The 25 Best Movies of the Century: No. 23, ‘Something’s Gotta Give’

Summary

Summary of "The 25 Best Movies of the Century: No. 23, ‘Something’s Gotta Give’" – The Big Picture Podcast

Episode Title: The 25 Best Movies of the Century: No. 23, ‘Something’s Gotta Give’
Release Date: April 9, 2025
Hosts: Sean Fennessey and Amanda Dobbins
Podcast: The Big Picture by The Ringer

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Introduction to the List

In this special episode of The Big Picture, Sean Fennessey and Amanda Dobbins delve into their curated list of the 25 best movies of the century. They begin by unveiling their #23 pick, Nancy Meyers' beloved romantic comedy, "Something’s Gotta Give." Amanda introduces the selection with enthusiasm:

Amanda Dobbins [02:02]: "Amanda Something's gotta give."

Sean acknowledges the significance of this choice, highlighting it as an essential inclusion in their list:

Sean Fennessey [03:19]: "This is the Nancy Meyers movie. This, to me, is the only Nancy Myers movie that would be eligible for the list."

Deep Dive into "Something’s Gotta Give"

Performances and Character Dynamics

Sean and Amanda commend the stellar performances by Diane Keaton and Jack Nicholson, emphasizing the depth and chemistry between the leads. Sean expresses his admiration for Nicholson:

Sean Fennessey [03:02]: "I personally have a very strong affection for the Intern. I know you like it, but don't love it in the same way that I do. I think this is ultimately better."

Amanda concurs, noting the iconic status of the actors and their ability to embody nuanced characters:

Amanda Dobbins [05:20]: "And just two lights out performances. You have Hollywood icons in their later stages of life just really getting to be those people."

The discussion highlights how "Something’s Gotta Give" effectively portrays life after 50, particularly for women, balancing career, personal life, and romantic pursuits.

Thematic Exploration

The hosts delve into the central theme of the film—"Can women have it all?" They explore how the movie presents a sophisticated narrative about women over 50 navigating love, career, and personal fulfillment.

Sean Fennessey [04:23]: "So this movie, like Baby Boom, like the Intern, does circle this idea that we make a lot of hay of on the show, which is, can women have it all?"

Amanda adds that the film's nuanced approach sets it apart from typical romantic comedies:

Amanda Dobbins [05:01]: "And love and life experience? Can they be over 50 years old?"

Production Design and Auteur Influence

A significant portion of the discussion centers on Nancy Meyers' distinctive production design, which has influenced brands like Crate and Barrel and established the "Coastal Grandma Chic" aesthetic.

Amanda Dobbins [12:33]: "The language of the kitchens and the overstuffed couches and the hydrangeas that are usually blue and the like Expensive prepared food stores and everything that we now do."

Sean connects this to the auteur theory, praising Meyers for her consistent visual and thematic storytelling:

Sean Fennessey [13:30]: "I completely agree. I mean it is visually thematically recurring. That is a key part of the auteur theory..."

Legacy and Influence

Sean and Amanda discuss the film's enduring legacy, asserting that it remains one of the last great studio romantic comedies. They lament the decline in quality of similar films, attributing it to budget cuts and the inability of imitators to capture Meyers' unique vision.

Sean Fennessey [18:15]: "I feel like this is a movie that could only happen in this specific period of time."

Amanda elaborates on how subsequent films attempting to emulate Meyers' style fall short:

Amanda Dobbins [32:35]: "And so you get the lesser versions, and they’re lesser in quality, they’re lesser in writing."

Comparisons to Other Films and Filmmakers

The hosts draw parallels between "Something’s Gotta Give" and classic screwball comedies, noting its homage to films like The Philadelphia Story and His Girl Friday. They also compare it to other Nancy Meyers works, such as "It's Complicated," highlighting the evolution of romantic comedies centered on older women.

Amanda Dobbins [43:44]: "I've thought about Philadelphia Story for the same reason of the three and the. And a nice house, you know."

Sean mentions Jack Nicholson's character arc, relating it to his broader filmography and persona:

Sean Fennessey [36:00]: "This is one of the very last Jack Nicholson performances after this film a few years go by and he makes The Departed in 2006."

Key Themes and Social Commentary

The conversation touches on the film's approach to sexuality and aging, noting its more open and humorous treatment of menopause and physical relationships compared to contemporary standards.

Sean Fennessey [20:04]: "The movie has just a great relationship to sex. Like it's very. I've seen the movie get derided as sitcom y at times, but I feel like sitcoms are not."

Amanda reflects on the lack of medical research and support for women’s health issues portrayed in the film:

Amanda Dobbins [22:43]: "You know, it seems like with everything that happens to women, there's not enough, you know, medical research and support directed that way."

Conclusion and Final Thoughts

Sean and Amanda conclude by reiterating the film's excellence in storytelling, performance, and production design. They emphasize that "Something’s Gotta Give" stands as a benchmark for romantic comedies, highlighting its unique blend of humor, emotional depth, and visual elegance.

Sean Fennessey [37:17]: "This is a beautiful movie. I really wish that there were more movies like this."

Amanda agrees, affirming the film’s place in their top 25 list and its lasting impact on the genre:

Amanda Dobbins [34:50]: "This is excellence."

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Notable Quotes:

• Amanda Dobbins [02:02]: "Amanda Something's gotta give."
• Sean Fennessey [03:19]: "This is the Nancy Meyers movie. This, to me, is the only Nancy Myers movie that would be eligible for the list."
• Sean Fennessey [13:30]: "I completely agree. I mean it is visually thematically recurring. That is a key part of the auteur theory..."

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Key Takeaways:

• "Something’s Gotta Give" is celebrated for its outstanding performances by Diane Keaton and Jack Nicholson.
• Nancy Meyers' auteur influence is evident in the film’s distinct production design and thematic consistency.
• The movie effectively explores complex themes of aging, love, and personal fulfillment for women over 50.
• Its legacy as one of the last great studio romantic comedies underscores the decline in quality within the genre.
• The film serves as a benchmark for excellence in romantic storytelling, blending humor with emotional depth.

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This episode of The Big Picture offers an insightful analysis of "Something’s Gotta Give," highlighting its significance in modern cinema and its enduring legacy within the romantic comedy genre.

