Unpacking Pretty Woman: A Psychological and Cultural Deep Dive

Moore To Consider: Welcome to another edition of Moore to Consider have all my good friend, Laura Giles. So Laura claims that she's not exactly, ⁓ Ms. Pop Culture, but we do have very similar interests. that's one of the similar interests is, is entertainment and sort of movies, theater, all of these types of things. She has a background in that. So we were talking a lot because she does a whole series on like. Sort of from a psychotherapist analysis of movies, like characters. What are these characters actually saying in movies? So we're talking the other day, we're going to do a series now. We got a series going on. Laura, how are you?

Laura Giles: I'm fantastic. How are you, Jack?

Moore To Consider: You are fantastic and we have some great conversations like I say, as we say in the old radio world, off the air. So we're talking about this movie the other day, and this is a good jumping off point. And I went in and did a little cheat sheet thing. I kind of went in and looked at some other analysis of the movie and I, man, I just was really shocked at how much was being said about a movie from 1990. So here's our big opening salvo. We're going with Pretty Woman. Pretty Woman is considered the rom-com, know, romantic comedy. It's 1990, which blows me away that it's been this long ago that this movie was released. March 23rd, 1990. So doing it, what is it, 36 years? 36 years? I mean, I just can't believe that. It had a budget of $14 million and it made $463.4 million. Yeah. Which made me also think.

Laura Giles: Wow.

Moore To Consider: ⁓ we, we've had shows we've talked about, like we thought were the bulletproof industries. And I remember when I first moved to Virginia beach, I got both the blockbuster card and what was the other one? There was somebody else, something Hollywood. Yeah. It was a different one. Anyway, I thought the idea of having a VCR, then eventually DVD players and being able to go somewhere on a Friday night and get two or three movies for the weekend. Nothing could ever touch this. And then of course it goes the way of some other things that were untouchable. But my point is it made me think, and I'm going to ask you now, when did you first see Pretty Woman in what form?

Laura Giles: don't know. It was probably a video. I still don't go to the movies very often, so it's probably a video.

Moore To Consider: If you remember. And what did you have for breakfast that day? If you remember, okay. So it got me thinking because this is one of the all time greatest sellers. Can I have the DVD? Hell, how long I've had the DVD. mean, I may even have it in Blu-ray, you know, when all that technology was a big deal. Going from just simply DVD, which played it like 480 lines per square inch or the resolution to the 1080p. But that was a thing.

Laura Giles: No idea.

Moore To Consider: And it got, I don't think I saw it in the theater. I don't think I did. think it was another one of those I found about it somehow. And I think it probably wouldn't got the DVD, which again, like I said, is another whole thing. Cause we're over particular, you're much younger than I am, but we are over the time that I, ⁓ I saw something pop up on exit that you'll love this. And it said, Nobody will be able to get 20 of these, but see how many. I don't know if you've seen these, like how many of these are you familiar with? I had all 20. I'm not saying that like, hey, look at me. was like, have you ever used a fax machine? Have you ever used a rotary phone? And somebody puts that up and I'm like, yeah, yeah, yeah, yeah. I remember, yeah. Did you ever use dial-up modem? Yeah. And I'm looking at that. I'm like, wow. Like there are people that can't touch 15 of them or 14. And I was like, I'm all 20.

Laura Giles: you

Moore To Consider: And I think we're in an age, the age range where we've seen so many things changes, especially what we're seeing the mode of entertainment. You don't have to go to the theater anymore. So all this has changed and you're not exactly sure nor am I, but we saw it and we've probably seen it many times. So starting with you and your background and analysis of characters in these types of movies. ⁓ did you like the movie? I'll just say, did you like the movie?

Laura Giles: So are we talking now or we talking the first time I saw it? Because it's really, really different.

Moore To Consider: First time you saw it in every impression you've had since.

Laura Giles: So I've only seen it maybe, definitely two times, maybe three times. And if I saw it three times, then I saw it back in the day twice. And my experience of it then was that it was a Cinderella story. It was a love story. was a, what do they call those movies where the redemption of the bad girl, you know, gets carried away by the handsome prince you know, that fairy tale thing. That's how it landed. ⁓

Moore To Consider: Mm-hmm.

Laura Giles: I was really young then and didn't have the life experience either, but now as a therapist, look at this, I got all kinds of problems.

Moore To Consider: Yeah, you see it entirely. Yeah. So I've been doing a lot of deep dive into other people's analysis. mean, honestly, I was like, let me see what some other people had to say. And I can't believe really how serious the analysis has been of this movie because it just seems like at the time now, what about Rapunzel? What was her thing? Wasn't she the also had to be saved? Wasn't she the long haired young lady thing? Yeah. Didn't somebody come along and save her? But yeah, Cinderella. Ouch. Okay. won't go there. Let's just stick with Cinderella. Then. All right. Let's stick with it. The Cinderella, as I remember, like you had a bunch of wicked stepsisters and step mom, whatever. But she is, she's the one with the slipper, right? I mean, it's, it's the slipper story, but she is the one that has virtue and beauty and all the rest. And she's being pushed aside. And the cinder comes from the fact she's got to clean like the fireplace all the time, whatever. And.

Laura Giles: He came along and raped her. Yeah.

Moore To Consider: You know theater, you know stories. I had a friend of mine that was huge into entertainment and theater years ago. And ⁓ she really got into Shakespearean examination of Shakespeare and what he wrote or however many people wrote that because there's disputes about whether it was just one person, however, or whatever. But you know, this friend said, and you've probably heard it before, I looked it up one time and it was pretty much the same thing. There's only X number of stories. It's man against God, God against man, man against man, man against, you know, it's like, there's only so many angles. And in our storytelling from the time we're children, person born not with great advantage, having a value and in becoming something else or becoming something more accepted in the society or whatever is a thing. You know, somebody has a great talent. It's the whole sort of the background ⁓ with America's Got Talent, Europe has to, you know, it's the person that sings in their shower, you know. And the lady here a few years ago became famous. She goes on one of these shows and she sings, but before she sings, everybody's prejudging her like, what do you want from this? ⁓ I want to be like this other great recording artist and everybody kind of laughs. And two years later, she's worth $15 million because she's selling albums, but she was nobody. That 48 years of age, there's tons of those stories. So what I'm saying is there's, that's kind of a Cinderella story. Having absolutely nothing, but having a that no one knew about, boom, all of a sudden they become famous. So there's a dark side to this movie that I think in 2026 people see differently than they do in 1990. Now, give you a little more background. You may have done some research on this too. I wasn't aware of a of this. Do you know what the original?

Laura Giles: For sure. Yeah.

Moore To Consider: title for the movie was 3000, the amount of money he paid her for the week. So they screen the movie in front of audiences and they have him basically in a fight with her, kicks her out of the vehicle and throws the 3000 cash and pulls away. And audiences were like, uh-uh, not liking that at all. Originally the Vivian character was a drug addict, had all these other types of lifestyle problems and all.

Laura Giles: Mm-mm.

Moore To Consider: And it evolved into the, com It didn't start that way. And then they went through as every story you hear, Harrison Ford turned it down. This actor turned it down. Darryl Hannah wouldn't take the Vivian part because she said it was misogynistic and I'm not going to have, I'm not going to have, yeah. So there was controversy even in 1990s, know, Marshall is a producer director. ⁓ And end up saying, ⁓ this what, according to the things I researched. It kind of comes down to six different rewrites until they reach the final version of the film. And across test audiences, him going back in the limo to save her, quote unquote, was what played. It's what people liked.

Laura Giles: think people want that fantasy ending. I mean, we don't want to live our lives. We want a better life. And I think that gives people hope.

