Our most salient point this episode revolves around the exploration of the original 1976 film "Freaky Friday," a cinematic artifact that invites reflection on both familial relationships and the comedic intricacies of body-swapping narratives. We delve into the juxtaposition of the original and its remakes, particularly noting how the character dynamics manifest differently across versions. Our discussion reveals that while the film presents a series of humorous vignettes, it simultaneously offers poignant insights into self-discovery and personal growth, particularly for the characters of Annabelle and her mother. We engage with the film's cultural significance within the Disney canon, acknowledging its nostalgic value while critiquing its narrative structure and character development. Ultimately, this episode serves as a contemplative examination of how such stories resonate with audiences, both in their time and in contemporary discourse.

The dialogue surrounding the original 'Freaky Friday' serves as a springboard for a deeper inquiry into the intersections of nostalgia, gender, and identity within the realm of cinematic storytelling. The speakers articulate their varied reactions to the film, juxtaposing their childhood memories with contemporary critiques. They reflect on the film's comedic elements, particularly its reliance on physical humor and the charm of its lead actresses, while also grappling with its dated portrayals of gender dynamics. The speakers engage in a rich analysis of the film's narrative deficiencies, noting the lack of emotional depth in the mother-daughter relationship compared to sibling dynamics. This reflective conversation ultimately reveals the film's dual nature as both a source of entertainment and a cultural touchstone, prompting discussions about the complexities of familial love and the societal expectations placed upon women across generations. Their insights reveal a profound appreciation for the film's impact while acknowledging its limitations within a modern context.

Takeaways:

• The podcast elaborates on the historical significance of the 1976 film 'Freaky Friday', highlighting its impact on the genre of body-swap comedies.
• Insights into the evolution of storytelling techniques are discussed, with references to Freytag's pyramid and how 'Freaky Friday' deviates from traditional narrative structures.
• The speakers reflect on their personal experiences and nostalgic connections to the film, emphasizing its cultural relevance during its release period.
• A detailed examination of the performances by Barbara Harris and Jodie Foster showcases their comedic talents and physicality in the film's humorous scenarios.
• The discussion includes critiques of the film's narrative coherence, suggesting that it lacks a substantial character arc or significant emotional depth.
• The episode concludes with a commentary on the representation of gender roles in the film, contrasting it with contemporary portrayals in similar productions.

So you got Freytag's pyramid, which is like.

And then you've got Freaky Friday, which is.

That was so good.

That was perfect.

Annabelle isn't herself today.

Neither is her mother.

Because this morning, I wish I could.

Switch places with her for just one day.

They became each other.

I'm not my mother.

I'm Annabelle Andrews.

I am in my mother's body.

Barbara Harris and Jodie Foster going out of their minds, trying to live in each other's bodies.

It's Freaky Friday.

I've been pretty insistent on it, and we've been talking so long about doing the original.

I'm the one responsible for making sure that we do this one, because we've done Freaky Friday and Freakier Friday, but the Lindsay Lohan, Jamie Lee Curtis versions.

And so.

So this is me.

This is me.

I wanted us to finish something.

Wanted us to do the third one.

Yeah, I did, too.

I had good memories of it, you know, Like, I had seen it as a kiddo, and I. I had thought that I had really enjoyed it.

I think I saw this in the movie theater when it came out.

Nice.

Yeah.

I was not yet born.

Oh, okay.

Okay.

The longer we put it off, the more it was just gonna live in the back of my mind if as something that we needed to do, and it would have become, like, much bigger.

And the mistake I made.

I didn't realize that Freaky Friday was a book.

I didn't realize it was based on a book.

And I didn't realize that Disney had also done a musical version of this movie.

And now.

Now we haven't completed it.

Like, I thought we'd gotten somewhere, and now we haven't.

We still have a book and a musical to watch.

The mountain we can climb here is endless.

Robbie.

Completionist, I believe, is the term.

I think in spirit, I am.

I do.

So as a group, we choose projects in whatever interests us.

We chose Back to the Future 2 because daylight savings ended, and one of us, I think it was Cole, suggested we find a time travel movie that went forward in time.

We chose season two of Fleabag because Jacqueline had a theory about cutting the first three episodes.

And then we chose Fantastic Four because it was out and it would have been impossible to watch the 9,127 Marvel movies and TV shows that came before it.

I mean, we're young podcasts in the process of finding ourselves, so we can be impulsive right now.

Once we're grumpy and set in our ways, we may do things in order to, but probably not, because by then we'll be set in our ways and we'll still be watching things out of order.

I love to read a book backwards.

I like to read things backwards.