Transcript

[Zach Lowe]

Welcome to the brand new Zach Lowe Show. That's right, I'm back to have the same in depth NBA conversations you're used to. We're going to talk about the games, the X's and O's, the drama. The playoffs are coming up and now you get to see every episode in full on video on Spotify and on my own YouTube channel. Episodes drop every Monday and Thursday with a collection of guests you're going to love. So make sure you follow and subscribe to the brand new Zach Lowe show on Spotify or wherever you watch or listen. Listen to your podcast. Let's go.

[Sean Fennessy]

This episode is brought to you by the Wells Fargo Active Cash Credit Card. This is an ad for the Active Cash credit card from Wells Fargo. That's a mouthful, but that's because it packs a lot in. Earn unlimited 2% cash rewards on purchases with it, big or small. So whether it's buying tickets to the game with your mom or grabbing a coffee with your dog, earn unlimited 2% cash rewards on purchases made with it. Say it with me. The active cash credit card from Wells Fargo. Learn [e-mail] ActiveCash Terms apply. This episode is brought to you by Max. The Emmy Award winning series Hacks returns this April. The new season follows Deborah Vance making a move from her Vegas residency to Hollywood showbiz. Tensions rise as Debra and Ava try to get their late night show off the ground and make history while doing it straight. Starring Gene Smart and Hannah einbinder. Hax season four is streaming Thursday, April 10th, exclusively on Max. I'm Sean Fennessy.

[Amanda Dobbins]

I'm Amanda Dobbins and this is 25.

[Sean Fennessy]

For 25, a big picture special conversation show about a little ditty about Jack and Diane. That's right, it's Nancy Meyer' and our pick is what?

[Amanda Dobbins]

Amanda Something's gotta give.

[Sean Fennessy]

Something's gotta give. Okay, I had a very high usage rate on Monday's episode of this podcast and so it is time for Jesus to take the wheel. Jesus. Amanda.

[Amanda Dobbins]

Yeah.

[Sean Fennessy]

This is a huge moment here for you. We're citing 25 perfect movies from this century. This is the Nancy Myers choice.

[Amanda Dobbins]

This is the Nancy Meyer's choice. And I think this is also the romantic comedy I.

[Sean Fennessy]

Well, that's a bit of a spoiler alert, but yes, for the list.

[Amanda Dobbins]

Well, I mean, you never know.

[Sean Fennessy]

I've been wondering if we should be citing like, this is the last time you'll see this person or this kind of movie as we go down the list.

[Amanda Dobbins]

That would require, like doing a lot of spreadsheet work, I suppose. And that would also require being fixed to our picks, which, ladies and gentlemen, we've gone off script for the first time.

[Sean Fennessy]

We have.

[Amanda Dobbins]

We weren't sure.

[Sean Fennessy]

We weren't sure.

[Amanda Dobbins]

We weren't sure about what was originally in 20 in the 23 spot. We were sure about Something's gotta give.

[Sean Fennessy]

Yeah. So this was never not going to be on the list.

[Amanda Dobbins]

Right. It did get bumped down a spot, but that's okay.

[Sean Fennessy]

Not really a qualitative choice.

[Amanda Dobbins]

Yeah, I'm not really. I'm not that worried about the difference between 23 and 22. So this is the Nancy Meyers movie. This, to me, is the only Nancy Myers movie that would be eligible for the list.

[Sean Fennessy]

I personally have a very strong affection for the Intern. I know you like it, but don't love it in the same way that I do. I think this is ultimately better.

[Amanda Dobbins]

I mean, this is better. I mean. And this is also in the Nancy Meyers arc. This is the movie that catapults her. That kind of solidifies what it means to be a Nancy Meyers movie. The Intern's very good. Obviously stars your Anne Hathaway. Your beloved, beloved Anne Hathaway.

[Sean Fennessy]

It's in my Robert De Niro.

[Amanda Dobbins]

My beloved beloved, who's just like bumbling around and is like, I'm an intern. And then like you've just summed up.

[Sean Fennessy]

The film, falls in love with the masseuse played by Renee Russo.

[Amanda Dobbins]

I know.

[Sean Fennessy]

Which is who among us.

[Amanda Dobbins]

Yeah. Rude to Renee Russo. Respectfully. It's good. I do also like that the Intern is basically like a sequel to Baby Boom, which is a 80s movie written by Nancy Meyers, directed by her then husband, Charles Schreier, also starring Diane Keaton. I like it. But this is a self contained masterpiece.

[Sean Fennessy]

So this movie, like Baby Boom, like the Intern, does circle this idea that we make a lot of hay of on the show, which is, can women have it all?

[Amanda Dobbins]

Yeah.

[Sean Fennessy]

You know, not just what do women want? Which is a question that she asked a few friends prior to this. But can women have a career, personal and private success, wealth, a family and.

[Amanda Dobbins]

Love and life experience? Can they be over 50 years old?

[Sean Fennessy]

And sex.

[Amanda Dobbins]

And sex. Yeah, all of those things.

[Sean Fennessy]

This movie maybe most acutely zeroes in on life after 50 for a woman. Now, I will make the case, perhaps unsurprisingly, that this is one of the most sophisticated movies about life after 50 for a man. And I'd like to explore with you, but I don't want that to be the Primary driver of the conversation, and.

[Amanda Dobbins]

That is what is why this movie makes the list and the others don't, is because all of the characters, well, at least the main two, Diane Keaton and Jack Nicholson, are fully realized. They are also played by Diane Keaton and Jack Nicholson. And just two lights out performances. You have Hollywood icons in their later stages of life just really getting to be those people. So I agree with you. Then you have Keanu Reeves in a supporting role, which just takes my breath away every single time.

[Sean Fennessy]

Yes, I have some thoughts about his character, who I will call Keanu ex machina for the remainder of this podcast.

[Amanda Dobbins]

Yeah, of course. But that's important. You know it is. And the classic who's she gonna choose? Who's better for her?

[Sean Fennessy]

The Ralph Bellamy of the film.

[Amanda Dobbins]

Yeah, exactly. Or the Aiden, if you will. Sure, yeah. A contemporaneous reference.

[Sean Fennessy]

Got it, got it.