Moore To Consider: Yeah. I mean, yeah. And we're such a different time in 1990. We don't know nearly as much. We're not nearly, I'm serious. We're just not as cynical as we are now. So in that 1990, you know, we're coming off the Reagan years. It's pre first golf war, you know, things are kind of, oh, the Soviet Union's falling. You know what saying? It's kind of in that wheelhouse of that eighties into the nineties where maybe things weren't nearly as great as we thought they were. But they seem pretty nice. I mean, it was a good time. It was a good time for you and I, I know. We're in that wheelhouse of a certain age where it's like, there's all these possibilities. The world's a great place. So to see a drug-free hooker who just kind of fell upon these, you know, this is the only way I can make a living. And then finding the guy who's the billionaire corporate raider. But you know, it's a weird story in some sense, but. And is a kind of a root for, okay. So what do you think are some of, from your training, your professional training, what are some of the dangerous messages you feel from the movie?

Laura Giles: There's so many. I mean, I don't know about dangerous, but like dark maybe. ⁓

Moore To Consider: Yeah, I'm just dis- Dark, sure, dark, dark, yeah, yeah. And I say dangerous because some people could see this movie as almost being a positive movie and miss the dangers, right? That's what I meant by dangerous or miss the darkness. So go, what you got on the darkness?

Laura Giles: Yes. Yes. Yeah. So, so one of them, think is, is teaching young women that success means riches. I mean, she gets the guy with all the money, but he's still that guy. He's still the guy that would shut all the businesses down. you know, at one point, Edward says, we're the same person. They are the same person. They are the same person. So whether you identify with him or her, who, who's the lucky one. I think there's a lot of work that this is not a fairy tale love story to me. This is like a cat fight ready to happen.

Moore To Consider: ⁓ Well, you and I have talked about too, because we've talked about Gone with the Wind. I can't remember if we've actually done a just a Gone with the Wind story. I thought it's what I thought. And I know one of the themes that I always think of is that

Laura Giles: We did.

Moore To Consider: The lady, know, ⁓ Bill Watling absolutely loves ⁓ Brett Butler, or Rhett Butler, I'm sorry, Brett Butler, was an outfielder for the Dodgers. ⁓ Rhett Butler, that slips in my mind. used to play Tara's theme when he went to bat, when he played for the Richmond Braves, they'd play Tara's theme as he went to bat, it was Brett, but now, okay, Rhett Butler. So she's in love, and there's a scene where,

Laura Giles: you

Moore To Consider: Basically, Bell's coming to the realization he's never going to love her and that he is just so lovesick over Scarlett O'Hara. And then as he leaves, she's crying. And then later in the scene, it's funny, Scarlett O'Hara makes the comment about, ⁓ Bell Watling being less than a desirable type of person to be around, cetera. And he said, if you were a man, I'd break your neck. So there he, he's defensive of, he loves Belle in a certain way, but he defends her, you know, her name. So I say that to say there's a scene or many scenes where he basically says, Scarlett, you and I are the same person. We understand each other. We're both kind of renegades. We both claim that we don't care what anybody else thinks, but they're both eating up with it. They really are. They're both eating up with wanting to project one thing. But they still have that survivor's thing where they're going to make their money. They're going to make their treasure. They're going to do whatever they have to. So how about that? So it's certainly a big aspect of pretty woman is as they're spending that week together with the $3,000 price tag to it. There's a scene in the bathtub, I believe where, you know, she talks about the length of her legs and this is X number of inches of therapy for you. And he goes, well, I paid 10 grand to my therapist so that I could basically, at end, say I'm mad at my dad. So then you're thinking, okay, the guy's a billionaire. He probably grows up with a silver spoon in his mouth. His dad was probably as cold and calculating as he is. And he's mad at his dad. This is who he's become. And then you have to ask yourself, this woman who supposedly has ⁓ none of these ⁓

Laura Giles: Yep. That's right. That's right.

Moore To Consider: You know, kind of recognizable vices. ⁓ she doesn't have a pimp. She doesn't have a drug addiction. Living in a halfway decent apartment with Kit, her, her little buddy that they're, they both seem to be kind of glamorized hookers on the street. You know, as far as you know, your, Hollywood depiction of hookers and they're working a pretty good part of the town type of thing. So you have to ask yourself, what's her daddy issues?

Laura Giles: Well, she's got mommy issues. She did say that. Her mom would put her down in every way she knew how. So they both at the very end when they're talking about, ⁓ he's coming up the fire escape and he's, I think he says something like, what do, what is, what happens after he rescues her? And she says he rescues, she rescues him right back. Well, they're both abandoned. He was abandoned by his dad. She's abandoned by her mom or else she wouldn't be hooking.

Moore To Consider: Yeah. That's the big line in the movie. Yes.

Laura Giles: And I think they're waiting to rescue each other and they can't. Because they're the same person. If that's the case, they could rescue themselves and they don't.

Moore To Consider: That brings up an interesting point though, because you, you know, we've had that discussion. It's the trauma bond. Right. It's trauma bonding. Yeah. So one guy is worth more money than you can count. And the other's on the street selling herself. Let's face it, that's what's happening. And yet they have so much similarity in their, in their upbringing. And we don't know anything about the father other than he paid apparently.

Laura Giles: Yes. Yes. Yes.

Moore To Consider: pretty massive amount of money to find out that all he had to do is say I'm angry with my dad or whatever it was, I remember.

Laura Giles: Well, no, he did say that his dad left him and his mom for another woman. then, yeah.

Moore To Consider: That's right. That's right. You're right. He did. He did. Right. But I'm saying as far as the resolving that conflict. Okay. Yeah. Okay. So if you're a young male and you're looking at your models, mommy and daddy, I mean, you're well versed in this and trained in, but it looks like to me that you're going to pick up a lot of your cues on mommy and daddy and the male female dynamic from what you see from your parents. So even though a young man could see.

Laura Giles: Right.

Moore To Consider: Mommy cheated on and dad leaves with the secretary or whoever. He also thinks she's probably less than all together too. Like, you what would make dad leave her? Maybe she didn't have it all together either, even though he sees her more as a more virtuous or victim and all this, it doesn't mean that he doesn't. There was a line. This is crazy. There was, there was a, there was a line from the movie Cobb, ⁓ the story of Ty Cobb, the famous major league baseball player. His mother, to my understanding, the out and out right story on this, his mother was charged with and acquitted of the murder of his father, of Ty Cobb's father. So the way they depicted in the movie, Cobb is suspicious of the wife and he was a member of the legislature in Georgia. So he came from a pretty prominent family in, you know, some red clay part of Georgia, but he tells the wife, I'm going away on a business trip. And then he circles back. So the way they depicted in the movie, he's got suspicion. Lover shows up, which is what he suspected. He comes to the window to see what's going on in the bedroom. And then he, the lover or the wife, Ty Cobb's mother fires a shotgun through the glass and kills him shot to the chest. think that part's true. Ty Cobb's father died. at the hands of a gunshot wound, a firearm, and mom's there. So I think she plays the, I think she, I don't know. I think that the story was she kind of covered up that Lover was there, know, dad's dead. There's no, there's no second story. And it was, ⁓ I thought it was an intruder and I fired in self-defense, or at least I fired with fear that I was in danger of a burglary, you know? And so she gets away with it. But anyway, the point. And I always thought it was an impactful line in the movie. Al Stump is famously this writer that's following Cobb around and living with him to do this life story. And he gets into, because I'm not going to talk about my mom and dad too much. I don't want that story out. And Stump's like, what's your problem? And he said, it doesn't play well either way. Whether Ty Cobb actually ever said this, because now they're resurrecting that Ty Cobb wasn't nearly the tyrant and racist and everything that people said he was. It was a kind of a hit piece by Al Stump. But in the movie, when he's talking about his mother, he said, you know what? Either my mom was a whore or my dad wasn't much of a man. No other way to put it. It was like either dad wasn't getting the job done and she's out with another lover or his mom's a whore. Either way. And that was like a really impactful line because I thought, and then what does he do? according to the movie, according to the book, he's kind of a serial adulterer, you know, and then I don't know that any of that's really, really true. I just think that's the way they paint Cobb as this person of that, you know, early 20th century. But you got to think like, like I said, with this Edward character, if daddy ran away, again, you may see mom as a victim to a little bit, but then again, you might in some sense, but it certainly is going to skew your picture of women going forward. Right.

