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Chapter 1: What is discussed at the start of this section?
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All right, so this time, when I sat down to watch the show, for whatever reason, I kind of got obsessed with our opening credits. And I was like, yeah, I was like, you know, these are really good opening credits. And I was like, why are they so good? I was like, because they're doing so much work for the show as far as establishing the friendships. Also, it's shot on film. So it looks more real.
It looks like, it looks like back behind the scenes footage almost. Yes. And it has this, this like archival quality, like it's older and it's like, so it already positions the show and the storyline as like, Something that you should already know about.
You know what I mean?
Like you're part of this group of friends and you know who's dating who because they establish like the kisses and the grabbing and the laughing. Anyway, so then I was like starting to go down the rabbit hole of like there must have been some great articles and stuff written about the power of opening credits because opening credits have gotten so important, right? I know.
And then I came across this idea that I had never heard about. It's a French theorist named Gerard Jeannette. I can't believe. No, but I cannot believe I made it. This is like, this guy is like so up my alley. I made it all the way through, you know, film theory, literary theory in college, studying it all the time.
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Chapter 2: How do the opening credits impact viewer perception?
I never read this guy. You seriously made it all the way to almost 50 without knowing Gerard Jeanette.
It's crazy. Amazing.
But here's the cool thing. He came up, his concept was paratexts. How, when there is a text, like when there is a book.
Yeah.
we don't come to it completely naked. Like you never are reading a book, just picking up in the text is there. You're always, the cover is a thing. The title is obviously a thing. If there's blurbs and reviews, the back, the author's photograph. And he said that there's, those things are,
almost as important he called them the vestibules like when you walk in so that by the time you get to a book right and I was like oh my god this makes so much sense to me because I always I've always thought about the way like even like we approach classic literature right like when we're by the time you're reading Moby Dick
You've already had to be told 50 times just by the cover of the book, it's the most important deep novel you're ever going to read, which I think destroys it for most people. Because by the time you get to the book, it's like, Jesus, it's like eating vegetables, right? It's so much work. You don't realize it's actually just an adventure story about whales. Like, you know, anyway.
Somebody, I looked it up and this guy wrote a book. Let me look his name. I'm so excited to read it. It's Jonathan Gray. It's called Show Sold Separately, Promo Spoilers and Other Media Paratexts. And his whole argument is that nowadays in our, and this is a 2010, he wrote it. So it's even worse now, but that the paratexts
defining the text almost more than the text itself that the the trailers the interviews and like i think that there's an argument to be made that at this point they're almost eclipsing the actual text like you kind of feel like you've seen certain movies without ever even having to see them right because you just like already know i swear this is the perfect argument for the fact that people do no no longer read the article they only read the headline of
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Chapter 3: What insights does Gerard Genette provide about texts?
the bar is more important than we think it is. Like there's a tradition going back and then when people get together to drink, it's actually very important socially. And I think that it says all of that without ever having to say it. It just puts you in the mood of like, okay, these people, this crowd.
It also tells you about legacy, legacy of friendships, the enduring aspect that even after you're gone, the photos of you conversing and talking, they will live on. Yeah, no, cheers is a great one. Easiest credits in television history that is pretty phenomenal is All in the Family. I've never seen that. It's literally just the two leads.
It's Gene Stapleton and Carol O'Connor just sitting at a piano singing the opening theme song to them. Oh, that's great. As husband and wife. That's it. The camera stays on them. That's great. And they just sing, by the way, Glenn Miller plays.
Songs that made a hit parade. Oh, I've heard that song.
That's all it is. It's just the two of them sitting at a piano singing. The Simpsons, of course, is an amazing song. How about the Brady Bunch? Oh, right, of course, with all the heads. All the heads and it tells you everything. It's sort of like the prototype for Game of Thrones. A lot less dark because there's no blood. Yeah, it is. Okay, so let me ask, what's the most...
on the nose opening title sequence where it's like i mean it's one of them we have to talk about too many cooks you guys have to watch too many cooks it's a short film i thought we had talked about at one point uh but i got obsessed with it this summer because or this year because the directors uh the director finally made a feature that i wanted to see at sundance and indy wanted to see because it's a mascot horror thing we didn't get to see it
But so Too Many Cooks is a whole short film that's like 15 minutes long. And the whole thing is a 90s sitcom opening credit sequence going crazy. And it never ends. It's one of the most, I've seen it maybe 20 times. Indy and I watch it. We laugh our asses off. It's so dark and so funny. You have to watch it. Because it just skewers the whole thing.
But it starts off as like step-by-step opening credits, you know, or like Full House with like the...
oh hey a camera's looking at me and then it freeze frames and it says their name I think those are the worst opening credits that like era of like just like I'm gardening for no reason Boy Meets World Season 1 I remember shooting that and it was literally it was Arlene was kind of responsible for that so it was just like alright Will get on the bed alright now open the magazine alright no don't look at the magazine flip the page of the magazine while you're looking up so I'm not reading the magazine?
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Chapter 4: How do opening credits set the tone for a show?
I have a William Daniels autographed 1776. That's sweet. I have an autographed book of his. Yeah, yeah, yeah. Yeah, like books. I mean, I know he didn't write 1776, but still, it's like it's in a book that's tied to him.
I think that's really cool.