[Amanda Dobbins]

So I agree. It's really good about Jack Nicholson's character. Keanu and Amanda Peetz's character, Marin and Frances McDormand's character are less baked. But it is also Keanu Reeves, Amanda Pete and Frances McDormand.

[Sean Fennessy]

Absolutely. Three time Oscar winner, tremendous screen presences.

[Amanda Dobbins]

All three of them just there to give, you know, like vague academic dissertations about the woman's experience. Special stuff.

[Sean Fennessy]

Yeah. I think this movie is so successful because it feels so closely modeled on a strong personal point of view. Was this movie made after she and Shire broke up?

[Amanda Dobbins]

I believe so.

[Sean Fennessy]

So, I mean, it feels like a real post divorce movie. A real kind of second half of my life. Who am I and what was my life about? I think also you mentioned Keaton and Nicholson's performances. I think it's that perfect meeting of performance and Persona that they both have these incredibly strong screen Personas. Jack as this kind of loose, philandering, eternally young man child. That's something that we think of when we see him kind of making mischief at the Academy Awards or, you know, being a maniac in movies. And Diane Keaton, of course, is this kind of like anxious, brilliant, kind of eccentric pop fizz, pop personality who like, could break at any moment, but also could like sweep you off your feet at any moment. You know, kind of riffing on Annie hall and everything that she embodied in that movie. And they're not like changing it, they're embracing it, making it work at a different phase of their life. It's also notable that, you know, for Nicholson, this is his first movie after about Schmidt, which was kind of like his rejection of the Jack Persona.

[Amanda Dobbins]

Right?

[Sean Fennessy]

And you can feel him, like, jacking very hard in this.

[Amanda Dobbins]

Yeah, yeah, yeah.

[Sean Fennessy]

And Diane Keaton, you know, in the two, she has First Wives Club, which is this huge success in the mid-90s. And then what was her career really like in the late 90s and early 2000s?

[Amanda Dobbins]

She works with Shire and Meyers in Father of the Bride and Father of the Bride 2.

[Sean Fennessy]

Right. Playing the number two, though. Really? To Steve Martin.

[Amanda Dobbins]

Yes, absolutely. But. Well, that's not fair. She's one of the two pregnant people in Father of The Bride Part 2. That's true.

[Sean Fennessy]

You're right. She has a bigger role.

[Amanda Dobbins]

And she does the iconic workout scene with Martin Short, which is all I could think about throughout two pregnancies.

[Sean Fennessy]

That's true.

[Amanda Dobbins]

Okay.

[Sean Fennessy]

That was all you could think about.

[Amanda Dobbins]

Anytime I tried to do a workout, I was just like. And I didn't look as good as those people. Speaking of pregnant women, non pregnant women just wearing bumps.

[Sean Fennessy]

Did we explore on our Nancy Myers episode how old she was when she was pregnant with that child? Do we know?

[Amanda Dobbins]

So I think she's. She's probably like mid-40s. Because there's a crucial part of Father of the Bride, the original, when, you know, when he's having the. He's imagining that it's the tiny little Annie telling him he's getting married. You know, dad, I'm getting married. And it's like Diane Keaton says that she was this old. She was 22 when she had the.

[Sean Fennessy]

Right. Yeah, that made her much younger.

[Amanda Dobbins]

Exactly. So she could be like 45, 46. It's possible.

[Sean Fennessy]

I mean, in the late 90s, at this stage of her career is really interesting because Father of the Bride Part II is 95. That's a big hit. Obviously, the Father of the Bride movie was a big hit. First Wives Club is massive. Then she's in Marvin's Room, which is kind of like an Oscar bidding with Leo and De Niro and really a hallowed cast, but not really a big success. Meryl Streep's in that too, Right? Marvin's Room. I believe she is.

[Amanda Dobbins]

I think so.

[Sean Fennessy]

Yeah. She is on the poster, Meryl Streep and Diane Keaton basically hugging Leo in 1987. She's done a movie called the Only Thrill, which is directed by Peter Masterson and then doesn't make a movie for three years, makes the Other Sister. And then she directs Hanging up, which is written by Nora and Delia Ephron.

[Amanda Dobbins]

Right.

[Sean Fennessy]

Then Town and country in 2001. Famous bomb. And I'll come back to the importance of Town and Country.

[Amanda Dobbins]

Momentarily saw both of those in the theaters. By the way.

[Sean Fennessy]

Town and country should have been amazing. Warren Beatty, Diane Keaton, Andie MacDowell and Garry Shandling from a script by Buck Henry. It's a terrible movie.

[Amanda Dobbins]

Yeah.

[Sean Fennessy]

Things just don't work out, but. And then a few years go by until something's got to give. She's had a huge down period in her career. Probably the downest that her career has ever been on this like basically 7 year stretch since First Wives Club. Not that she's not making interesting movies, but not a box office star.

[Amanda Dobbins]

Right.

[Sean Fennessy]

This movie is huge though. Like how big was. How successful was Something's Gotta Give.

[Amanda Dobbins]

It made $124 million domestic, which is for a romantic comedy starring two people over 50 where like menopause is a punchline. Like not, not unlike. We're not making fun of menopause, they're making fun of birth control. And in. In 2003. And this movie makes $124 million domestically, even more so it's. I think it's 265 worldwide.

[Sean Fennessy]

Crazy.

[Amanda Dobbins]

It's like a classic December holiday release. Like go take your whole family to go see the movie. Written and directed by a woman about a neurotic over 50s playwright wearing turtlenecks. And people just ate it up. What a time.

[Sean Fennessy]

So we always ask a couple of questions when we're doing this. So why did Something's Gotta Give make the list? Aside from there needing to be a Nancy Myers movie on the list because of how much we appreciate her on the show.

[Amanda Dobbins]

Right. Well, Eden, of the Nancy Myers movies, I think it's the most important. As we just mentioned, it was absolutely like a phenomenon. And what Women Want, which was released in 2000, also made a lot of money, over 100 million domestic. But this kind of sets up the rest of the Nancy Meyers trajectory. This is why like all you degenerates have the holiday. This is why we have It's Complicated, which is basically this movie made with different Oscar winning actors. Yeah, I love It's Complicated. We. We talk about it.

[Sean Fennessy]

I like it too.

[Amanda Dobbins]

Yeah, yeah, yeah. But it's.

[Sean Fennessy]

It's more flawed.