Laura Giles: Yes. Yes.

Moore To Consider: And, and the thing you say about Vivian, yeah, she brings up specifically what mommy said, but sorted by process of elimination, what's she not saying? And dad stepped up to defend me. So there's no dad, you know, that I remember being mentioned, right? So what's her view of, yeah.

Laura Giles: Mm-hmm. Well, Edwards probably like his dad because when they go to the polo match, the ladies look at Vivian and say, ⁓ she's the flavor of the month. So clearly he's got a reputation and he dumped somebody the day that he met her.

Moore To Consider: Yes. Yes. Yes, absolutely. Which is another point that was brought up. If he's this guy with multitudes of people that are at his beck and call to make sure the schedules and all that. Remember, and I never thought about this, but somebody made out the point. And one of the things I looked at is that he's talking to this young lady or this significant other of some level and goes, I need you here right now. Edward, you never tell me anything. And you're like, okay. The reason he's supposed to rent Vivian for the week is he has to have someone at his side that's presentable and the like. And the woman that it's like, yeah, go ahead and move your stuff out, get the hell out kind of thing. So somebody's they've got some kind of relationship where they're connected enough. Apparently they're living together. And the guy makes a great point. That's one of those scenes that kind of slips by and you don't give it the thought of level of credibility, but how in the hell is he going to this big event on this particular day? And like, she doesn't know it. Like, you know what I'm saying? Like he's that scatterbrain that he didn't have everything lined up for the, you know, this is the biggest week. Edward, you never tell me anything. How am I supposed to just drop everything? Okay. If he's had this big week coming up and he needs her there, how the hell is she first finding out about it? The week he has to go out and find a hooker. Okay. All right. Would you say in your training and just your, no, your experiences that.

Laura Giles: I'm

Moore To Consider: Where's society now with prostitution? And then, and I've watched one of these round table things where, know, they got the one person getting, you know, with the circular firing squad of people that come in to argue with them. Prostitution got dropped. No, it's sex worker. How dare you? Right. So we've, changed the culture. We've, but it seems like a mixed bag. seems like people are still looked down upon as trading sex for money yet. Where's society now with prostitution? And then, and I've watched one of these round table things where, know, they got the one person getting, you know, with the circular firing squad of people that come in to argue with them. Prostitution got dropped. No, it's sex worker. How dare you? Right. So we've, changed the culture. We've, but it seems like a mixed bag. seems like people are still looked down upon as trading sex for money yet.

Laura Giles: Right. Right. Right. Right.

Moore To Consider: There's a whole group of people out there defending it as like an industry. talk to me about where you think all that is relative to this movie and what the views might've been in 1990. There's a whole group of people out there defending it as like an industry. talk to me about where you think all that is relative to this movie and what the views might've been in 1990.

Laura Giles: I think back in the day that was girl stuff. ⁓ now everybody's got an OnlyFans page. There's baby, what do call them? Sugar babies. And they're open about it. I think back in the day that was nasty girl stuff. But now everybody's got an OnlyFans page. There's baby, what do call them? Sugar babies. And they're pretty open about it. So it's definitely not stigmatized the way that it was, even though I think there are gradations of that. So if you're a sugar baby, if you're an OnlyFans, then that's OK. But you can't be a streetwalker.

Moore To Consider: Right. Right. Yep. Yep. Yep. Yep. Mm-hmm. Mm-hmm.

Laura Giles: I mean, at some point it becomes skanky and dirty and they don't like that. But sex worker is OK. And I think so there's I think they kind of made made Vivian into the OK type because she's not a drug addict. She doesn't have a pen. So and she's down on her luck. She just needs the money. So it's OK. Which really wasn't done then. We didn't have that that kind of thinking back then.

Moore To Consider: Yeah. And I'm no expert in any of this. Not at all. But like, as my time as a prosecutor, I remember one time there was a guy stopped. He had the smell of marijuana all over him. Cop made a stop in the city. was a prosecutor. He smelled of marijuana and then 36, I got him going somewhere with this, but like 36 rocks of crack cocaine were found on him with $3,200 in U S currency all in twenties. So don't know if you ever saw this in court. But in the Commonwealth of Virginia, the way that you would get past simple possession to possession with intent to distribute was with this kind of case, you'd call like a detective or somebody who had been qualified as an expert before. And then you would call them and say, what you know, I've been 14 years a cop. How many years a detective aid? If you had any kind of training and dry up, yep, yep. I've had all the training in the world. Okay. I'm gonna tell you guys got 36 rocks of crack cocaine. Is that consistent or non or inconsistent with personal use? Because it's absolutely inconsistent. Why? Because the average crack addict never has more than $20 on them. And then 3,200 was another aspect of it. So what you're trying to prove to the court is you're not just jumping to it's clearly distribution. But if somebody were a crack addict, 36 rocks, they're dead. They're just going to go right through them. And the cash. So. Where I'm going as your standard issue crack addict was find some way to panhandle 20 bucks, get a rock. Find a way to get 20 bucks, get a rock. That's their life. And I say that to say, if Vivian is the clean prostitute on the street, she could be a greeter at Walmart and honestly, probably economically do just as well.

Laura Giles: I thought the same thing. I thought the same thing.

Moore To Consider: Right. So to make her this, you know, she has the, ⁓ she's, she's in with the dental floss, you know, when, when Edwards suspects her of drug use, I don't do drugs. I'm clean. You know, she doesn't really drink, you know, and I'm just as poor girl down on my luck. I'm like, good job at Walmart. Seriously. Cause your bottom line cash can't be that great work in the streets. You're putting your life in peril. Blah, blah, blah. So we understand all that. So I would think. can't have a percentage on it, but I would think that a very great majority of women on the street have a drug addiction. So they're more doing the tricks to pay for the drug addiction. They're not banking money away on the side. You know, that's not, that's not happening. So they make Kit out to be, this is another whole take, is that she's too clean a character to be in the situation she's in. So there's a credibility issue. And then there's also.

Laura Giles: I think so. Right, right. Yes, yes, for sure.

Moore To Consider: in modern day analysis of it with the, like you say, the only fan sex workers, all the change in terminology. Don't shame the profession. There is the problem they're having that they're making her so much better than the others. Kit, you know, Kit's kind of in between, but remember that in the opening scene you did what with the rent money? I needed a little pick me up. So she spent money on drugs and she can't come up with her half the rent. Yes.

Laura Giles: Mm-hmm. Mm-hmm. She stole money.

Moore To Consider: Yes. And then remember when she's talking to the young lady about taking Vivian's spot because Vivian's off in fantasy land with Edward, that girl's dumb as a rock. You know, she's just standing there with her straw and her drink, you so she's supposed to be the dumb prostitute, which more lines. It's a movie. get it. Movies have tendencies to really elevate stereotypes, but in doing so, they're talking how they're making her

Laura Giles: Mm-hmm. Mm-hmm. Yeah.

Moore To Consider: Such the virtuous figure, she's so separated and removed from the others. Now you get to Edward. And this is a big theme that a lot of people discuss, all the snobbery. There's snobbery everywhere. She's even being a snobby prostitute. Right? At some level. Yeah. So then they get into, a lot of people in the analysis world have gotten into the whole Rodeo Drive thing.

Laura Giles: Yeah. Cheers.