I enjoy starting, like, at the end and seeing how things got there.

I love watching the process of things.

So, like, how did something evolve to where it is?

And so, for me, it was really exciting to go back and see with, like, fresh eyes and modern eyes, like, where it had started and, like, how it became Freaky Friday and then how it became Freaky Year Friday.

And it was.

Honestly, I did not enjoy the film very much at all for a number of reasons.

But it was really cool to see how they had improved upon this, I think how they had modernized or improved upon the story and how they had kind of, like, worked through some things over, like, the decades and through the script writing.

And so for me, it was really fascinating as a process and, like, a working backwards of, like, how did you get to somewhere?

Like, what was the origin of it?

I wish I could switch places with her.

Freaky Friday.

Freaky Friday, the first.

That one's not hard.

I wish I could switch places with her.

You know, who forgets that I was the original Annabelle in Freaky Friday is AI.

So if you go on, like, chatgpt or any of these things, and you say, like, hey, what are the Freaky Friday movies?

They say there was an original, which is the original with Jamie Lee Curtis.

And then there's the second one that just came out, and they don't mention me.

AI has no recollection of the 70s.

Whoo.

Keep that in mind.

Dodie Foster is luminous, and I would say this was a fun fact that just really made it more enjoyable for me, which is Barbara Harris, the mom is one of the original founding members of Second City.

Like, she's how.

Oh, is that so cool?

Interesting.

Okay.

So, like, she's just an incredible comedic actor, and yeah, she's just.

She's like a comedy God to me.

So she's one of the original founding members.

Yeah.

Founders of Second City.

I had to, like, look that up, like, eight times being, like, the Second City.

For real.

Her.

Yeah.

Wow.

Real cool.

Is this very delightful book that gave us the inspiration to bring together Mr. McDonald and these members of the cast of from the Second City, now playing on Broadway.

Andrew Duncan, Barbara Harris.

This afternoon, we're very honored to have with us a very lovely young lady.

She's here in our studio.

Oh, she's coming in now.

Whereas now the Russians sublimate their potential nervous breakdown.

Do they?

Yeah.

And they channel this energy into areas.

Well, for example, like the sciences.

Sciences, invention, chess, playing, sports, ballet, things like that.

We'd like to turn to the work of the great Swedish film director Ingmar Bergman.

Mr. Bergman has been accused by certain crass film critics of overuse of symbolism and other confusions in this.

We'd like to show you now a seldom exhibited work of his called Smiles of a Virgin Magician.

And Barbara Harris was such a.

Like, physically, she's amazing.

Yeah.

The skateboard and the dancing and the way she responds to the chaos that's going on around her.

She's got such great timing and such great physicality.

Like, she's a amazing physicality.

Unbelievable timing.

And there's such a funny use of, like, green screen and body doubles, but it's actually like, some of the more believable body doubles I've seen, and I think it is a huge testament to Barbara Harris specifically is physical comedy abilities that, like, she could embody it enough that when it swaps, you don't.

Your brain doesn't see it.

I actually was how bad the green screens were.

The body doubles were, like, pretty believable in my mind.

Yeah.

Jody Foster, too.

She did a phenomenal job with the body doubles, too.

What a pro.

J.

Foster was like an infant in this movie.

She was such a pro.

She filmed this in the same year as Taxi Driver.

It was, wasn't it?

I meant to look that up.

It's the exact same.

Yeah.

She played a very young prostitute and she was highly sexualized.

Yeah, highly sexualized.

Heartbreaking portrayal.

Why, what a wild.

I bet Disney was like, hold up.

I bet they changed their, like, contracts after that.

When George Lucas was first getting together Star wars, he wanted Princess Leia to be much younger.

And so at that time, I came in and read for him and we got the part and we started the first negotiations, and we quickly realized my mom quickly realized that I was still under contract at Disney and that I had to fulfill the obligation of doing Freaky Friday and Candle Shoes, two movies together.

And I suppose there could have been some way for her to finagle out of it, but she.

She made the wise decision to sort of stick to our promises and.

And do both movies.

And so perhaps if I hadn't done Freaky Friday and Candle Shoe, I might have been Princess Leia in Star Wars.

I was so convinced by her performance as just a kid that when Marvel guy pointed out that she was also in Taxi Driver, I was like, no, that wasn't her, like, absolutely knowing that that's, like, her defining role, what year it was like, I absolutely know for a fact, but I was like, can't accept that information right now.

Too jarring.

There are scenes in Freaky Friday where she seems like such an adult, and then you go to Taxi Driver, and she just seems like that adult all the way through.

Silence of the Lambs.