[Amanda Dobbins]

This is the breakthrough. This I think is also so influential in terms of, I guess, romantic comedies or frankly garbage women, of movies about women of a certain age trying to have it all in life both thematically and just visually. The actual. The language of the kitchens and the overstuffed couches and the hydrangeas that are usually blue and the like Expensive prepared food stores and everything that we now do. I think much to Nancy Meyers chagrin identify as like. Nancy Meyer's core is like. Is genuinely like an autourist cinematic vision. It is so specific and so many people have failed to recreate it or tried to make a lot of money off of it. I'm like looking at you Crate and Barrel like it is truly influential.

[Sean Fennessy]

I completely agree. I mean it is visually thematically recurring. That is, that is a key part of the auteur theory is that you are telling a certain kind of story with a certain kind of visual approach with a strong authorship on your stories and the story types. And she does it. I mean, you wrote here something very dramatic.

[Amanda Dobbins]

Okay.

[Sean Fennessy]

Which is the. This is the last great studio romantic comedy. Well, this is a very strong statement. It's been 22 years since this came out.

[Amanda Dobbins]

I got a hook, but so. And I wrote with apologies too. And this is some real 25 for 25 spoilers here. Okay, so here are some movies that didn't make our list. Bridget Jones's Diary. Yes, it hurts me too. How to Lose a guy in 10 days, 13 going on 30, 27 dresses, the wedding Planner, the Proposal for Getting Sarah Marshall and the four other Nancy Myers movies released in the last 25 years. I think that Something's Got Again transcends all give. Transcends all of those.

[Sean Fennessy]

I. I think that you're right.

[Amanda Dobbins]

Okay.

[Sean Fennessy]

I do. I think the thing that when I watch this movie, it is very clearly born of the 30s and 40s screwball style. It's just shifting the cast of people in their 50s and 60s and not in their late 20s and early 30s. It uses a lot of the similar framework that you would find in Philadelphia Story or in Bringing a Baby or in His Girl Friday or in all of those classics. We know Nancy Myers has a huge admiration for those movies and is kind of like echoing them throughout her career. I think because of that it works really well as homage and really well as also a contemporary story. Jack Nicholson's character is a hip hop label owner. Diane Keaton is a. An aging playwright of some renown. You know, the Hamptons home. Or is it the Hamptons? It is the Hamptons. The Hamptons home feels very early aughts to me. It's sort of like before the Hamptons got completely out of control and was still like a wealthy person's enclave. Yes.

[Amanda Dobbins]

The address is given as Sagaponak. The exteriors were shot in a home in Southampton. The interiors were all designed. They're all sets by her? Well, yes, by her. Beth Rubino, who's the set decorator. But Nancy, you know, oversees everything. She. Yes's. Every fabric.

[Sean Fennessy]

Okay, so one of the things that I like about this movie is it is. I don't even know if it's a. It is clearly a witting, but I don't know if it's a communicated love letter slash indictment of Warren Beatty.

[Amanda Dobbins]

Yeah.

[Sean Fennessy]

Diane Keaton worked with Warren Beatty two years prior in Town and Country. Nancy Meyers, of course, is familiar with Warren Beatty and admires his work. And the Jack Nicholson character seems like Jack.

[Amanda Dobbins]

Yeah.

[Sean Fennessy]

But is in fact, Warren. Almost literally Warren. The women that are cited as the famous people that the Jack Nicholson character dated or may have dated in the past. Joan Collins, Diane Sawyer, former paramours of Warren Beatty, the lifelong bachelor, the escape artist, as he's called in the movie, is very clearly modeled on, and the story is clearly modeled on Annette Bening. Kind of like a successful artist in her own right. Taming. Taming the Warren Beatty figure in the world. The fun part about this is that Jack Nicholson and Warren Beatty are like best friends. So this is like, if I made a movie about Chris, where I played Chris, which obviously we all know would be impossible, but if that were to happen and I was exploring all the criticisms and how Chris became Chris and how Chris was tamed, would you want to see that movie?

[Amanda Dobbins]

Yeah, of course. She does this a lot. Like, she loves old Hollywood irreconcilable differences, which is the hardest to see of the Nancy Meyers movie is just the Peter Bogdanovich, Polly Platt breakup, but with ridiculous performances. And also Drew Perry Moore as a child suing for divorce, which then happened later for, like. What's it called?

[Sean Fennessy]

Emancipation.

[Amanda Dobbins]

Emancipation, Right. Child divorce from your parents, which she then later pursued in real life. Yeah. So they're. You know, Nancy Myers has a spidey sense. She knows what's going on in the world, and she likes to put it into her movies. Including also, by the way, the Erica Berry character, which is just Nancy Myers written into. She's a playwright instead of a filmmaker.

[Sean Fennessy]

Do you think this movie is saying that Nancy Myers wants to marry Warren Beatty?

[Amanda Dobbins]

No, I don't. I think this movie is saying that Nancy Meyers did a lot of work after divorcing her husband and co writer and director and really likes, you know, nice overstuffed couches and is trying to figure out how to be less uptight and open herself up to life.

[Sean Fennessy]

I feel like this is a movie that could only happen in this specific period of time. Which is one thing that I like about it. I think that the figure of, like, the old man dating the young woman is culturally now would be perceived as more of a creep fest. And in this movie, the idea of, like, oh, yeah, you dated my daughter and, oh, you didn't sleep with her, but it's okay. Even though she's, like, literally astride him in the first 10 minutes of the movie, it's just one of those, like, could not have happened at any time after it. And so it's, in a way, kind of like a last remnant of this era of Hollywood.

[Amanda Dobbins]

Right.

[Sean Fennessy]

You know, we're like, wasn't it cool that Warren Beatty was bagging every chick in Hollywood until 1998 or whatever, and he decided to settle down and have children?

[Amanda Dobbins]

Yeah, I mean, I think it's still happening, I guess.

[Sean Fennessy]

Which is definitely still happening.

[Amanda Dobbins]

Yeah. You wouldn't get the same New York magazine piece called the Escape Artist.

[Sean Fennessy]

It wouldn't be like, isn't this cute how he decided to date a woman who's within 12 years of his age.

