Latest / The Bechdel Cast / Dora and the Lost City of Gold with José María Luna

Transcript

Dora and the Lost City of Gold with José María Luna · The Bechdel Cast

• 0:00
  Speaker 1: On the Bell Cast, the questions asked if movies have
• 0:04
  Speaker 1: women in them? Are all their discussions just boyfriends and husbands?
• 0:08
  Speaker 1: Do they have individualism? The patriarchy? Zef invest start changing
• 0:13
  Speaker 1: it with the Betel Cast. Hello, and welcome to the
• 0:18
  Speaker 1: Bechtel Cast. Ever heard of it? Ever heard of it?
• 0:21
  Speaker 1: I hope so no, no, oh, welcome, you already said it,
• 0:28
  Speaker 1: And well, um, but what are our name you? My
• 0:31
  Speaker 1: name is Caitlin Durante. Awesome my name? What's your name?
• 0:35
  Speaker 1: Jamie Bethany Loftus? WHOA, Yeah, I know, I've I've I've
• 0:40
  Speaker 1: probably said that on the show before, definitely, but I
• 0:42
  Speaker 1: never in the intro. And what's your full name? Oh? Okay,
• 0:47
  Speaker 1: my full legal government name is Caitlin Marie Durante. I
• 0:51
  Speaker 1: knew that, but I wanted everyone else to know that.
• 0:53
  Speaker 1: I wouldn't that be a really confusing, Like that's like
• 0:57
  Speaker 1: a slight baron stain Bears, like Mandela affecting. Like if
• 1:01
  Speaker 1: we just all of a sudden started using our full
• 1:03
  Speaker 1: names every single time, like, Hi, my name is Jamie
• 1:06
  Speaker 1: Beth Loftus and I'm Kaitlin Marie Darrante and welcome, and
• 1:10
  Speaker 1: people would get little shifts in the matrix like that
• 1:14
  Speaker 1: would really funk with people. It bothers me when stuff
• 1:17
  Speaker 1: like that happens, where I'm like your who. Um. Anyways,
• 1:22
  Speaker 1: welcome to the Betel Cast. This is our podcast um
• 1:26
  Speaker 1: where we take a look at your favorite movies using
• 1:30
  Speaker 1: an intersectional feminist lens. If you can believe it, I
• 1:33
  Speaker 1: can believe it. And what we are doing today is
• 1:36
  Speaker 1: unlocking one of our Patreon a k a. Matreon episodes
• 1:40
  Speaker 1: that we released earlier this year on Dora and the
• 1:45
  Speaker 1: Lost City of Gold. And we have a guest on
• 1:48
  Speaker 1: that episode, Jose Marie Luna. We don't often have guests
• 1:52
  Speaker 1: on the Matreon episode and this one has really and
• 1:56
  Speaker 1: first of all, if you're a Matron, you already know
• 1:59
  Speaker 1: this episode, Uh really fucking ruled and Jose is so
• 2:02
  Speaker 1: wonderful that we must unlock, we must share with the world.
• 2:07
  Speaker 1: We must, Yes, So that's what we are doing. So
• 2:10
  Speaker 1: now that it's a main feed episode, we just want
• 2:13
  Speaker 1: to include the kind of standard you know, do the
• 2:16
  Speaker 1: standard protocol, the Bechtel Cast protocol, if you will, as
• 2:20
  Speaker 1: far as introducing in the episode, so we will explain
• 2:23
  Speaker 1: the Bechtel test. For example, Jamie, what is it well, well, okay, relax.
• 2:31
  Speaker 1: The Bechdel Test is a media metric created by queer
• 2:36
  Speaker 1: cartoonist Alice and Bechtel, sometimes called the Bechtel Wallace Test.
• 2:40
  Speaker 1: I feel like I want to start specifying that it
• 2:43
  Speaker 1: was originally created as a one off joke in a
• 2:45
  Speaker 1: comic um, but it has been widely adopted since as
• 2:49
  Speaker 1: a way of examining the media around us. There's lots
• 2:53
  Speaker 1: of different versions that have evolved in this test over
• 2:56
  Speaker 1: the years. The one we use to start our discussion
• 2:59
  Speaker 1: is this, we require that there be two characters of
• 3:03
  Speaker 1: a marginalized gender with names that speak to each other
• 3:06
  Speaker 1: about something other than a man for more than two
• 3:08
  Speaker 1: lines of dialogue. The reason this metric is so popular
• 3:12
  Speaker 1: is because for a very very very long time and
• 3:14
  Speaker 1: still sometimes now, um, that didn't happen. Yes so, but
• 3:19
  Speaker 1: with me and Caitlin it happens all the time. It
• 3:22
  Speaker 1: happens all the time because we we're out here talking
• 3:26
  Speaker 1: about movies. Yeah, such as well, I was gonna say,
• 3:31
  Speaker 1: like Shrek two, but not that doesn't work out. That's
• 3:35
  Speaker 1: the man's story. That's a masculine who don't get me
• 3:40
  Speaker 1: started on the raw masculinity of that story. Um, but
• 3:46
  Speaker 1: when we're talking Dora, it's passed passing. Oh yeah, oh yeah.