Moore To Consider: And I've seen some background on that. That really was an issue in the making of the movie because a lot of businesses on Rodeo driver, like we don't want to do some movie glorifying prostitution coming into our shop. So they found a couple that were a little bit more, ⁓ more in line with them doing that, but that became a thing. then it became a tourist thing where women would just come in and go, ⁓ big mistake. work on commission, right? Yeah. Mistake big, big mistake. You know, that became a thing. So people were like, became a tourist attraction type of thing. I've been on Rodeo drive, you know, it's Louis Vuitton, you know, it's all these high end things. There's actually, I was in Costa Mesa, California one time and somebody was like, you got to go check out this ⁓ mall. It's like the highest dollar mall in America. They had a Rolex store with two armed guards in it. Like it's a Rolex store in the mall. Like that's what kind of place it is. And again, that's in Costa Mesa. ⁓ But yeah, I've been there and having seen the movie, you you're in that part of the world in California. It's not streets paved to gold. It's just a bunch of high-end stores. You know, you can go to a lot of places and all that. And I didn't see like runway models walking down wearing $10,000 worth of clothes either. It just looked like, when was I there? 2013, 2012, 2013. I've been there a couple of times when I was going to Southern Cal and we'd run off and kind of go sightseeing and and see different things with the group I was with in California, but it became this area for a lot of people to do the tourist attraction thing because of the movie. All right. So we have the scene where she gets discovered by the ⁓ manager ⁓ of the hotel and he goes, you are a guest or a friend of the. And she gives the name and you are niece and niece. Okay. You know, and he's going through all this because you know, we're not on by the hour type of place. So Edward gives her the money. all know she goes and she gets rejected. the way she's dressed. Okay. It, you know, it, but it makes for the scene. That's what the movie is supposed to be about. Then she gets the assistant. She goes back. Now she's dressed to the nines and she hits the women with you really screwed up here. Cause you had a chance to sell me a bunch of things. But then Richard does the thing where he comes in and finds the manager of the one store. And he said, really kiss up to us right now, because we're getting ready to spend obscene amounts of money here. ⁓ yes, sir. Yes, sir. She likes the tie of one of the salespeople and rips it off of them to give to Richard. So this has been a criticism of the movie. You look at Richard and say, okay, let's just do a deep dive analysis of a human being. What the hell's positive about him? up to this point.

Laura Giles: Yeah, not too much.

Moore To Consider: Well, I mean, you could say he's successful. All right. Fine. Okay. Is he given to tons of charities? I mean, is he helping anybody? that's the whole thing about charitable contributions, fun things that you want to see, how you want to see the world change. get it. But all he's doing is breaking up corporations and selling off the parts. That's what he says. I'm in the business of destroying businesses so I can make a profit. And then this is where he comes. Walt Bellamy. Last role, Walt Bellamy famously, well, he's a famous actor from the thirties and he's very famous for being trading places, which I thought was one of the greatest movies of all time. And he plays one of the Duke brothers, of course. So when it come into America, Eddie Murphy gets that shot where, um, Walt Bellamy and Oh God, Oh God. Uh, the, other famous actor from that time period are now out on the street and he gives up the money. You remember the scene where Eddie Murphy. in another movie gives money back to the guys from trading places. Yeah. Well, okay. Real quick on that. So the Duke brothers that put Dan Aykroyd and Eddie Murphy through all this stuff, they're ruined by that whole trot, you know, stock trends. Okay. So when coming to America, when Eddie Murphy is out whining and dining, the young lady had not yet let her know that he's a prince from a, from an African country.

Laura Giles: No. Right. Yes.

Moore To Consider: He had put a bunch of cash that he had taken from Arsenio Hall because Arsenio Hall was spending and giving up that they had money. So he took a bunch of cash from him. So in the scene, when they go out to dinner, he's walking along and these two bums are out there on the street. And he reaches down and he goes, here you go, gentlemen, this will help. ⁓ my God. What was the other actor's name? It's going to drive me crazy. I can't believe I'm doing this on the air here live and I can't remember. But anyway. The brother turns, goes, Mortimer, he goes, I'm not talking to you anymore. And he goes, we're in again. And then he's flipping through the cash. So they do that kind of cameo, ⁓ you know, ⁓ thing where they bring back the Duke brothers in coming to America. anyway, Walt Bellamy is the guy making ships and that's, that's the latest one that they're going to destroy. And, know, at the end of that, he says, ⁓ I don't want to be condescending son, but I'm really proud of you.

Laura Giles: you Yes. Yes.

Moore To Consider: Because they get together and decide to build ships together. And then it's like, the other guys can take care of the paperwork, which pisses off Jason. Jason is Jason's last name from, uh, George Costanza. Um, is it Richard's Jason Richards, right? What is his last name? Anyway, the actor that played George. Yeah. Um, okay. Yeah. I am really searching for names here really badly. Okay. I'm going to find it really, really quick. Cause

Laura Giles: Yeah. No, Richards is the Kramer, right?

Moore To Consider: Now his character from some of the things I looked at too, was supposed to be a lot worse than it was. Stucky, as bad as the Stucky character was that ends up, know, pretty much attempting to rape or doing really bad, really bad, ⁓ character bad, ⁓ actions towards a Vivian at the end. He was supposed to be an even worse character. He's another one.

Laura Giles: I'm glad he wasn't. He was definitely bad enough.

Moore To Consider: Yeah, yeah, yeah. Well, that's right. They said that they, cleaned him up a little bit. Anyway, the one thing I guess that I was the road I was going down is if one is a little bit objective. It would be fair to say all Edward is, is a money transfer to him. There's a famous scene in Wall Street too. It's a great line where Charlie Sheen is discovering that Michael Douglas, that Bud Fox is discovering that Gordon Gekko just sold his father out in the airline, right? And he comes running in and breaks up the meeting. Okay. He comes in, breaks up the meeting. And as they start to argue, Charlie Sheen, as Bud Fox says, how many, this is a great line, how many yachts can you water ski behind? I don't know that a yacht would necessarily move a water ski fast enough, but he says like, how many yachts can you be on at one time? Like, I mean, basically that question, if you had 10 yachts, you can only be on one of them. It's like, you could have 27 cars. can't drive all 27 at the same time. And Michael Douglas comes back. This was Oliver Stone's whole shot at capitalism because his father was a Wall Street trader and he's taken a shot at the whole industry. And Michael Douglas comes back, he goes, like punk kid, it's not about enough. It's about the conquest type of thing. And he said, the average person in America or 99 % of America have no net worth. The price of a paperclip war upheaval, we decide all this. He goes, I own nothing. I mean, he goes, I, I. I develop nothing. manufacture nothing. I speculate. I make money off of other people through transactions. I mean, it's basically what he's saying. So I say that because a lot of people know Wall Street and what's behind that whole story. And that kind of view of being the corporate raider, that's what in the movie, Michael Douglas's Gordon Gekko is. That's just all he's doing is breaking up businesses and selling them for their parts and making money. And this is not far behind it. This is 1990. Wall Street came out in 1987. And, and I think this is a lot of people on the left. cause you know, pretty much they hate Reagan. You know, they think Reagan was taking foods out of the mouths of the homeless and all the rest. So there's this kind of Hollywood bent against capitalism, as they want to call it, which capitalism is a Marxist term. It was coined by a Marxist. It's, it's, I think a lot of people that What they believe in is free markets and rule of law, that there's a set of laws, everything is uniform and the free market just means you and I can trade to mutual satisfaction. You make coffee, I make beans, we trade, whatever, you know, we're free to do that. It's not this corporate greed thing that everybody tries to push, but let's face it. What was the eighties? Big hair, you know, looking good.

Laura Giles: Yeah.

Moore To Consider: what you look like on the street, having the Rolex, having the Rolls Royce, if you could have, mean, right? I mean, that was the 80s.

Laura Giles: It was indulgence for sure.

Moore To Consider: Yeah. And so that's the character here. And the question would become, there Jason Alexander? Okay. It's Phillips Ducky. ⁓ is there any redeeming qualities in, in Edward?

Laura Giles: Yeah. Yes. Yes. Yeah. think so. I mean, he's totally transactional. Everything's transactional. And he doesn't know how to have a relationship. I mean, he even tells her when he leaves the first morning that she's there that she's talking about. I think she suggests that, you know, a week later, he's not going to want her to leave and he says, ⁓ you'll be leaving.

