes here or you like opens the door.
Quinn (they/them): He's like, excuse me, this please.
Quinn (they/them): Could I have some more?
Emilie (she/her): This kid is Tahj Mow ry.
Emilie (she/her): Oh my God.
Emilie (she/her): He was in that Disney show called smart guy.
Emilie (she/her): Do you remember that Disney show where he's like a little nerd?
Emilie (she/her): Oh my God.
Emilie (she/her): It ran like 1997 to 1999.
Emilie (she/her): It was an old show.
Emilie (she/her): I remember that.
Emilie (she/her): And he was also in full house.
Emilie (she/her): He was just on a show called baby daddy for a hundred episodes
Quinn (they/them): so the kid goes, excuse me, is this where the singing lady tells the truth?
Quinn (they/them): And and then he turns around and he goes, she's here.
Quinn (they/them): And all of these kids run in and okay.
Quinn (they/them): It was a fashion thing in the nineties, these hats that they're wearing.
Quinn (they/them): And these like funny, like Tweety coats that are like.
Quinn (they/them): Kind of like almost old-timey, but, and so I can't tell if this was like set up to be kind of Oliver twist E ask, or if it was just the, literally the fashion of children at the time.
Quinn (they/them): Interesting.
Quinn (they/them): Anyway.
Quinn (they/them): Wow.
Quinn (they/them): If anyone knows, let you give us a shout out on Twitter.
Quinn (they/them): Cause we we're on Twitter tweet.
Emilie (she/her): You are losing it
Quinn (they/them): The whole gang is walking up to the movie set.
Emilie (she/her): No, you missed the most important part.
Emilie (she/her): Reading the script.
Emilie (she/her): You missed the end, but like the only time in
Quinn (they/them): life times, men love women.
Quinn (they/them): Sometimes men love men and there are bisexuals, but some
Emilie (she/her): just think they're kidding
Quinn (they/them): themselves.
Emilie (she/her): Yeah.
Emilie (she/her): So anyways nineties, in which everyone thought bisexuals weren't real, also same thing as now.
Emilie (she/her): No one thinks bisexuals are real.
Emilie (she/her): It is kind of this funny thing where people like people think that bisexual men are just gay and people think that bisexual women are just straight.
Emilie (she/her): And so it was just like queer people just only like men.
Quinn (they/them): Can I tell you a story of of my experience with people only believing that bisexuals don't exist?
Quinn (they/them): Yes.
Quinn (they/them): So way back when in my, I think like my first more adult long-term relationship, I was dating someone who came from a very conservative family.
Quinn (they/them): And I, you know, at this point, I think we're like a couple of years into our relationship.
Quinn (they/them): At least basically married had my entire life mapped out for me.
Quinn (they/them): And was still kind of like figuring myself out, like definitely
Emilie (she/her): you were young.
Quinn (they/them): I was like 20, 19, maybe at the time, 18 at the time.
Quinn (they/them): And like, definitely like was queer, but could not like figure it out within myself
Emilie (she/her): nor do you have that word I think in your vocabulary?
Quinn (they/them): Definitely not.
Quinn (they/them): And so I essentially my CIS male straight partner very much was very strongly like bisexuals do not exist.
Quinn (they/them): I remember us having this conversation and then me, we were in the car and I ended up like bawling my eyes out because I was like pinned back against a wall of being like, but I know that I also am not like I'm not straight, which then means like, oh, am I actually gay?
Quinn (they/them): And does that mean that like, I can't be with you because I am just actually gay.
Quinn (they/them): And so like turned into me, like literally having a, like, full on cataclismic crying for about 45 minutes as we were in the car.
Quinn (they/them): And anyway, so just to let everyone know bisexuals are real and, and it's more harmful to erase them than it is to just be like, they're real.
Quinn (they/them): Yeah.
Emilie (she/her): Yeah.
Emilie (she/her): I, and I even have my own like internalized bi-phobia.
Emilie (she/her): I'll often just be like, oh, well, maybe I am just really, really straight.
Emilie (she/her): Like if I'm like watching a TV show and I'm like, I'm only attracted to the male characters on this TV show right now.
Emilie (she/her): Or like all like walk by someone who I think is like cute and like mask presenting.
Emilie (she/her): And I'm just like, definitely straight, but like obviously, no, I'm not.
Emilie (she/her): And then like other times.
Emilie (she/her): Find myself very particularly attracted to people who are very much not men.
Emilie (she/her): And I'm just like, I'm like, oh no, no, I'm a hundred percent gay.