I picture her at this age, I think, because.

Because of this film and Taxi Driver and just she.

I picture her at this age because she was phenomenal.

And I picture her in nyad, probably because it's the most recent thing I've seen.

I was like, yeah.

Is that the one with Anna Benning as well?

Yeah.

Okay.

The Swimming.

She's the swimmer.

Yeah.

Swimmer, yeah.

Yeah.

Okay.

You cool?

I was gonna say that I thought of Contact, too.

I almost said Contact because that was my favorite movie for years.

Okay.

I haven't seen that one yet.

I should see that.

Yeah.

She's cool.

Jodie Foster, will you be our friend?

You seem so cool.

All right, cool.

Which of the three?

I like them as a package.

I mean, I haven't seen the musical yet.

Yeah.

I would say still holding out for the possibility.

Yeah.

I would say, as a whole movie, I like this one best.

But, like, as far as the performances go or memorable moments, which one did Mark Harmon saying, if that's what you think of me, then you shouldn't marry me, or something like that.

Freaky Friday.

That was Freaky Friday.

That moment in Freaky Friday, and then the moment where Jamie Lee Curtis is talking to the stepdaughter.

In Freaky or Friday, there was better.

Emotional weight in the earth than the more recent ones, for sure.

Yeah.

Yeah.

But this.

I would say this was more.

I mean, it's hijinks, so I think it's a little bit more enjoy.

Like fun.

But I think there was more emotional weight in the other two.

But I. Yeah, I like Them as a. I stand behind.

I like them as a package.

How about you, Cole?

You guys came in tears.

I have a video.

It was.

Honestly, I did not enjoy the film very much at all for a number of reasons.

But it was really cool to see how they had improved upon this.

I think how they had modernized or improved upon the story and how they had kind of like worked through some things over like the decades and through the script writing.

And so for me it was really fascinating as a process and like a working backwards of like, how did you get to somewhere?

Like what was the origin of it?

I hadn't really thought about it before, but there are like several body swap comedies that have come since then.

And I do wonder, like, I do wonder if this is, I do not know if this is the very first body swap comedy.

No, I'm sorry.

I was thinking about a husband wife body switch and like all the ways that could be a really dark up movie and all the ways it could be funny and the dark fucked up way.

I was like, I don't want to watch that.

Sorry, that's all.

I wrote a script in my head that I didn't want to watch the film for.

See what happens when you read words and you don't know how they sound out loud.

Dad vibes.

The number one thing I want to say about the story is, I mean, I don't think there's really a story.

It was just a series of like hijinks, you know.

Oh, would these be impossible to do if you got stuck in someone else's body for the day?

Liked, I liked going back and seeing it, you know, watching it with fresh eyes and watching it from this perspective.

And I really was enamored with Barbara Harris and her abilities.

And it was fun seeing Jodie Foster's reign.

Honestly, my favorite scenes in Freaky Friday are with Barbara Harris.

I think it's really just a great characterization by her, some wonderful acting and great fun to see, you know, a 35 year old woman or 40 year old woman who is suddenly, you know, chewing gum and sliding into home plate and giving everybody pats on the back, you know, becomes completely, completely silly and in some ways becomes unselfconscious about her body and about their sexuality in some ways.

But it was also a good reminder of sometimes movies could just be entertaining.

Like sometimes I think I forget that Disney had a really huge role in pop culture back then especially.

And then like there was less media to choose from, there was less choice.

Yeah, it was like a very important cultural artifact being that it was Disney at the time and Disney still holds cultural relevance.

But these movies were really like classic, like the very definition of a classic.

But yeah, I think they certainly held even more importance because there were so few choices.

And like, I think less family friendly choices are really, like, super geared towards families and kids.

The Wonderful World of Disney was like a Sunday night staple.

Yeah.

Yeah, this was.

It was also a big nostalgia thing for me.

These movies were on repeat in my house growing up, like with my grandparents, like, they would.

I think they owned all the VHS tapes.

Shame on me, man.

I did not enjoy this film.

It was better left in my memory.

But I also don't think I liked it as a kid.

Once I started watching it, I was like, oh, yeah, I didn't.

I loved the Parent Trap.

I did not like.

I did not like Freaky or Friday all that much.

And I.

That held true.

I can be very impatient wanting to know how something ends.

So I prefer to know how it ends.

I think, like, I'm so high anxiety, like, I can't handle.

Like, I need a sense of control and calm.

So I'm like, how does it work out?

And once I know how it works out, I can like, go back and enjoy the process and the story.

I watch stuff out of order because.

Because I. I like to pretend it's rebellious when I'm like one of the most type A humans on the planet.