• 3:51
  Speaker 1: And the other thing to know about this episode if
• 3:53
  Speaker 1: you've never listened to an Unlocked episode before, is this, Um, well,
• 3:56
  Speaker 1: we do have a wonderful guest covering an awesome movie.
• 4:00
  Speaker 1: It's a looser discussion. It's not maybe quite the buttoned
• 4:04
  Speaker 1: up Bechtel Cast you're used to. So if you hear
• 4:06
  Speaker 1: me maybe lightly cyber bullying Mark Wahlberg's nephew, we just
• 4:12
  Speaker 1: kind of get a little loose and like, that's just that,
• 4:15
  Speaker 1: that's that's just of the matron. Yeah, so deal with it.
• 4:20
  Speaker 1: It's kind of like I feel like the matron is
• 4:23
  Speaker 1: do you remember in like the late two thousand's when
• 4:26
  Speaker 1: like if a jet apataw movie came out, there would
• 4:28
  Speaker 1: also be like a DVD that's like the unrated version
• 4:32
  Speaker 1: of the forty year Old Virgin, And so that's just
• 4:35
  Speaker 1: like kind of what the matrion is for us. Wow,
• 4:38
  Speaker 1: that's true. Kind of it's just like we get a
• 4:41
  Speaker 1: little bit loose, the Bectel Cast unleashed, you know, unleashed. Yeah. Anyways,
• 4:48
  Speaker 1: uh so we're very excited to share this episode with
• 4:51
  Speaker 1: you um, you're absolutely going to love Jose Maria Luna.
• 4:54
  Speaker 1: We love him dearly and with that, enjoy the episode.
• 5:00
  Speaker 1: B del Cast, Hello matron Us again, Welcome back to
• 5:05
  Speaker 1: Lost Treasuary. There's a second Lost Treasure we want to
• 5:09
  Speaker 1: talk to you about today. I was starting to think
• 5:11
  Speaker 1: of how it would be fun to introduce this episode
• 5:13
  Speaker 1: the way that this movie is introduced, Like it seems
• 5:16
  Speaker 1: like it's going to be one thing, and then it
• 5:18
  Speaker 1: cuts to us sitting at a cardboard box being like
• 5:23
  Speaker 1: which is basically how we record our shows. So true,
• 5:26
  Speaker 1: it sounds like a wild, sweeping adventure full of education
• 5:31
  Speaker 1: and friendship, and it's really just us sitting in a
• 5:35
  Speaker 1: box and my microphone is actually made of cardboard, and
• 5:41
  Speaker 1: we our mom is a desperate housewife. She comes in
• 5:44
  Speaker 1: sometimes and she's like, stop pretending to have a podcast
• 5:48
  Speaker 1: the one thing and truly anyone can have and does
• 5:53
  Speaker 1: That's a would be funny too. Maybe this is a
• 5:55
  Speaker 1: thing where like kids are like I want. I don't
• 5:57
  Speaker 1: think any children like children grow up and they want
• 5:59
  Speaker 1: to YouTubers or like TikTok stars. Do you think anyone's
• 6:03
  Speaker 1: like I want to have a podcast about an esoteric subject?
• 6:09
  Speaker 1: If so, that's interesting and and it's so, it's such
• 6:12
  Speaker 1: an achievable goal, truly, But I would also argue that
• 6:16
  Speaker 1: being a TikToker or having a TikTok account, as the
• 6:20
  Speaker 1: kids are saying, as the kids are, yes, a TikToker.
• 6:24
  Speaker 1: Is that what it's called? TikToker? That doesn't sound right?
• 6:27
  Speaker 1: We're so old. Oh my god, Well, friends, guess what.
• 6:33
  Speaker 1: We have a special surprise for this episode. Normally here
• 6:39
  Speaker 1: on the Matreon, you know, it's just us, Me and
• 6:42
  Speaker 1: Jamie goof and goof and goofing. Yeah, being irresponsible, being irresponsibly,
• 6:48
  Speaker 1: goofy going off doing bits, which we will do today.
• 6:52
  Speaker 1: But the twist and just like that, we have a guest.
• 6:57
  Speaker 1: We have a guest joining us today for this episod
• 7:00
  Speaker 1: so on Dora and the Lost City of Gold. He's
• 7:03
  Speaker 1: a writer, screenwriter, occasional video essayist. It's Jose Maria Luna. Hi,
• 7:11
  Speaker 1: thanks for being here, Thank you so much for having me.
