The year is 1991.

And Paul, I love podcasting with you.

Let's not stop. Let's just keep going.

Are you sure?

Hit it. The movie, the movie.

Hello everyone and welcome to on Spooled.

Where we unspooled the greatest films to see if they are classics or if we just remember them that way.

I am joined by Amy Nicholson, a film critic who writes for The New York Times.

And I am joined by Paul Sheer, actor, writer, comedian, racontor.

That's right Amy. And together we are going to be watching a movie that neither of us have ever seen.

It's like one of the first times we have done this on the show or maybe one of the few times I should say.

And Thelma and Louise is one of those movies where since I've watched it, I've just been thinking so much about it.

And thinking about all the different permutations this movie could have been.

And where could have gone so wrong.

But I think this movie is perfect because of who directed it, who wrote it, and who was cast in it.

I think it could have gone way off the rails if one of those things changed.

I agree. I agree. I think it is so wonderful when we get to come across a film that becomes such a collaboration in the way that something like Casablanca did.

Where you feel like you see what everybody added.

Maybe they bickered a lot making the film, but they definitely came up with a stronger movie because of it.

And I want to ask you, you know, what is this movie?

Because there's so many think pieces. It's a feminist film. It's a crime-keeper.

And at a certain point, I want to understand why we look at Butch Cassie and Sundance, Kid and Go.

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