Like, like, oh, no, what a rebel.

What an agent of chaos.

I believe.

Was this the term Cole pretended to use for all of us?

And I'm not.

I'm just like a type A nerd.

Yeah.

Cole.

Cole in the pre prod notes and the pre production notes was like, I think we're all just agents of chaos, even Robbie.

And I was like, we're definitely not.

But I love that.

I love that we could pretend.

The librarian.

Yeah.

Yeah.

The one thing I wanted to say about it is the way that the story moves is basically in a straight line, like just piggybacking on what Jacqueline said.

It is just like a series of vignettes that don't really build toward much other than we're going to showcase the comic mastery of whichever actress we're talking of and going to or whichever actress we're shooting.

And we've got these really great performers, so let's throw some things at them and see how they respond.

And they don't really learn anything.

And they don't really come to any understanding of what it's like to be in the other person's shoes.

Other than, like, the odd observation.

And then at the end, they don't really come to appreciate one another in a way that they hadn't before.

It was just like, oh, my God, this thing happened.

And there's no, like, Freytag's pyramid in this.

It's just, like, one straight line, you know?

And then the movie ends on that button with the father and the son wishing they could be in each other's shoes for a day.

And Jodie Foster and Barbara Harris are like, no.

And then it freezes, and then.

And then the movie ends.

Like, there's no one.

Straight line's a great way of putting it.

Yeah.

Again, there's a bit of, like, tell but not showing.

So it's like they're sort of, like, saying out loud, oh, must be easy being you.

And then it's like, oh, it's not easy being you.

And then it's like, wow, mom, I understand you better, you two daughter.

But, like, not really.

There's no real arc.

The straight line is a great way of putting it.

I thought for a while that the movie did it subtly, but then when I was watching it the second time, it was like, oh, no, no, no, no, no, no.

It's not.

It isn't subtle at all.

It just sort of, like, starts, and then it finishes, and then you're done with it,.

And it's sort of like the jokes on you for expecting something else.

Like, honestly, I felt like it was laughing at me a little, being like, oh, we're sorry, Jacqueline.

Is our Freaky Friday movie, like, not.

Deep enough for you?

Does our pansexual mixologist from Brooklyn from.

Wait, where is it from?

Bed stuff.

Yeah, I know.

Cole tells more.

Tell us more.

Yes.

Even though it's a movie for normal people who like cool movies, we can come back to that.

I like calling you that multiple times in a recording, The way I'll do anything Cole asks.

Sure, yeah.

Yeah.

Okay.

So you got Freytag's pyramid, which is like.

And then you've got Freaky Friday, which is.

That was so good.

That was.

That's so good.

Yeah, you killed that.

You don't need me.

I don't need to do it.

That was perfect.

Nicely done.

You're.

That linear sound was so good.

So good.

I mean, it does have some, like, pulse, but it's.

It's not.

Yeah, it had some pulse and some speed, but, yeah.

Was it.

We weren't.

We weren't aring.

No.

No pyramid, no arc.

No.

Absolutely not.

Why?

Did you enjoy it?

What?

Did you enjoy about it.

Yeah, that was on me.

That's where I feel dumb.

Like, I was like, let me.

Let me study this.

Like an intellectual.

Let me.

Let me find depth of meaning was like, nobody, nobody said that.

Jacqueline.

Literally.

No, we were very clear.

To the uneducated.

Like, me and Robbie.

Read it, Read it.

It's true, though.

Yeah, it's true.

Even the credits, Even the opening credits were just like, exposition.

Expos.

Exposition.

Yeah, Exposition Jones.

Hannah Gadsby's.

Hannah Gadsby's.

Douglas, which Cole and I saw multiple times together.

Yeah.

In a different state.

Twice in the same night.

She does this brilliant thing where she opens the show and she's like, I'm going to tell you exactly what this is.

And we're gonna do these things.

It's like an outline of, like, how the show is gonna go.

And then she's like, I'm gonna say this thing and you're all gonna laugh.

And then you're gonna laugh even harder when you realize, I told you I was gonna say it and you were gonna laugh.

And like, she literally, like, tells you, like, some of the points.

You'll laugh, like, and then it will be really funny.

And then I'm gonna say this, and then you'll triple laugh.

And it were.

I mean, it does work.

And like, again, for someone like me who loves to know where we're going so I can, like, be comfortable and settle in, it was like, brilliant.

So I. I kind of like, was like, jacqueline, get on board.

Like, it did.

It announced itself.

It's like.

It's like dating a boy and thinking you're gonna get something different.

Like, I don't know.