Moore To Consider: No, you're right. That's exactly what he says. Yeah. All right. Now here's another take that I've seen discussed. And one thing I was sort of frustrated by as a, as a guy, maybe an unfeeling, you know, no heart guy, but I could kind of see it. I think most everybody is going to be listening to this is watch this movie. If you haven't watched this movie, they have a hobnobbing scene where they go to a polo match and Walt Bellamy's son. who they're kind of in the struggle with about wrestling away his shipping industry is there and they have some kind of ritual with the, or something that's accepted that you clean the shoes of one of the ladies or something during the polo match. So the son ends up with Julia Roberts. And this is when Stuckey comes over and he goes, you know, she's quite the catch there, isn't she? And he goes, just keep your, keep your eyes down and just, you know, follow what we're doing here. He goes, no, how do you know she's not, this is the thing. How do know she's not a spy? She's over there making awfully nice with the opposition son. He goes, she's not. So Edwards like she's not a spy and Stuckey, you know, just keeps like, how do you know? He goes, she's a hooker for God's sake. Shut up. She's a hooker. She's what? Yeah. When I was in your car, I found her on the street. goes, Ed. So now he comes up to her Stucky comes up to Julia Roberts, Vivian and says, ⁓ Hey, he's rubbing his hand up and down her arm. Like, maybe when you're done with Edward here, maybe you and I could get together. Yeah, sure. You know, and she's upset. So then they get back to the place, the penthouse suite. And she's like, I don't really appreciate you telling everybody I'm a hooker. And he was like, Stucky's up on me. He's my lawyer. He's given me a lot of how do you know she's not a plant? She's an insider. And I had to say to him, my lawyer shut up already. She's a hooker. And then Julia Roberts keeps pushing it or Vivian keeps pushing it like, but you made me feel cheap. And he goes, let me just let you in on the fact you are in fact a hooker and you are in my employee for a week. That was our agreement. So I remember seeing that and I totally understood where he was coming from. Yes. But it.

Laura Giles: Totally, yes. I thought she was out of line.

Moore To Consider: but her feelings are getting involved. That means that's just what's going on.

Laura Giles: But I still think she's, as an employee situation, she was out of line. She's not there to have feelings. She's there to be pleasant and perform her duties.

Moore To Consider: Mm-hmm. Okay, okay, now I'm gonna be the girl again. You're being the...

Laura Giles: But you can't have it both ways. can't be like, take care of my feelings and rescue me while you're being paid to do what you're being paid to do.

Moore To Consider: I don't disagree. don't. And my first gut feeling was women. You can't reason with them. I mean, really, that's what I thought the first time I saw the movie. Over time, though... And the other thing that's important though is Richard Gere or, you know, Edward's reaction. When he told him, know, Stuckey just lights up with the grin and is kind of like, well, hey, maybe she's fair game for me too. And he goes, I wish I hadn't even told you, you know, you're an ass and just kind of walked away. But all right. Here's a question you have to ask yourself though. Was he just annoyed with a very annoying confidant employee, colleague, or was he kind of being defensive of Vivian? Now, the next key thing that came from that is what does he then say to Vivian about the shoe polishing thing that was going on with the son of the other guy, the shipping tycoon. Remember what he said? ⁓ yeah. He gets there and goes, I saw you talking to son of guy. Yeah. We're just friends or he was just being friendly. I didn't like it. ⁓ yeah. That's the scene. That's a big scene where he is like, I didn't like it.

Laura Giles: No.

Moore To Consider: And he's definitely now here's where all the analysis comes in. Some's like, oh, he's just being territorial. He's jealous, which is an emotion that one feels when they have feelings for somebody, but some of this, yeah. Okay. I got you. I hear what you say, but it's, but okay. Per the agreement it's out of line. Right.

Laura Giles: Yes. Yes, yes, he she is with him exclusively for a week. He she has no business talking to anybody else while she is under that contract.

Moore To Consider: Okay. So you're going to take, you're going to take his side on that from the transactional standpoint. Okay. But what I'm saying is I think he would, yeah, but he's out of bounds to play that. I saw you talking to him. Now, if he wanted to say, saw you talking to him, you might mess up our deal and you my employee and it's strictly business. That's one reaction, but he's clearly letting down a guard to say, I looked at you with him and I didn't like it. Lover boy didn't like it.

Laura Giles: Yes, yes.

Moore To Consider: You know, that's what he's saying. That's clearly what he's saying. He's clearly letting her know. I felt jealousy. Okay. That's what he felt.

Laura Giles: I know. I think it was, you're my property for a week. It's transactional.

Moore To Consider: No, no, no, no, go back and watch it. Okay. Everybody watching this is one of our big, big fights. This is, this but this is much of a fight. No, I'm, I'm, I'm telling you, I'll watch that scene over and over, but the way I, I definitely, no, he definitely, no, if you read him, he's saying, I watched you talk to him today and I didn't like it. He wasn't saying I didn't like it you're blowing the deal. He was saying I didn't like it because you're, I have feelings for you.

Laura Giles: Okay.

Moore To Consider: That's what he was letting out.

Laura Giles: Well, if he's jealous, still think that that's jealousy is for people who feel like you belong to them.

Moore To Consider: Well, that's what's been argued. Right. But okay. I'm saying there's two lanes here. Some of the people that have been arguing about this or posting about this, they're saying that's even though it might be ⁓ unhealthy or whatever, it's one of those signals of there is romantic interest here. It doesn't have to be.

Laura Giles: Or control. Or control.

Moore To Consider: Well, aren't some isn't some of that the same thing though? Isn't some of that the same thing? Don't

Laura Giles: I don't know. I don't think jealousy is attractive. That would turn me off big time.

Moore To Consider: All right. I get what you're saying about, yeah, I definitely, because it's, it's, it's the biggest banner of insecurity. Right. I don't disagree with that, but don't you think at some level, and I'll ask you from your standpoint and training. And I think this is even biblical. Isn't there a certain amount of ownership of each other in a relationship? Don't you become your spouse's

Laura Giles: Yep.

Moore To Consider: And not, I don't know if property's a bad term, but like you become, I would think you would become in agreement that you're exclusive to the world.

Laura Giles: Yes, but not out of ownership, but but out of commitment.

Moore To Consider: Right. Right. And, and okay. And, and, and trying to soft sell it for Edward a little bit, maybe there's an argument that here's clearly what he's saying, whether it is an ugly form of jealousy or whatever he is though, letting my biggest point is he's letting down a guard. He's letting something. Yeah. He's yeah, he's making himself vulnerable to her. So then she goes to the elevator and remember leaves the money.

Laura Giles: Yes, I'll agree with that. Yeah. Yes. Yes.

Moore To Consider: Cause they fight and he goes, I'm not going to fight about this. You're my employee and throws the cash on the bed, whatever she picks up her stuff and leaves, leaves a lot of the gifts and everything else. He goes running the door. He puts his hand over it. Or I think at the elevator, he stops and she goes, you really hurt me. He goes, I know don't ever do it again. They go back, they go back together, you know, in that scene. ⁓ so there's a, there's something going on here at this point, because like you said earlier, She goes, I'm going to love you so much. You're never going to let me go. goes, no, no, the week's going to end. You're going to get paid. It's going to be over. Now, again, the original ending of the movie was just that. They have a fight. He throws three grand at her and pulls away. And then it becomes this. Now in the end, this is another whole thing that a lot of people have discussed. The imagery. He goes out and gets the huge necklace. I mean, what would you call that thing? I mean, it's not really a necklace. did that whole big anyway? She puts it on. She goes, ⁓ my God, what would this cost? He goes, it's just on loan. Don't get too excited. And she goes, ⁓ my God, what was something like this cost? If you purchased it goes a quarter of a million, a quarter of a million dollars. then the desk manager or the manager of the hotel, Richard gear approaches and said, do I have any messages? He goes, no, sir. And he goes, Could you take care of this me and return this to this high end jewelry dealer? And he goes, yes, sir. May I? And he goes, please. And he opens it and looks, I bet it's really hard to get, ⁓ to let go of something so beautiful. What's his line? You just let Vivian go. Right. And he kind of has that moment where he takes the, you know, the big swallow and he's taken it in. goes, ⁓ by the way, whatever the big guy was there that drove the, ⁓ limo.