[Amanda Dobbins]

You do, however, get plenty of. Erica Barry's dating the local Hamptons doctor. So this, you know, the woman of a certain age dating a handsome younger man who's just, like, really, really hot for her and she doesn't understand it is now very, very common and perhaps overdone in.

[Sean Fennessy]

You think she invented this trait?

[Amanda Dobbins]

I don't think she invented it. It seems close, but it is. You see it everywhere. It's a major, major part of the garbage women canon. And it. This is a really powerful one because, like, every time I watch it, I'm like, oh, should she choose Keanu?

[Sean Fennessy]

I want to get to that. That's something I'd like to explore with you. I think that this movie. Forgive me for this, but kind of pre sages like, it's a twist on the MILF thing, which really took off post American pie, which is 1999. But the, like, young man hot for older woman who's still a babe and still looks like Diane Keaton. You know, Diane Keaton famously has a nude scene in this movie, as does kind of sort of Jack Nicholson and shows his ass.

[Amanda Dobbins]

Well, I think it's a double, but that's okay.

[Sean Fennessy]

You think Jack is a double or.

[Amanda Dobbins]

No, I think Diane is, but that's okay. There's some cutting when I was watching at this time. But listen, no judgment.

[Sean Fennessy]

Were you freeze framing?

[Amanda Dobbins]

No, I was just. I was watching the camera work as I do.

[Sean Fennessy]

I see as you do?

[Amanda Dobbins]

Yes.

[Sean Fennessy]

You're well known to watch the camera work. Oh, that's interesting. I didn't know that. I thought that that was.

[Amanda Dobbins]

I could be wrong. I mean that you definitely see. See her in a like in bra and underwear, like undressed. But I think like that moment, it seems like there's a little bit of cutting and someone with a wig. I could be wrong.

[Sean Fennessy]

The movie has just a great relationship to sex. Like it's very. I've seen the movie get derided as sitcom y at times, but I feel like sitcoms are not. Can't get into this area. Can't get into the lane of like this epiphanic physical experience that an older woman is having. You never see stuff like that on tv. And also that it is like unusually physical for a movie like this. It's the one thing. All those 30s and 40s movies are all allusions to these kinds of acts. But like he's literally going down on her. They're literally in bed together.

[Amanda Dobbins]

Right.

[Sean Fennessy]

And it is, it is way more normalized then than it would be now. Like I'm trying to think of has there been a movie with like two 50 somethings in bed together in recent years even? We were just talking about Black Bag recently on the show. There's something kind of like steamy but chaste about the relationship in Black Bag.

[Amanda Dobbins]

Right, right, right. I'm trying to think. Even in, Even in Something's Gotta Give, they are playing it for comedy. You know, there is the great moment where they have to stop at the beginning of the sex scene in order to check his blood pressure. And then instead of like a bra being thrown in the air, you get the shot of like the. What's it called? What is the thing? Yeah, the strap from the blood pressure strap, like being thrown. So they are. They're making hay of it. And there is something about the fact like. Oh, like winking. Oh ho ho. Like we're watching two 50 year olds have sex that tips it towards comedy rather than steaminess, you know. But they do make a joke about menopause. They do. You know, it's. They are undressed for a lot of the movie.

[Sean Fennessy]

Where are you at on menopause these days?

[Amanda Dobbins]

I'm not there. Which I'm really happy to share with everyone.

[Sean Fennessy]

That's great. So that's in general, what do you make of it?

[Amanda Dobbins]

You know, it seems like with everything that happens to women, there's not enough, you know, medical research and support directed that way. But maybe by the time I get there you know, how do you feel.

[Sean Fennessy]

About the meta aspect of the story where Erica Berry, who is a thinly veiled version of a Nancy Myers figure, is literally thinly veiling her life and her experiences in a play in the movie that she's making. Now normally I find when I see things like this in movies and I like them. You're like, why are you such a.

[Amanda Dobbins]

Oh, no, I like Madison. No, no, of course that it's. She's commenting on who she is. Like, I, I like this as autobiography. And I think some of what elevates it from a sitcom and also from your classic, you know, like goofy rom com is this very experienced and also very anxious person investigating her life and how she is in the world and what she does and the consequences of, of what she does in real time with like a multi million dollar budget. And I, I like that it still has a sense of humor about it. You know, there. This movie does have like a lot of speeches and as you said, characters realizing things. It's not therapy speak like we haven't gotten there in, in the world where everyone just has to be like talking to each other about like their trauma and whatever boundaries and healing. They, they speak like people, intelligent people who are trying to figure things out about themselves.

[Sean Fennessy]

Yeah.

[Amanda Dobbins]

But still sort of almost in that like playwriting, human. It's like, it's a human way of communicating. So I like that. But I like that you can also tell she's really thought about it and she's thought about, you know, her relationship to her work and she's thought about why she dresses the way she does. Like the turtlenecks as a motif is. And it's in the text like they explained it for you, but it still is very clever. There's that throwaway line when they're in the kitchen. And she's talking about how she's always wanted to write a play that ends in Paris. She's like, cause people need romance and if I don't write it, where are they gonna get it? Real life. And that's obviously like Nancy Meyers communicating as well. But it's true and it's nice. And then the movie does end in Paris, and also. Cause it's 2003, it actually ends in Paris. So that's also wonderful. And remnant of a time where they just sent movie stars to Paris to film on the streets at night.

[Sean Fennessy]

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[Unknown]

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[Sean Fennessy]

You've already mentioned that the movie has is has earned a great debt from Crate and Barrel and J.

[Amanda Dobbins]

Crew. J.

[Sean Fennessy]

Crew.

[Amanda Dobbins]

Coastal Grandma Chic. I mean, that was a TikTok thing. Were you familiar with that?

[Sean Fennessy]

I was not. I'm not on TikTok.

[Amanda Dobbins]

As you know I'm not either, but then they posted it to Reels for all the old people, so we appreciate you. Yeah, so you know people, young women wearing just the cream colored sweaters, the bucket hats, but like a direct visual reference to those beach walks.

[Sean Fennessy]

Do you think you'll age into that chic?

[Amanda Dobbins]

I mean, I definitely already wear a lot of white jeans, you know, or like cream colored pants. I do have a bucket hat, but I don't know if I'm gonna go monochrome cream with the bucket hat. That's probably not where I am.

[Sean Fennessy]

Or a bucket hat. It's pink like Tony Yayo and.