I was really trying to change this movie.

You know, it's trying to marry this movie or something.

It told me what it was, you know, it was non committal.

It was cotton candy.

It was Exposition Jones.

Ooh, Johnny.

Shout out Johnny.

I mean, his name is Johnny.

He's like a whole ass adult who goes by Johnny.

This is a true story, guys.

Lives in the Boston area.

Those masses, Massachusetts guys.

Cole, where are you from?

Yeah.

Oh, we know.

No, you're a boy from Brooklyn.

Who's the last boy you dated?

Cole.

What a name or what was it?

Robbie's like, I'm married, you guys.

I'm so out of this.

I'm out.

He was like, oh, no.

How'd we get here?

I should not be in this conversation right now.

So real.

This.

This is the perfect definition of so much plot.

No story Happen, happen and happen.

Yeah, Cool.

Co. Can.

Can you give, like, a couple of examples of that?

Because it's such a.

It's such a big part of this movie.

Yeah, it really is.

Tell.

Don't show.

From a queer lens.

It's definitely about, like, a queer girl who's like, yes, Boris, this is obviously not attractive.

Full of allergies, nebbish guy is totally my future boyfriend.

Yeah, It.

It's sort of a.

There's a moment where she's like, I just haven't felt like myself in my body, Mom.

I have to tell you that I.

And you think you're like, she's gay.

No.

Yeah.

There's a lot of heteronormative assumption for her.

Tons of misogyny, tons of, you know, housewife does this.

And.

Yeah.

And.

And.

And your job is clearly whatever else I demand upon it.

I can make endless demands.

Yeah.

And so I think you're supposed to kind of be like, oh, it's not that easy.

And he is like.

They call him.

You know, they call him out.

You know, Jody Foster's character calls him out.

We're supposed to kind of view him as kind of a jerk.

But she also has so many people helping her.

So it is sort of.

It like, almost plays into its own stereotype where it's like, she's like, she has a housekeeper.

Like, she has other people doing the cooking.

She has other people doing the cleaning.

She has other people.

So it was like sort of a weird, like, oh, we're breaking down stereotypes.

But also, she really doesn't have anything to do except be pretty and organize.

To manage all that.

To manage.

Yes.

Yeah.

Which is a huge job.

He's the CEO.

Like, he's the manager of the business, and she's the manager of the home, and they are supposed to have their own place within it and still, like.

But they're not equal.

So it's not like she's in charge at home and he's in charge out there.

It's like she's still subservient to him and his needs.

That's the very 70 part.

Emergent feminism kind of.

I will say I know that every generation thinks they've invented their own thing, and we have.

We never have.

But I was a little bit surprised by, like, the weird sexual daddy that kept happening.

That.

That took me back in the.

I was taken aback by that in.

What,.

Like, in a sexual way?

Yeah.

Like wife and husband or like.

Yeah, I, I.

Well, I get.

I guess I just.

I was.

It felt really modern and weird to me.

Like, I don't know.

I just.

My mind.

Those people would be like my grandparents age, I think, and so I just don't.

I have no interest in thinking about.

So I. I don't even know I'm bringing it back up because I immediately thought through this and then immediately was, like, taking that out of my brain and never, ever thinking about it again.

You know how Pixar movies have things for adults and for kids like that in the 70s?

Was that sort of slight actualization of.

Yeah, yeah, yeah.

It's really.

I was just surprised by it because it felt very scandalous for my money, for.

Yeah.

So that's a movie we should write.

That's a script I would write.

Robbie is an agent, a secret agent of chaos.

But, yeah, that was your.

That was your theory, right?

Cold.

That, like, we watch stuff out of order because we're just agents of chaos.

That was your initial.

Yeah.

That's why I.

Because that's.

I have an answer that I think is actually quite sweet and, like, the opposite of agent, because I do think, like, why.

Why would we do that?

It's silly.

It's rebellious.

Yeah.

It's.

It's agent of chaos.

It doesn't make sense to do a podcast that way.

But when I was thinking about the answer to that question, it's, I think, because we're three improvisers, you know, and we support the hell out of each other.

So I was literally like.

I'm like, you guys, I don't have a good reason for this, but I have to go see Freakier Friday this weekend.

Like, I just, like, I.

It is a nostalgic thing that has to.

It's my birthday, and I'm gonna go to a movie that is only gonna make me happy.

And both of you were like, yes.

And.

And you both went to the theater and we all watched together.

And then you embraced it and you talked about it.

Support each other.

Like, we.

It's such a lovely pod because we're.

We get to bring whatever we want to the table.