Laura Giles: Yeah.

Moore To Consider: He took Ms. Vivian home yesterday. Hint, hint, he knows where she lives. Then on the way to the airport, he turns around and he goes and gets her. You know, he's scared of heights. He goes up to fire escape. And then again, you nailed it. There's the famous line. He goes, so what happens when the prince comes and rescues the maiden? ⁓ She rescues him right back, which you're arguing neither one had the capability of doing.

Laura Giles: Yeah.

Moore To Consider: So the criticism though, back to the high end jewelry, people are saying he's equating the desk manager, the hotel manager is equating her to a piece of jewelry. Now is that totally out of bounds though? mean, given what he had to work with, all right, let's say this, let's give him that ⁓ Hector, I can't remember his last name, but great actor. He was in a lot of great movies. So.

Laura Giles: Mm-hmm.

Moore To Consider: In that scene, let's say he wants to convey to Edward, you're getting ready to screw up. You're letting her go. What's his options? He could just straight out. Hmm. Yeah, I do too. Right. You could have said like, Hey, the hooker you let go, you really ought to settle down with her. You know, that's not a, no. Right. Yeah.

Laura Giles: I think that was appropriate. I think that was appropriate. That's a metaphor. you it wouldn't have the same impact.

Moore To Consider: And it's a little bit awkward to say to the billionaire like, I know you've been staying here and you're a really valued customer, you know, but let me see if I can get into your personal life. But if he does the whole, I it's really hard to let go of the beautiful thing. You know what I'm talking about. Right. So yeah, he kind of gets away with that. So, so much has been said about this whole thing about money and this movie is again, I think that eighties genre like. You know, everybody is Gordon Gekko or everybody's trying to score on the stock market. I mean, I remember that it's like what car you drove. I don't know how different that is now. I mean, I'm not really running in the circles where that's as big a deal. ⁓ and as somebody that practiced law, some of the most successful attorneys I've ever seen, I would follow one to the parking lot after a deal I had, and they had a 1997 Ford F-150 pickup truck. And I know they were rolling in cash. They're driving a pickup truck to, you know, and then there was always the guy, you know, really, really, really a debt that was trying to make payments on a Porsche just so we could tell everybody he had a Porsche. But I do think that those things matter. Cause I've told you that like when I was practicing, I think the way people perceive you, it is true. If you're successful enough, you can get away with wearing the Timex, you know, or something. But I do think a lot of it's costume jewelry. think in anything you do. It's costume jewelry. If you go to see a doctor and he's a complete physical mess, he's, I'm going to say he, but the guys, know, and I understand this from something I watch reads obese is a bad word now. Like it's, have you seen this? Yeah. Yeah. Jillian Michaels did one of those things with the, ⁓ again, with the circular fire squad and, ⁓ this woman opened up with, please don't use the O word. And she goes, I'm sorry. She goes, we're triggered by obese. then.

Laura Giles: No.

Moore To Consider: Jillian Michaels is like, so she goes, we prefer fat body. So there's, ⁓ yeah. You got to watch the video. It's pretty interesting. Yeah. There's all these, these, these trigger words. But what I'm saying is if you went to get medical advice about your overall health and your doctor was not healthy looking or, know, obesity, I'll say it issues. Wouldn't you say, wouldn't there be a little bit of, I don't know what's going on here with this person.

Laura Giles: Yes. Yes.

Moore To Consider: You're in the health industry and you're not healthy. Okay. Um, I heard a motivational speaker. know I've probably told you this 50 times, but I always thought it was really interesting. I heard a motivational speaker who was a multimillionaire and he talked about dropping out of college and he goes, one day I'm walking with my business professor and he has on the tweed jacket. He's got on the right sweater underneath, but the tweed jacket has the elbow patches and they're coming off and he's walking to his. Volkswagen with three different types of tires on it. And I'm looking at his vehicle and I'm like, I'm listening to this guy talk about business and he's on a pretty modest salary. He drives a crummy car, you know, kind of thing. So he dropped out of college because he said, I'm not learning anything about business. And maybe if you haven't heard this, I'll ask you. He said he took a job hanging out at a particular establishment. Where do you think he started hanging out?

Laura Giles: No idea.

Moore To Consider: He went out to be a caddy at a golf course. Who plays golf at 10 o'clock in the morning? Right. And he said, I'm out there. And one day this guy is like, kid, I really like your vibe. My name's Ed, you know, I'm in the, come on by my office sometime. Because that guy became my mentor and got me my first million when I was 29. And he was making the point. goes, the guy with the bad car and the bad jacket, he had a lot of academic credentials.

Laura Giles: Rich people.

Moore To Consider: He didn't know crap about making money. That's what he, you know, and he goes, and I go out there to a golf course and I meet people making money and that leads to me being very wealthy. So I do think that there's a certain amount of imagery that people create to win somebody's approval and or acceptance that they might know what they're talking about. And again, if I went to a health guru and they were overweight or they just didn't look like their coloring was bad or they didn't like they had it all together, I would question what the hell they really know about health. Fair?

Laura Giles: All right. Yes, but I think there's when it comes to money, there's two different kinds of rich people. There's rich people and then there's ultra rich people. And I live in an area where there's lots of ultra rich people and none of them have a flashy car. They might have one, but they don't drive it. They, you know, they might drive it for special occasions, but to look at them, you would never know.

Moore To Consider: Yeah, that's true. Well, that actually, it's funny you say that. I remember seeing the study within the last 25 years, it might have been 10, 15, I don't know how many years ago. And a guy did a deep dive study because, you know, a millionaire now, I wouldn't say it's exactly a dime a dozen, but to have a net worth of a million is not that hard to get to anymore. it was, you tell me 50 years ago, if you were worth a million bucks, I mean, you had a lot of buying power that a million dollars, but

Laura Giles: Yeah.

Moore To Consider: That being said, this guy probably 20, 25 years ago said, okay, I'm going to do as big a deep dive into the M1A1 millionaire. Most of them had been like 83 % were still married to their original spouse. They had 2.3 kids. They drove a 10 year old car. And most of them, was their own businesses. They were self-employed and they had small businesses. They had a pizza place, whatever. They worked 72.3 hours a week. I mean, that was the average millionaire. ⁓ and they lived in a pretty modest house. That's what most millionaires were. Where people who generally started out with nothing saved well, blah, blah, blah. And they weren't, they weren't flashy with it. They were just into wealth accumulation because of how they lived. Yeah. And so yeah, there's a big, there's a big difference with that. So we're going to wind down here in the next 10 or so minutes. ⁓

Laura Giles: Yeah, right.

Moore To Consider: Do you think? This movie is at all dangerous in its message.

Laura Giles: Potentially, potentially. I think for young people if that's the moral messaging that they're getting, the social messaging that they're getting, I think they could identify with either one of these people and think that that's the way to find beauty and happiness and love and they're both really damaged people. I mean he's got attachment issues, she's got attachment issues and neither one of them are very emotionally intelligent. I mean yeah, but then you know what movie

Moore To Consider: Yeah.

Laura Giles: gets into that. We're into fantasy. So I don't know, you you look at everything else out there, how bad is it?

Moore To Consider: think another thing though that is a, I think literally a valid criticism of the movie. And again, it's fantasy. again, it started out to be a dark movie and they spun it towards the Romcom because it was getting a better reaction. Okay, fine. That's fine. But there's another major point that's been made that we accept in the Cinderella story that Edward in some...