[Amanda Dobbins]

Yeah. And my son has a matching one and we wear it at the beach.

[Sean Fennessy]

Also known to wear a bucket hat. Yeah. I only know rappers who wear bucket hats.

[Amanda Dobbins]

Okay, well, they had a moment like a few years ago. I don't think that I'll be going this way. I'm more of a navy than cream.

[Sean Fennessy]

Diane Keaton wears a bucket hat in this film.

[Amanda Dobbins]

I honestly think she wears more than one. I think that there are distinct bucket hats, but, yes, she does.

[Sean Fennessy]

I'll tell you something. The other 2003 thing about this movie that is related to bucket hats is the use of Crazy Town's Butterfly.

[Amanda Dobbins]

The movie opens with Crazy Town Butterfly. And then like a lot. Just a montage of very 2003 looking women, like, striding into clubs, bars, restaurants, hailing cabs, looking like very just off.

[Sean Fennessy]

Frame in that montage is me in before them. Little known fact. Did she know what she was doing when she dropped Crazy Town in this movie?

[Amanda Dobbins]

No, absolutely not.

[Sean Fennessy]

She didn't know that this would be an incredible meme?

[Amanda Dobbins]

Um, no, I don't think so. And I, like, wonder if she still does.

[Sean Fennessy]

I have some concerns about her relationship to hip hop in general.

[Amanda Dobbins]

Yeah, it's not great. I would not say that the. The parties portrayed, even fleetingly, are culturally sensitive. And you know, Diane Keaton gives that speech in the. The fake Barefoot Contessa store. Do you know also that that's like, it's not the Barefoot Contessa store, but you know that the Barefoot Contessa started as a prepared food store in the Hamptons and then she started writing cookbooks. That's Ina Garten.

[Sean Fennessy]

Yes. I did not know it started as a store.

[Amanda Dobbins]

Yes.

[Sean Fennessy]

So I think that store still exists.

[Amanda Dobbins]

Or no, I think she sold it at some point. Or no. I don't know.

[Sean Fennessy]

It was inspired by.

[Amanda Dobbins]

Yeah, that's the vibe that we're going for.

[Sean Fennessy]

And Ina Garten, also an icon in Your life.

[Amanda Dobbins]

Yes. And a Hamptons icon. Just to keep you on the level here. Anyway, she gives a speech there about how she's not really into rap music. That is not.

[Sean Fennessy]

How many words can you rhyme with bitch? I believe is the line of dialogue.

[Amanda Dobbins]

I would not say it's the most enlightened.

[Sean Fennessy]

Not my favorite part of the movie. I think that she has a knack for characterization that looks easy, but is really hard. Setting aside the hip hop line in general, the Erica Berry character presents as pretty modern. I think when the movie starts and Jack is in the kitchen in the refrigerator and Frances McDormand and Diane Keaton come home and we see his feet underneath the refrigerator and she thinks that there's an intruder in the house. And then we quickly learn that it's her daughter's boyfriend. You think that the engine of the movie is gonna be how unacceptable it is that her crazy daughter keeps dating older men.

[Amanda Dobbins]

Right.

[Sean Fennessy]

And she's kind of cool with it.

[Amanda Dobbins]

Yeah.

[Sean Fennessy]

She's like, eh, not my first choice, but it's okay.

[Amanda Dobbins]

Yeah. It's like A. It's a 911 punchline. It's like A. She's like. It's worse. She's dating my. He's dating my daughter. And then they hang up. Yeah.

[Sean Fennessy]

Which I find to be refreshing. Like, it doesn't like, lean on the obvious ticks of the structure. I mean, maybe she's just had some experience in this mold. I don't know.

[Amanda Dobbins]

No, it ultimately just becomes a problem about the era. It's a. The Erika Barry character makes it about her, which is fine because, like, the movie's about her, but it's. It is a little bit narcissistic. Also from a different vantage point, it's like. Well, she doesn't really seem that worried about her daughter. She's just kind of like, well, this is. What does it say about me that I'm home at night? You know, I hadn't thought about that.

[Sean Fennessy]

But that's a really good point.

[Amanda Dobbins]

I don't know. It's. Sometimes when you're a filmmaker or writer, you gotta. You gotta write what you know, you gotta bring it back to you. But that's okay.

[Sean Fennessy]

I like that. I think that the other tricky legacy of this movie is that what you cited earlier, which is that a lot of people thought they could do this.

[Amanda Dobbins]

Yeah.

[Sean Fennessy]

And so there is like a kind of high grade imitation that a lot of. A lot of great filmmakers this century have that, you know, like Michael Bay has the Michael Bay imitators in the 2000s, where you've got a lot of guys who are trying to make action movies that look like Michael Bay movies. All Michael Bay movies are stupid, but they're wonderfully stupid.

[Amanda Dobbins]

Right.

[Sean Fennessy]

Most of the other movies are just stupid, stupid. What is the legacy in that respect of the Nancy Myers ripoffs?

[Amanda Dobbins]

Well, it's. I mean, as with all other things, it's frustrating because everyone thinks that they can do it, and they also think they can do it for less money and with less talent. And so then you get imitators and you get things that are not as well written or not as thoughtful or not as idiosyncratic for, like. I mean, this is boast, you know, like a very broad comedy with, like, a great punchline about the back of a hotel, of a hospital gown, you know, and Jack Nicholson's butt hanging out, which I thought about every single time I have had to wear those in the last 10 years.

[Sean Fennessy]

And not a butt double for Jack. You don't think?

[Amanda Dobbins]

No, but then they have all of the fake butts. The fake butts and the dancing Jacks, which is just really funny.

[Sean Fennessy]

It's a great bit.

[Amanda Dobbins]

And again, like, the movie is filled with those little moments, whether it's like, you're a woman to love and the dancing Henrys or the performances that are just like they have. Frances McDormand has won three Oscars, you know, and she's just, like, at the farmer's market, like, ogling Keanu Reeves. Cause it's funny. So there's a quality here in the writing, in the filmmaking, certainly in the production design and the. And the visuals aspect of a film that I often think gets taken for granted. That then people are just like, well, we'll just, like, get a white couch and, you know, hire some, like, people we saw on TV once. And they, like, they can fall in love and, like, think you can compete with Something's gotta Give. And so you just get the lesser versions, and they're lesser in quality, they're lesser in writing. They are definitely. The budgets just get much smaller to the point that Nancy Meyers did not get to make her most recent movie. Because these things do actually cost money.