Emilie (she/her): Like I'm probably actually maybe just a lesbian.
Emilie (she/her): And then I'm like, well, why or why, why do I feel this need to, like, I have to somehow fit into this box of either only being into men or only being into women are only being in delaying, you know, gender non-conforming people.
Emilie (she/her): Like it's just like, you can just fucking like people and that's great.
Emilie (she/her): Be attracted to who you're fucking attracted to you.
Emilie (she/her): It's beautiful.
Emilie (she/her): It's beautiful fluidity.
Emilie (she/her): I don't think we're going to get gay on this episode, but we did.
Emilie (she/her): I mean, bi!
Quinn (they/them): And so then we're in our last scene and that everyone's on this city streets and I'm walking up to a crowd and to like the end of a fence line and the security guard won't let them through.
Quinn (they/them): And so instead they all start singing in the throwback song.
Quinn (they/them): There's so many songs in this episode of in the jungle, in the jungle, the mighty jungle it's actually called the lion sleeps tonight.
Quinn (they/them): In the jungle.
Quinn (they/them): Are we singing mighty jungle?
Quinn (they/them): The lion sleeps.
Quinn (they/them): I don't want to say, Ooh.
Quinn (they/them): I also want to point out that like, Joey, it starts doing that, like vibrato or whatever.
Quinn (they/them): Yeah.
Quinn (they/them): Like he beat takes on this, like what's it called?
Quinn (they/them): Oh, Alto soprano.
Quinn (they/them): One of those.
Quinn (they/them): And it was just like very unexpected.
Quinn (they/them): His singing talents.
Quinn (they/them): Like part of me is like, was that actually him?
Quinn (they/them): And then there's another part of me is like, can I see an
Emilie (she/her): actor in New York?
Emilie (she/her): He has to know how to sing.
Quinn (they/them): He's excellent.
Quinn (they/them): On Broadway as we have seen, what was that name of that play that he was in, in season one?
Emilie (she/her): Freud! You said it with the excellent.
Emilie (she/her): Okay.
Emilie (she/her): But actually you forgot about the last scene in which he is sitting with Chris
Quinn (they/them): Isaac.
Quinn (they/them): Right.
Quinn (they/them): And there's
Emilie (she/her): Isaac.
Emilie (she/her): And then she like kind of laughs at him because she says that he might want to pick a more masculine note, which is like, they're obviously making fun of the whole scenario.
Emilie (she/her): Like, I don't actually feel like, like gender binary insulted by this joke because they're like,
Quinn (they/them): I mean it is rooted in that
Emilie (she/her): I get it, but the point he's like, he is well-known for his like right.
Emilie (she/her): His specific vocal range.
Emilie (she/her): And he's like very regarded for it.
Emilie (she/her): And it's like, and praise for it, you know?
Quinn (they/them): I think it could have hit home just as much, if not better.
Quinn (they/them): If she was sort of like, you're kind of off key.
Quinn (they/them): Right.
Quinn (they/them): You know, like, like, you know, because it's like, and he's harmonizing, right.
Quinn (they/them): So it's not like technically the melodic key.
Quinn (they/them): Right.
Quinn (they/them): And that's what I wanted to say, Joe is, was harmonizing before, but like, there's so much music, so much harmonizing, so many voices.
Emilie (she/her): And the
Quinn (they/them): end, the end.
Quinn (they/them): That's all.
Quinn (they/them): So you can catch us two Tuesdays from now with the next episode, us continuing into part two of the Superbowl episode considering the state that we are currently in, which is how would you describe,
Emilie (she/her): I want to say, like, I'm feeling hot, sweaty and like
Quinn (they/them): stinky?
Emilie (she/her): I dunno.
Emilie (she/her): I'm feeling like sweaty uncomfortable.
Emilie (she/her): So like, I like dark because the light is like tired.
Emilie (she/her): Yeah.
Emilie (she/her): Anyway, everything's falling apart over here.
Emilie (she/her): So stay tuned for in two weeks from now when you find out how the next hour and a half of a recording turns out.
Emilie (she/her): Anyway how are we going to end this one?
Emilie (she/her): I think we can just say bye and let our provost role takeover
Quinn (they/them): keep see you next time and keep deconstructing and diversifying.
Quinn (they/them): We say
Emilie (she/her): that at the end of my semester anyways, that's it.
Emilie (she/her): I
Quinn (they/them): feel like there's no closure.
Quinn (they/them): I love you.
Quinn (they/them): Everything
Emilie (she/her): sucks.