And we all kind of prefer it if it's something maybe we wouldn't have watched without the others.

And then we treat it with, like, the utmost respect.

You could have all come to Freakier Friday and be like, girl stuff, gross, right?

But you weren't, like.

You weren't at all disrespectful.

You were like, here's what's great about the story.

And here's where I cried.

I think you both cried.

Yeah.

We're so open to each other's ideas, and then we are improvisers, so we just go all in on a bit.

Like, if we're given a little gift, we take it.

And so, like, our gift is that we've started doing stuff out of.

We did one thing out of order, and now we're gonna do everything out of order until we make sense of it, which is like, the opposite of Agents of Chaos.

Like, we've now just, like, made a rule where, like, the opposite thing is the correct thing.

And now we do that.

It's like we're just like a bunch of nerds supporting each other who just need a different set of rules.

So I. I think it's really sweet.

I think it's like, proof of our support of each other.

We're a collection of nerds who still follow rules even when we're breaking them.

Because we also are watching them backwards.

Like, we weren't like, we're gonna watch Freakier Friday.

And then we're gonna watch the original one.

We're all.

We're literally doing it backwards.

Which I don't know if that'll stick.

We might.

We also watched other movies in the middle.

There is an element of chaos, but I think we're playful.

I think we are really aiming to not be perfect in a way that I think is really fun and supportive.

And I think we're just a bunch of frickin improvisers who are like, yes, and sounds great.

Thank you for that, Robby, when were you in on the movie or out of the movie?

Okay, so I was in on the movie.

Right at the body swap.

Right at the body swap.

I loved it.

And I couldn't help but compare it to the Freaky Fridays we've already seen.

But I loved that all that.

Like, this was a world in which two people only needed to say that particular phrase at the exact same time.

And the screen would stop, they would flash, and then they would be in each other's bodies.

And Jodie Foster would be smoking a cigarette and Barbara Harris would be eating a terrible rum ice cream sundae.

Yeah, yeah.

Ice cream.

Yeah.

I loved it.

And I was like, oh, this is cool.

It just was Friday the 13th.

And then it just was like.

Like there was no, like, weird orientalism.

There was, like, no weird Racism happening.

Like, there was no.

It just was like, It's Friday the 13th, and we had a thought, and they didn't have to, like, go back.

Yeah.

To the same moment at the exact same time.

And then it happened.

And it happened.

Yeah.

Because everything up to that was, like, exposition, exposition, exposition, exposition.

And even, like, even the credit sequence was exposition, exposition.

So charming, though.

I love.

Yeah.

It was so cute.

It brought back so many memories.

The credit scene, I was like, oh, yeah, this is a very Disney credit opening.

I love it.

Yes.

Yeah.

And it felt really good to watch.

And I was like, oh, right.

Like, it's just showing us the entire movie and telling us who is involved in the making of it.

And that was the first.

But the body swap happened, like, nine minutes in.

And after that, I was like, oh, this is great.

This is so nice.

Just do it.

And let's see what happens after.

Cole, when were you in and out?

Right.

Yes.

Yeah.

The.

The numbers went backwards.

As it was.

As it was zooming out and showing Jodie Foster in bed sleeping.

You were in.

Yeah.

Fair.

I was a little bit confused by that because I didn't know the voiceover was happening, but.

And I didn't know if that was coming from the radio or not.

I didn't know if it was a voiceover or I didn't know if it was.

If it was coming from the radio.

Jacqueline, when were you in and out or when were you in?

I was in at the end when they're, like, going to the water skiing thing, and it just, like, the hijinks go to a thousand, and it's so much physical comedy, and we've, like, completely exited reality.

And to me, that was really fun.

And, like, everybody kind of starts getting on the same team, which is when I always enjoy something.

Like, when everyone's kind of, like, on the same team trying for the same goal, it's almost always when I'm in.

Like, I don't love conflict.

I don't love the fighting.

I don't love being mean to each other.

So, like, when they were all kind of like, we're good.

Like, we got to go save.

Save my mom.

I loved the.

The end arc when it just goes super hi, jinx.

And then I did not remember this at all, but I loved when the.

They swap back into their own bodies, but their bodies are in the wrong places like that.

I didn't remember that at all.

And that, to me, was like.

Like, I loved it.

Like, I loved it.

Like, yeah, it was like.

No, right.

Like, right body Wrong place.

And so it's like that they haven't solved anything.

Like, they're both in their own bodies, but they're still in, like, so much trouble.

And because it was so unreal.

And now also, everyone's seeing.

Seeing it.

Like, everyone now is like, the whole world is in on this moment.