[Sean Fennessy]

Yes.

[Amanda Dobbins]

And just the budgets have been totally shifted. So that's a real shame. I can tell the difference, and most people can. And I'll still watch the garbage stuff, but I don't. Like, we have garbage women. That's because people are trying to do this. This is not garbage women. This is excellence.

[Sean Fennessy]

This is one of the very last Jack Nicholson performances after this film a few years go by and he makes The Departed in 2006. Legendary movie in many ways. The Bucket List in 2007. And how do you know in 2010? I would argue that's a James L. Brooks film. The most recent James L. Brooks film until this fall when Ellen McKay comes out. And I believe Ellen McKay is the first James L. Brooks movie not to star Jack Nicholson in some time. Because he appeared in how do youo Know. He appeared in as Good As It Gets. He appeared in Broadcast News. He appeared in Terms of Endearment. What am I forgetting? What's the one with Julie Kavner? That's the one I'm forgetting that he's not in. Anyway, this is a fascinating use of his screen Persona.

[Amanda Dobbins]

You forgot Spanglish.

[Sean Fennessy]

Spanglish? Is he in Spanglish? He's not in Spanglish.

[Amanda Dobbins]

No, he's not in Spanglish.

[Sean Fennessy]

I forgot Spanglish because I really, really don't like Spanglish. And I love James L. Brooks, so it pains me. And I love Adam Sandler, and it really pains me that I don't like Spanglish. Anyway, he's at the end of his career here.

[Amanda Dobbins]

Yeah.

[Sean Fennessy]

You know, this is not. And he's. This is really also a movie about his mortality. He has multiple heart attacks in this movie. He's literally on a gurney like four times. He, at near the end of the movie, needs to leave the country and go find a way to get free from his own anxiety so that he can get in better health.

[Amanda Dobbins]

Multiple Viagra jokes.

[Sean Fennessy]

He's trying very hard to stay sexually active into his 60s. Seems challenging, at least for this character. I'll report back in 20 years. And it's a really fascinating use of him and his, like, I think his willingness to be a buffoon who's still like a representation of greatness. You know what I mean? He has this ability to be so ugly and strange and silly and disgusting and still maintain this essential Jack power that the reason that the movie ultimately works is it's beautifully written and the production design is great and all the things you're saying are all true. But it's leveraging 35 years of movie history in the two stars against each other to elevate it, to raise it. And so if you keep copying movies like this, but you don't use people who have this. You don't have this great movie.

[Amanda Dobbins]

I mean, even Nancy Meyers tries with It's Complicated, which is Meryl Streep. Three time Academy Award winner Meryl Streep. She's won three, right?

[Sean Fennessy]

Yes.

[Amanda Dobbins]

Yeah. And this time she lives in Santa Barbara, and she. Instead of being a playwright, she. She runs the prepared food store. She's basically. She owns Dean and DeLuca. And then she's trying to decide between her ex husband and Steve Martin, the architect. And. But there you have Meryl Streep, and you have two. Well, Steve Martin, one of the greatest comedic performers, and Alec Baldwin, who's, like a really good third guy in movies. I mean, he's great. We love Alec Baldwin, but it's. He's not.

[Sean Fennessy]

I think he's among the best parts of the movie. It's weird, though, but he's playing the Jack part. One of the things that's complicated, which I think is really good, and I'm a huge Steve Martin fan, is he's just not that sexy. You know what I mean? Like, there's not. It doesn't have the same heat. This movie, like, has legitimate heat between these two characters. You really want to see them end up together, you know? My one, like, gentle demerit on the movie is like, keanu is incredibly handsome.

[Amanda Dobbins]

I don't do it.

[Sean Fennessy]

But the character is like.

[Amanda Dobbins]

But it's funny. That's the point.

[Sean Fennessy]

Okay?

[Amanda Dobbins]

That's the point.

[Sean Fennessy]

This guy goes all the way to Paris. He's got the ring.

[Amanda Dobbins]

Yeah. He's like, open it in front of. Yeah.

[Sean Fennessy]

But he's, like, ready to turn his life over to this lady who he's infatuated with.

[Amanda Dobbins]

Turn his life over several times. Like, she stands him up. She stands him up because Amanda P. Just does not have her shit together. That's a. That's. But that is a funny character.

[Sean Fennessy]

But that seems real.

[Amanda Dobbins]

Yeah, that seems real.

[Sean Fennessy]

I would hate to be Nancy's daughter in this situation.

[Amanda Dobbins]

And then he's just gone until Frances McDormand spots him at the farm stand. Like you do.

[Sean Fennessy]

Yep.

[Amanda Dobbins]

And he brings the flowers back, and he says, these are for you to give to me to apologize. Great line. Really good. And then she writes a whole play, like, probably a Tony winning play, about how Jack's character broke her heart. And he's sitting there on the couch being like, this is the best thing you've ever written. So he clearly knows what's going on. And then after being like, this is the best thing you've ever written, is like, okay, now let's have sex again. So he just. He has no value system besides thinking she's the hottest person in the world. And also, like, being a single doctor in the Hamptons. He's not a real person. It's totally. Yeah, of course that's the case.

[Sean Fennessy]

He's a single. John Wick is a wonderful doctor in the Hamptons with no reconstructive knee surgery or bullet holes to speak of. Yes. And he's obsessed with a woman who's 15 to 20 years older than him. And when they get to Paris and he's getting ready to close the deal.

[Amanda Dobbins]

For good forever, right?

[Sean Fennessy]

Eternal happiness for him until she dies. He gets one look at a flirty conversation with a sad old guy who flew to Paris alone, and he's like, you know what? I gotta throw in the towel. Actually. It's not about me. This isn't about me.

[Amanda Dobbins]

I agree that it's him. What?

[Sean Fennessy]

Off screen, you decided that.