Laura Giles: Yeah.

Moore To Consider: sense of almost health in a healthy way falls in love. She makes him, you know, he's out walking in the grass, takes his shoes off and walks in the grass. He's supposed to be in a meeting. said, screw it. Drops his briefcase and they go out and they do the picnic on the grass. mean, so he, she's light. And that was one of the criticisms from Stuckey. He goes, what are you doing to my partner or my guy? You're making them all soft, you know. You're ruining him as the animal I need him to be. He was making me crazy wealthy and now you're screwing it up. And he goes, well, maybe you can make me feel good about all this. And that's when he comes onto her, which people have pointed out that when they have the scene where Stuckey ends up with Vivian and he propositions her basically, and she's like, get your hands off me. And he slaps her and punches her. Then Edward comes in. punches his lights out there in the hallway and he's like, what's happened to you? Stucky to Edward. What's happened to you? Get out of my sight, you know, go and everything else. And he's basically Stucky saying, Vivian has ruined you. And he goes, it's never been about me. You never loved me. mean, Edward's literally saying that to Stucky. It was always about the conquest and the kill. So that's all you've ever wanted. And I made you a very wealthy man. Now get out of my life. You know, it's like, get out of my life. So. He goes back and sits and puts ice on her wound, you know, her black eye. And he's like, how is it these bad guys always find just where to punch you? You know, it's, it's always, know how to hit you and things like that. So people have done a lot of analysis saying that Edward wasn't really defending her. He was pissed at Stucky for thinking that it was almost like they're in the wild and they're two lions, one much larger than the other. And there's a piece of meat. mean, there's a kill and Stucky's come and sniffed around and mess with his, you know, his meal. And he's more mad about that. He's not so much defending her honor or even really caring. It's that.

Laura Giles: But that's the same thing I said about her talking to the competitor's grandson. I think it was the same thing there.

Moore To Consider: No, no, no, I think you're right. I think you're right. I'm just, no, no, very good. I think you're exactly right. Yeah. But we're still in a different lane. It wasn't about business. That's what I'm saying. It was about control of a female in a romantic, whatever you want to call it. We can go from mating to romantic or whatever you want to, whatever that dynamic is sexually between male and female, you're my girl right now and I'm paying for it. And that's why, okay.

Laura Giles: you Yeah. That's right.

Moore To Consider: If you're the totally objective, cold hearted guy, he's supposed to be, it's like, yeah, so he's your next trick, whatever. Just don't give up the trade secrets. No, he was emotionally upset on a different level. And then, and that, that, but that does bring up the whole question about. You're a guy walking into a, every young man's been in this situation. You're in a bar setting. Some guy says like, Hey, what a good looking piece of whatever, you know, and makes a comment about your woman. Now, any reaction you give to that as a male, part of it may be who's that son of a bitch to talk that way about my woman. It could be you're genuinely hurt for her feelings. It could be a combination of all of it. But I think the guy's instinct is. I got to defend my own honor that people can't talk to my woman that way. So then people can break that down and go, well, this just means she's your possession. Okay. It is an insult to the guy. Thank. I mean, that's all I'm saying. Right.

Laura Giles: Right. It is. Yes it is. I mean he's in there on his turf with his girl. It is a boundary violation.

Moore To Consider: Yes. But then see that, and that's when we can get into all the angles of Richard or, or, Edward's reaction, but it's still out of bounds for the transactional sense for him, for him to tell her, I saw you talking to son today, son of a shipping guy and I didn't like it. Okay. Now he could have not liked it again, cause she's given up trade secrets.

Laura Giles: Yeah.

Moore To Consider: Or it could be, I'm jealous. And if you're jealous, it's kind of outside of the boundaries of the agreement. That's all. So then we can get into, do you think though, at some, I think we're in agreement. Edward's not the, he's not Mr. Chivalry here. He's right. But do you think this is something that could be divided into pieces? He's punching out Stuckey because he genuinely cares about Vivian.

Laura Giles: Yes. Yes.

Moore To Consider: Or you cross the line into my den and touch my property. Or I think a big part of it was you're my subordinate bitch. You make money because of me. And how dare you think you can cross this line into, and again, all of this, all of this feeds that he looks at her as being property, but in a sense is she not? He's paid for for the week. Yeah. So we're all heartbroken by this whole story.

Laura Giles: Yeah. Yes, he has bought her. That's right. That's right.

Moore To Consider: think we're ready.

Laura Giles: Have you seen Anora? Anora is a, I think it's a new version, a hard version of this. It's about a prostitute who kind of falls in love. Yeah.

Moore To Consider: Okay. Well, you know, my all time greatest obsession is Monica Belushi. You know, I just think she's, so for all of you people listening, I just, I just think Monica Belushi is just crazy, outstanding, beautiful. The first time I saw her that I was really aware of her was under suspicion. think I'd seen her in modeling shots for years in magazines and never really realized who she was and the actress. She did a movie.

Laura Giles: Yeah.

Moore To Consider: I believe it was all filmed in, think the language is French. So I saw it with subtitles and it's a really interesting plot because she's the highest of high-end prostitutes and she's in a bar. It's called, Do You Love Me? believe, I think it's Do You Love Me? is the title of it. And I saw it on Cinemax, Netflix or I ran across it's Monica. I'm going to watch. So I'm watching it. And she's in this bar and this guy comes up, everyday laborer guy, and he comes up and said, you know, how much and this kind of stuff. And she goes, honey, you can't afford me. You couldn't afford me for a night, blah, blah. And he goes, well, just try me. Then he sells her on. He just won the lottery. She moves in with him. So she moves in with him. Then her pimp guy who she's been involved with comes to him and says, give me up the lottery money and you can have her or I'm taking her back. And he goes, take her back. Well, he's bluffing because he doesn't have the money, right? So it's a great movie. And then the guy, and she's like, in sense, like you would just give me up like that. And he goes, nah, you're not worth all my lottery money. Take off, go. She goes back and finds a way to escape the pimp guy. Cause she's been sleeping with him, you know, and she doesn't like it. And she comes back to him and now he's having sex with the next door neighbor. And she goes, you were to shower right now, wash her off of you and all, and I'm back. And then he unloads finally and says, you know what? I never won the lottery. And she slaps him like, you played me like that. And he goes, yeah. And you're back because you love me. And she ends up staying with him. So it's an interesting movie. She's a high end prostitute. He sells her on the fact he won the lottery. Then he never really won the lottery, but she does come back to him. And when he tells her you're not back for the money, you're not back because you thought I won the lottery. You're back because of me. And she's like, you bastard, you're right. You know, and that's it. She falls in love. So it's the same kind of movie in a sense, ⁓ that, that he's everyday guy. He's, mean, he is, he's like the everyday guy, the most average human being on the face of the earth with Monica Belushi. And you're seeing it go down. You're like, I was thinking the same. I'd need a little bit more receipt to find in her situation to know that he really, but he just keeps, ⁓ well, the payments are being delayed, but they're on the way. And he comes up, you know, with some kind of.

Laura Giles: Yeah. Yeah. you

Moore To Consider: And it's all in French and I'm just sitting there reading the subtitles. ⁓ but man, she pulls it off too. She pulls it off. She just, the emotions and the way she acts, but you can tell that the way the movie, she does fall in love with him. She really does fall in love with him, even though the whole time she thinks it's for money. ⁓ so I guess, and one other thing that's been brought up about this whole movie, ⁓ pretty woman, my fair lady has been brought up as, as, you know, kind of a comparison movie.

Laura Giles: I haven't seen that.

Moore To Consider: Yeah, I saw it years and years ago and I get, I think it was the same kind of thing. And this was a theme that many people discuss with Pretty Woman. There's a lot of, no one has value until they're cleaned up with the one that's.

Laura Giles: Thank you, because that's something that really bothered me. So, you know, she comes in there with her tight skin exposed and all of that, and then put her in a different dress. She's still the same person. She doesn't look any different to me because she doesn't wear the clothes well. She still looked and everybody else is like, I don't know. I didn't see what they were seeing. She looks exactly the same to me.