Because that was a problem I had with the other films, was like, how are they going to clean up this?

Like, how are they going to explain this weird, like, four days where, like, they blew up each other's lives, where here.

It was like, how did.

How did mom show up in this.

The hang glider?

You know, like, how did the daughter show up in the car all of a sudden?

And so there's something about just, like, it became so unreal.

And then, like, the whole.

In this world, everybody sees it and they don't understand it, but, like, they are gonna keep living.

I just.

I loved that it was like, okay, we are in hijink central.

We have amazing comedic actors, and it's just goofy.

And we've got, like, green screens, and we've got water skiers and.

And that.

I really liked the cop chase scene.

So I really did enjoy, you know, when the.

The car splits in half, I like when it becomes, like, a little triangle and it's still driving.

Like, I just was like, yeah, I'm in.

Like, this is so funny.

And I did.

Cole, I know you know this.

You texted me about it.

And I didn't say this specifically, but, yes.

As I was watching those cops drive into a wall, splitting a car in half, the only thing I could think about is, that's coal driving.

That's why I don't get in a car with coal.

That's 100% what it would be like to be in a car with co. Just, like, off a cliff.

You're like, it's easier to just drive into this wall than to answer this question.

Please leave me alone, co worker.

That's.

So.

Yeah, I won't let Cole drive, ever.

Cole lives way too much in his head and not enough, like, in the present moment to be behind a wheel.

Like, Cole, behind the wheel is just like, ah, it's a good time for me to start thinking about that deep plot hole.

Hole I have in my.

No, it's not a great time, Cole, actually.

Yeah, yeah, gone.

Absolutely gone.

Do you enjoy driving, Cole?

He's never there for it.

He's never been present for driving.

I remember getting behind the wheel.

I remember turning the car on.

Oh, yeah.

The only thing that didn't feel Modern was the fact that, like, it wasn't using the same techniques, but I. I didn't feel like I was like, oh, I'm watching, like, a grainy old film.

But lots of very obvious use of green screen, which, you know, is impossible with today's eyeballs not to notice.

And this isn't really cinematography related and I've touched on it, but use of body doubles in film.

Right.

So just.

I found.

I actually found it very impressive.

Again, I think, because in Barbara Harris, they have such a physical.

Such a physical comedic, comedic actor that she was able to sort of embody it in such a believable way.

Yeah, yeah.

I totally thought it was her.

I absolutely thought it was her.

Yeah, yeah, yeah.

I would go to my grave thinking that it was her.

They're like, you know what?

Barbara Harris is a great skateboarder.

We're gonna write it into the film.

I'm here for it.

I'm here for it.

And I have to say, she really got the hard part of the bargain in Freaky Friday because she had to play baseball.

She had to fall a lot.

She had to skateboard.

She had.

She was just constantly full of black and blue marks and was sore all the time.

She had a tough going in this.

I wouldn't say I liked it, but I would say it was familiar.

I mean, they're just so of the time to me.

They just feel nostalgic.

Like, they just remind me of growing up.

So I don't know that I like them, but they were like, of the time.

And same with, like, the.

Like when they switch bodies and it's sort of like red, blue, black.

Like, I feel like that was like, very of the time.

I spent a lot of time kind of thinking.

It's, like, so well lit.

All of the colors are so, like, bold because so many things feel so dark and, like, under lit and, like, muddy.

And this was just so.

I was like, this is beautifully shot.

Honestly, like, there.

It wasn't doing anything.

Like, where it was like, this is art.

But it was like.

Like so watchable, bright.

Like, it felt.

It felt actually quite modern.

There's a line in there that.

That Jody Foster says at the end, oh, I'm so much smarter than I thought and so much dumber and says, oh, my darling, aren't we all?

And it.

Like, I felt like that was what.

That was what they learned in the movie, you know, like, they didn't maybe learn as much about each other as they did about themselves.

Yeah, it was kind of cute.

When Jody Foster's character, Annabelle, realized she was actually intelligent and she just hadn't been applying herself, they did.

They kind of learned more about their own.

Or she even maybe just Annabelle did.

I thought that was actually a little bit sweet, and I did.

It was interesting to me that the relationship that healed more was the brother sister.

Like, her seeing how much her brother loves her and like, how.

Yeah, I thought that was sweet, but I didn't get any of that from mom daughter.

Even though that's like, presumably the entire movie.

The scene at the parent teacher conference with the teacher saying that she should remove herself from the situation because she's not reaching Annabelle was also was, to me extraordinary.

Like, I was like, I can't believe I'm watching this happen.

And her seeing an adult behave that way is like, it made me wonder how the mom would react.