[Amanda Dobbins]

I mean, I agree. I agree that he gives up too soon and it's put up a fight dog. He's so powerful every time he shows up that I'm like, oh, are we sure she shouldn't just pick him? And like, Jack is so powerful. But. But that scene with the three of them in the. Like in the waiting room. No, no, no. In the waiting room. When you first meet Keanu and It's like Amanda P2 Frances McDormand to Diane Keaton and they're all just like making the. That that's purposeful. That he is like too good to be true. Like, he's just a made up. And the. And the reaction shots and how into him they all are is very funny.

[Sean Fennessy]

I love him as a screen presence throughout the movie. I think his performance is really good. Keanu has gotten a hard time over the years for not being a good actor. I think he's really good at this kind of light comedy. Really, really funny. I just. The character off screen being like, my bad. You guys should figure this out. Is like a lot. That's a lot to accept at the end of the movie. This is a wonderful movie. I really wish that there were more movies like this. I wish that, like, movie stardom was more about this. I think that's something that we obsess over a little bit on the show, which is like using your powers for good. Using your powers to make entertainments that are high level but not defined by what it is that they're adapting or eventization that it's very. This is a movie about the writer, director, and the two movie stars and their ability to connect on screen and how much you love them. Also, we neglected to cite that while Town and Country was the Diane Keaton reunion With Warren Beatty. This is the first time, I think that Jack and Diane Keaton are on screen together since Reds. If people haven't seen Reds. One of my single favorite scenes in movie history is between Diane Keaton and Jack Nicholson, who plays Eugene O'Neill in the film, when they are sort of breaking up, when they are realizing that they're not going to be able to be together and that John Reed is actually the man that she is meant to be with. And it's this really emotionally complicated sequence about why two people can't be together, which is sort of what this movie is about until it isn't. And so the tone of Reds is completely different from Something's Gotta Give, but just like the arc of a career and people really knowing each other and being able to be on screen together and have that thing that these two people have. It starts all the way back in 1980, well before Nancy Meyers is even a filmmaker at that point, really. She's still just a writer at that stage of her career. So just a pocket recommendation for this.

[Amanda Dobbins]

Listen, whatever we got to do to get you on board if it's Red, so something's got to get you.

[Sean Fennessy]

I'm in. I always like this movie. I saw this movie in theaters. I always liked it. I think this was what we ranked number one when we did. Did we do a rankings for her when we did the Nancy Myers episode?

[Amanda Dobbins]

I think so, yes. Or did we do hall of Fame? I don't know. This is it.

[Sean Fennessy]

This is, you think over the Parent Trap?

[Amanda Dobbins]

I do, absolutely. Over the Holiday, which, like, if you are mad because this made it end instead of the holiday, like, go get a life and go learn something.

[Sean Fennessy]

The Holiday is best extended 14 hour miniseries of that year. Yeah. It's the longest movie ever made. It's Keselowski's the Decalogue.

[Amanda Dobbins]

It's fine. It is nowhere near the quality of this movie.

[Sean Fennessy]

What would you recommend if you like this movie?

[Amanda Dobbins]

Annie Hall. Obviously heartburn for some dastardly Jack. But also that that movie is written by Nora Ephron. The next movie on my list is yous've Got Mail, which was also written and directed by Nora Ephron.

[Sean Fennessy]

I had forgotten how much email was a part of this story.

[Amanda Dobbins]

Exactly. Well, excuse me. Aim instant messenger. Yes. Which is also an important part of youf've Got Mail. And even the sort of like the way you're thinking before you type the response.

[Sean Fennessy]

It's all been replaced by texting in films. And the ellipsis. Exactly.

[Amanda Dobbins]

But I do Also think, you know, we don't have a Nora Ephron movie on this list. I'm really sorry. Because all the great ones came out before 2000.

[Sean Fennessy]

Is lucky numbers in Nora Ephron movie.

[Amanda Dobbins]

I think Julia and Julia, Julia and Julia was eligible, but only half of that movie really works for me, so. But there is, you know, kind of like a. There was a time when Nora Ephron and Nancy Meyers were writing and directing actually, like great big budget studio romantic comedies. And so if you like the Nora Ephron entrance, this will speak to you as well. Broadcast News, we already mentioned. But, you know, there's the James L. Brooks overlap and the Jack Nicholson overlap. And then if you are one of those people that's like, oh, I love the holidays so much and you've never seen this movie somehow, please check it out.

[Sean Fennessy]

Okay. Are there any other classics that you would recommend? Because I do feel like this is.

[Amanda Dobbins]

I've thought about Philadelphia Story for the same reason of the three and the. And a nice house, you know.

[Sean Fennessy]

Does that mean that Keanu is the Cary Grant in the movie?

[Amanda Dobbins]

I don't think so.

[Sean Fennessy]

Keanu is the Jimmy Stewart.

[Amanda Dobbins]

That's what I would.

[Sean Fennessy]

I guess he's the man who comes to town.

[Amanda Dobbins]

Yeah, exactly.

[Sean Fennessy]

All right. It's a wonderful movie.

[Amanda Dobbins]

Yeah.

[Sean Fennessy]

Great pick. You feel like it's too low?

[Amanda Dobbins]

No, I think it's good.

[Sean Fennessy]

Okay.

[Amanda Dobbins]

I feel like, you know, you. You were very stressed out about 4 versus 6 versus 7 versus 12. And I think that this is.

[Sean Fennessy]

What do you mean?

[Amanda Dobbins]

When we were making the list, like, the number by number seemed very stressed to you. And I'm kind of like, this is the 20 to 25 bucket. I also, you know, we're bringing people in at 25 through 20. We want to surprise people. We want to get as wide a range an audience as well before going.

[Sean Fennessy]

More chalk?

[Amanda Dobbins]

No, I just, you know, it's important to really get people's attention with the first few picks. And this will get people's attention because people like it and maybe people who have not been that interested in the project thus far, you know, maybe we'll find a new audience.

[Sean Fennessy]

Sure.

[Amanda Dobbins]

Okay.

[Sean Fennessy]

The best thing about this project is that it's evergreen. So many of the shows that we make are like, oh, my God, a Minecraft movie made $300 million. And then that is the dumbest podcast of all time. Like, eight days later. This is something you can return to if you want to watch. Something's got to give thanks to our producer, Jack Sanders, later this week we'll be previewing the Cannes Film Festival and the lineup there, which Amanda will not be attending because she's a coward. And Chris, Ryan and I will discuss Warfare, which is a deeply upsetting combat film. We'll see you then.