I have Buzz Aldrin's autograph, Walk to the Moon. That's pretty sweet. That is cool. But can we just truly appeal to our listeners here to let you know that- For Writers Strong especially, If Ryder Strong is able to say that he is a New York Times best-selling author. Oh, that would be, yeah, that's awesome. I mean, how cool would that be?
It would be the first line of my bio for the rest of my life. There you go. New York Times best-selling author, Ryder Strong. Who's also known for a show called Boy Meets World. You may possibly have known. Father of indie books. It's all great until it's New York Times bestselling author Ryan Strong was arrested for, dot, dot, dot. Then it's not so good. No, but that would be super exciting.
And if you preorder one of these autographed copies, it goes toward helping us get on the New York Times bestselling author list. Which would be so cool.
Which would be incredible.
I want to be a New York Times bestselling eater. That's what I want to be. I'm not even trying to hide that I want it. No, you want it. You want it bad. I want it. I want it and I want it bad.
Halfway through signing, halfway through signing all the things, our hands are cramping to do this and Danielle just kept going, it's all going to be worth it when we're on the New York Times bestseller list. Listen to me, let me tell you something. I love you both very much. You are both whiny little... And I'm sitting next to you. I've got my two small children, my mom, my dad, my husband.
And they've all just gone to the Statue of Liberty without me because I have to stay behind to autograph these books. And I didn't complain once. I got a Shirley Temple. I got a non-alcoholic beer. And I was just plugging away. And Will's going, oh, my God, how many do you think this is? I was not as bad as Ryder. I was not as bad as Ryder. Who got there two hours after us. Two hours late.
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Chapter 5: What is Corey feeling about Angela's departure?
Corey is stewing. You know what else they got besides Cafe in Europe? They got men. Men named Paolo, Enrique, Milos. I was dying. This is so Ben. All the sounds and just saying names, funny and accents. And that's all he needs. God, this is my favorite scene of the episode and maybe my favorite Corey moment for a long time. I just love that. That was so funny. Yep.
And it's perfectly in character with who Corey is, the panic, the stress, the anxiety and everything going back to what if another man wants her?
Yeah.
I'm sorry, that's one of the things that I'm realizing, especially about season seven, Corey.
Chapter 6: How does Sean's perspective on Angela's decision shift?
There's such a joy in Corey. He has to be anxious all the time. So it's nice when he gets to focus on being anxious for someone else. And that's the thing with him where it's like, okay, now I'm going to be anxious for you now. I don't have to worry about me. I'm worrying about you. Yeah. It's great. They sit there prowling around in their dirty Ferraris looking for that fresh American meat.
Sean says he trusts Angela and Corey responds by laughing in a French accent. Ho, ho, ho, my little croissant. Jump into my figure and we will drive on the wrong side of the road. Corey now mimics Angela. But I love Sean. Then he switches back to the French suitor.
Chapter 7: What does Sean realize about his relationship with Angela?
Fooey on Sean. If I was your man, I would never let you go. Shane cannot possibly satisfy you. He's a little trailer boy with a stupid American. Sean finally stops him. Shut up. Corey, now in his normal voice, is shocked. I love that you can quietly lie to yourself while your life is just falling apart. Really, I just find it adorable. Sean shrugs. I want Angela to be happy.
Corey isn't buying it. You're a liar. A year away will kill your relationship. which is, again, we know to be his true POV.
Chapter 8: How does Angela express her feelings before leaving?
So, you know, it would have been nice for Corey to say, what's a year? What's a year to the love of your life? You know, get a job, save money. Look at what Topanga and I did with the house. And, you know, you can do that and buy a plane ticket. And, you know, but- Which is what Sean did for him. Like, we'll fix up the apartment. Don't worry about it. We can, this is great.
We'll fix everything up and clean it up. That's not the friend that Corey is. No. Sean poses the question to himself in Angela's shoes. How often do you get to spend time with your father, huh? Corey scoffs. That's nice, Sean. Are you going to nice yourself out of the girl you love? I mean, that is dark. Are you going to put yourself in someone else's shoes and then not get what you want?
Is that what you're going to do? Are you going to think about others and do what's best for them? Huh? All the while not while not listening to his wife again. Exactly. Sean says, no. Now he's convinced. I've lost too many people that love me. I'm not letting this one go. I'm going to tell her to stay. He quickly stands up with determination, but Corey quickly stops him. You can't do that.
Sean, now confused, asks, why not? And enlightened Corey explains, because you can't make this decision for her. Now this is the manipulation. That would be like me telling Topanga she can't go to Yale. It's a decision she's got to make on her own. Sean wonders, isn't that risky? And Corey responds, you said she loves you. And Sean knows she does. So Corey continues, then there's no risk.
Listen to me. Take it from experience. Women have got to go through a process. With women, it's all about the process. Right. And it sounds like you can't pressure her. She's got to make the decision. But it's actually... You got to give her the illusion of making her own decision. You have to pretend. You have to pretend and let her go through her process and shoes and whatnot.
But she will ultimately do exactly what you want. Yes. But it sounds so close to like, hey, you don't want to push her.
But it is not that.
You don't want to like corner her because she's got to make this decision on her own. It's she's got to make this decision on her own. And then, yeah, because I was so confused. At first I was like, oh, this is actually good advice. But then the next, you know, when she does say she's leaving, he's like, well, you couldn't. You can't let that happen.
And he even flat out says, no, you let her make her decision if her decision is the one you want. If she says the other way, you change tactics.
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