I thought that too.

Like, how would the real mom have reacted?

Because she wouldn't have reacted in the same way.

And it was like, oh, that would have been.

That would have kind of made me sad to think how she would have responded.

Yeah.

And that Jodie Foster got to see that or Jody or Annabelle got to, like, experience that and think of the adult in a different way, and then by proxy begin to think of herself in a different way.

And then maybe that's one of the smart things about the movie is, like, it doesn't really have anything to do with the mother and the daughter finding out more about each other, but the mother and daughter more about.

About finding out about themselves.

It's a lot of Annabelle learning about her place in the world more than it is with her and her mom, which I think I just was what I assumed would.

It would be centered on.

And so when that didn't happen, I felt like my expectations weren't met.

And I think Freaky Friday with Jamie Lee Curtis and Lindsay Lohan really does that, But I do.

To your point, Cole, I think there was enough of the brother and the sister where I wouldn't be like, that's the movie I want to see, because it's like, there's no other way that that could have happened.

So ye.

It was kind of like, oh, what an interesting way to heal the brother sister relationship.

Like, you take him through this.

This totally, like, over here thing.

And in going way over here with the plot points, you.

You actually get that story.

I think there's a lot of time given to it.

And it's quite sweet, Which I kind of appreciated that there was like no sexual tension between Boris and Mom in this one.

You know, like, Boris was like, isn't it kind of weird that we'd be hanging out?

Yeah.

Yeah.

Okay.

Like, you.

You're an adult and you said to do these things, so I will.

But this is strange.

Yeah, there's like a real demarc between adult versus kid where.

Yeah, I think, like, once we get to like the Lindsay Lohan, Jamie Lee Curtis, right there was like the milfs.

And all of a sudden, you know, like, moms could be really hot.

And so you see that come into that screenplay in a way that creeps me out, especially on modern day lens.

But that wasn't there at all.

I was very glad to see that.

And it wasn't.

It was very much like, I'm a kid and you're an adult, and those are totally different things.

And I rather appreciated that.

There's an exchange between Annabelle as Ms. Andrews and Ben where Annabelle says, male chauvinist pig.

And Ben says, why'd you call daddy a male chauvinist pig, Annabelle?

Because he is one.

Ben.

But what does that mean?

And Annabelle says, it means he spends three months taking a bow for a ceremony.

Then when it backfires, he expects you to pull it together in three hours.

That could go on.

Like, the definition, Textbook definition.

I was like, yeah, I was surprised by that.

Again, like, I'm not saying it's going far enough or it's like a feminist manifesto, but I was like, whoa.

They named that out loud directly, and then summed it up beautifully.

Like, I almost feel like we've gone further backwards now.

Like, yeah, I liked that a lot.

I liked that line a lot.

He really was.

Ugh.

Yeah.

I was glad we didn't just have to accept it.

I'm glad that it was like.

And I liked that the daughter.

Because I do think sometimes, like, daughters are like, no, my dad can do no wrong.

Or like, that's how they're portrayed.

And I liked that it was like, cool dad, terrible husband, Male chauvinist pig.

Who?

Mr. Dilk?

No, still your father.

That was funny.

No, still your father.

Your father's still a male servant is big for getting me in the situation,.

I thought Annabelle, when.

When they first made the switch, and Annabelle inside Mrs. Andrews body, is looking into the pot, seeing.

Looking at a reflection, and she says, I love your teeth.

I was like, like, it's.

It's Annabelle looking at her mom, at the mom's teeth, and guys going, oh, I love your teeth.

I thought that was incredibly sweet.

And then the mom about the braces.

She comments on the braces.

Who can talk through all this scrap iron?

I really like that.

That's.

I mean, it was the closest it came to, like, sort of as an emotional experience, but it was also like, there were two moments where the character slowed down and either admired or acknowledged acknowledge something about the other person's existence.

I really enjoyed that.

Yeah.

I liked that in this one.

There was never a moment where it was like, oh, my mom's so old and ugly, and now I'm in her body.

Like, I really.

I like.

I liked that that didn't come up because that.

Just like that.

I don't.

I didn't like that in the other two at all.

I read a thing today that there is a Japanese myth that says that your face that you have in this life is the face of the person you loved most, you most loved in a past life.

And so I also kind of think, like, if I showed up in my mom's body, I would hope I wouldn't.

Like, the first thing I would do wouldn't be like.

Like, I would hope I would be like, oh, whoa.

Oh, it's a person.

That's a great person.

You know, that's awesome, because I feel like we, like, all think our moms are so pretty, you know, it's like, oh, I wouldn't be like, oh,.