Moore To Consider: Yeah.

Laura Giles: I mean, yes, she has makeup, her hair's done, her clothes are different, but some of those clothes too were like really, really ugly. And I'm thinking to myself, ugh, why would you want to wear that?

Moore To Consider: Well, that brings up a thing too. She had been, I don't know, with Steel Magnolias, I guess that was earlier. Yeah. So that was brought up too about the actresses that passed on it and how this made her career. And they brought them back together like eight years later in Runaway Bride because audiences just love the energy between Gere and Julia Roberts. Um, I don't know again, it's big screen. It's how people have portrayed.

Laura Giles: Yeah, she was. Yeah.

Moore To Consider: I thought she was adorable in the movie as far as I think she's a beautiful woman. I think she's got a great smile. I think there's so much about her, but the way they dressed her up, when they put her in what you consider more professional attire, she looked, it looked different then because they went so far overboard with the hooker street look, you know, the high boots and the short shorts. And I mean, I thought that was over the top. as far as how ridiculous that look was. So I think if you've got knee high or thigh high boots on with skin tight shorts, know, like little booty shorts, that's a hard look to pull off and go like, well, I see them exactly the same as in, you know, ⁓ a $10,000 suit or the evening gown she was wearing.

Laura Giles: But it's not the clothes, it's the way she was carrying herself.

Moore To Consider: Well, that was a transformation too, but of course, Hector was working on her back at the place, know, ⁓ teaching her fine dining and alike like this. So she was getting training. Eleanor Donahue was in it, you know, from, what was it, Father Knows Best. And then she played the pharmacist in the Andy Griffith Show. She's the one that Hector sends her to and it's like, honey, I'm going to take care of you and dress you properly and all the rest. ⁓ But yeah. I mean, Laura, there is a certain degree of, we're all God's children. We really, really are. Oh yeah. And you know, I've told you the stories. I run into people that I ran into a lady at the gas station the other day. was a tearjerker. She just started telling me, you know, sweetheart, how are you, whatever, you know, and we ended up hugging on the way out. I get, know, it's just, she was a sweetheart. She, she wanted to talk to somebody about something and it just, you run into those people.

Laura Giles: Yes, yes. You run into those people. You seem to have lots of encounters like that. I know. I know.

Moore To Consider: No, I do. I really do. I do run into a lot of people and they seem to like the cross that I have hanging. I have a cross hanging in my car and it was an elderly gentleman in the small town I was in years ago and he was a pastor and he carved him and I'm walking into 7-eleven and he goes, hey brother. I said, how are you sir? And he goes, I love your energy. Can I give you something? I'm like, I'm honored. Yes, sir. And he comes back with this cross that's been hanging in my car ever since. And he just glowed of the Holy Spirit. I mean, he was beautiful. He was an old guy and he was a pastor. And out of the clear blue, he's like, can I give you this as a gift? So yeah, I run into those people and I wasn't like, let me see what kind of watch he has on. I'm like, no, this guy, this guy's the goods as far as spiritual. I mean, he was there. I don't know what it was. I held the door for him going in and he was like, hey brother, I really love your energy. Can I give you a gift? And I'm like, I'd love for a gift. Hug him. Goodbye. God bless you. Never saw him again. And to this day, have the crosshanging, I will never drive a car without that crosshanging because it reminds me of him. Honest to God. That's say honest to God. mean, seriously. It was one of those moments that he's an angel. He was definitely, he was reflecting all that's good. There's no question. And it was a chance meeting, but it's kind of preordained. You know, it kind of feels like it's something going on there. So yes, I don't see that, but we do make value judgments that I don't think are unfair as to how people dress. There may be a lot more underlying it. Now the question is, I'm not, know me, I'm not a virtuous guy at all. I'm not saying as I entered that 7-Eleven that I was like, this guy's attire is not lining up yet with the fact that I'm having a spiritual connection. He's going to give me a gift. like, you know, if you had better shoes on, I'm like, no, that's not that. But if I were in a hiring situation, And it was a kind of professional attire type of thing. And somebody came in there with ripped shorts, you know, in parts of their body exposed. I might think this person's kind of at risk to represent what we have to do in the profession we're in. That's all. Yeah. The question is, do you want to do the Vivian and save her from that and clean her up from the knee high boots, the thigh high boots in the, I mean, that's the question. That's the question, but she did seem to tunnel into what she needed to be awfully quickly. I mean, you don't think so much. Yeah. Okay. A little bit of a, okay. I've been running my mouth the whole time. We're at hard time. We're getting through that time. So we got to do more of these. We got to do more of these. got to break down more. ⁓ overall, your thoughts on this movie or other movies like it, what's good, what's bad. Go what you think.

Laura Giles: I think it's dated. I think that we are not the people that we were in 1990. And I don't know, that's good, that's bad. It's just different. And I don't know. It's not something that I would be recommending today.

Moore To Consider: You know, you say what you're saying and I get it. And I'm a broken record about this. I'm past my 60th birthday and I'm still coaching kids. And Laura, I'm telling you, they're no different. If anything, the last five to 10 years post COVID, they've changed. Like in the last five years, kids have changed. And I listened to their conversations and they're skewing back to being, I want the world to be in orderly place. And I want good things. mean, you're good kids. Now, again, I think a lot of that is the makeup of our team. A lot of Latin American kids, kids from all over the country, we're heavily Latin American kids. So we have a lot of kids that come from cultures where they're very family oriented. It's just true. I mean, know this being, oh, Jack's being steric. Nah, they see you as a father figure. You're good to them. They love you like a father and it permeates and it's kind of develops our whole culture within the team. But I don't see these. Well, I guess what I'm saying is there's plenty of American kids who are entitled. have entitlement problems and things like that. It's like their parents are always trying to buy an answer. ⁓ coach isn't working out quite right. Let's go somewhere else. Or we don't like what he's saying. Let's get him fired. It's a lot of that. It's a lot of that energy. You don't get that as much with some of the kids that we have that come from different cultures. get it. But you know, kids are kids. And I told you last night out of the clear blue. I got a kid who's 29 years old, 10 years ago, I'm coaching him in the college summer league. He's coaching in the AAA now. I didn't even, he reaches out. So I go to the ball game to see him last night. Solid, most solid kid on earth. Just love that. He's from, he's from Long Island. He's living in Miami now and he's coaching AAA baseball. And we just went out last night and talked and talked and talked about his whole experience with that. He's the same kid I met 10 years ago, only more mature. And now he's had some life experience, but yeah, kids are kids. Kids are kids. um, I'd like to think that the country's going into better direction sometimes, but I think there's hope because there are good, there's good people out there, good young people. All right. Final thing you want to say.

Laura Giles: Yeah. Yeah. There's always hope. Don't watch the movie. Yeah.

Moore To Consider: Don't watch Pretty Woman. They ruined our whole show! They gotta go watch it now to see if we have any sense at all. We gotta do-

Laura Giles: Yeah, watch it for that. Watch it for that. And then tell us what we got right and what we got wrong. I'll read the comments. I read comments.

Moore To Consider: Okay. All right. Now you're all. Yeah, you have to read them because I won't bite. All So here we go. I'm going to give you, because you have this great professional voice and Carrie, give it, give everybody what we're supposed to tell them at the end. So they just, so our, our popularity goes through the roof.

Laura Giles: like, share, subscribe, and leave comments because I will read them and I want to know what you think.

Moore To Consider: And in the comments, for God's sake, please do this. Tell us movies you want us to talk about. Please, please give us movies. You know, Wall Street might be a good one. Yes. Let's do Wall Street next. Love you, dear. You're the best. Okay. And goodbye everybody and subscribe and all the rest. Take care. Bye bye.

Laura Giles: Yeah, yeah. Okay. Love you too, Jack. Bye.