• 7:15
  Speaker 1: This is very very exciting. Oh my god, we're so
• 7:17
  Speaker 1: thrilled to have you. We've already I feel like we
• 7:20
  Speaker 1: we are already on such a journey, the three of
• 7:24
  Speaker 1: us for those listening, Um, Jose left the room for
• 7:29
  Speaker 1: a second. I didn't realize that he still had his
• 7:32
  Speaker 1: earbuds in, and I immediately started to tell Caitlin that
• 7:36
  Speaker 1: I've had pims for six hundred days and there's no
• 7:40
  Speaker 1: end in sight. And it turns out you're you heard
• 7:43
  Speaker 1: the whole thing, and that's the intersection of art and technology.
• 7:49
  Speaker 1: It was a very important bonding experience, like we needed
• 7:52
  Speaker 1: to go through that in order to record the podcast
• 7:54
  Speaker 1: properly exactly. I don't think we really could talk about
• 7:58
  Speaker 1: Dora and the Lost City of Gold without having had
• 8:01
  Speaker 1: that experience first. It was very very bonding. This movie
• 8:05
  Speaker 1: is wild. I'm so excited to discuss it. Yes, I
• 8:08
  Speaker 1: am also very excited. And Jose, we reached out to
• 8:12
  Speaker 1: you because of a wonderful video essay that you did
• 8:16
  Speaker 1: entitled Decolonizing Adventure, A Cinematic Road to El Dorado, in
• 8:21
  Speaker 1: which you analyze several different movies, Dora and the Lost
• 8:25
  Speaker 1: City of Gold being one of them. So tell us
• 8:28
  Speaker 1: about your relationship to this movie and maybe if you
• 8:34
  Speaker 1: have any relationship with the source material of Dora the cartoon,
• 8:40
  Speaker 1: all that stuff, Dora as text, well, the seminal story here.
• 8:47
  Speaker 1: I did. I did watch Dora when I was very young,
• 8:52
  Speaker 1: or maybe not that young. I remember watching Dora, so
• 8:54
  Speaker 1: it couldn't have been too young. And you know, I
• 8:57
  Speaker 1: watched Dora growing up in Colone Ba in Spanish, and
• 9:01
  Speaker 1: she taught you English unlike like the like the original cartoon,
• 9:07
  Speaker 1: So it was kind of very wild to me learning
• 9:10
  Speaker 1: later on that Dora is just supposed to be like
• 9:13
  Speaker 1: a Latina who's teaching like Americans Spanish. I was like, oh,
• 9:19
  Speaker 1: I guess. I never saw Dora as particularly like florign
• 9:24
  Speaker 1: I just thought she spoke English. So I did enjoy Dora.
• 9:28
  Speaker 1: I was more of a Blues Clues kid. They are
• 9:31
  Speaker 1: back to back. I just remember that. That's true the
• 9:36
  Speaker 1: golden age of Nick Jr. I don't know what arison
• 9:38
  Speaker 1: Nick Junior anymore. I don't know if no idea back
• 9:41
  Speaker 1: in my day, New Junior was better. It's not that
• 9:43
  Speaker 1: I grew up and I didn't watch the movie when
• 9:49
  Speaker 1: it came out. I just I just remember it came
• 9:51
  Speaker 1: out when I was very busy. But I just very
• 9:53
  Speaker 1: distinctly remember my friends being like, Oh, we're going to
• 9:56
  Speaker 1: the movies for my birthday. What should we watch? We
• 9:58
  Speaker 1: were thinking of seeing yesterday This was my friends here
• 10:01
  Speaker 1: in Colombia, and I was like, don't watch Yesterday, go
• 10:04
  Speaker 1: see the Dora movie. It sounds a lot better. And
• 10:07
  Speaker 1: they did, and you were right. Dora was way better
• 10:11
  Speaker 1: than Yesterday. I forgot about Yesterday. I feel like, did
• 10:14
  Speaker 1: the world just did we all agree? Like that never happened? Yeah,
• 10:18
  Speaker 1: and then someone will come up with the idea for
• 10:21
  Speaker 1: the movie Yesterday because everyone else forgot about it. Were
• 10:25
  Speaker 1: just this is our groundhog Day culturally, where for dudes
• 10:29
  Speaker 1: to continually watch the movie Yesterday, the world's worst, most
• 10:33
  Speaker 1: expensive idea. And to this day I haven't seen Yesterday.
• 10:38
  Speaker 1: Neither have them. But we've all seen Dora and the
• 10:41
  Speaker 1: Lost City of Gold. I saw it later on this
• 10:44
  Speaker 1: is we are my friends here in Colombia and I
• 10:45
  Speaker 1: was still in the States so I couldn't join them,
• 10:48
  Speaker 1: and I ended up watching that for research for my
• 10:50
  Speaker 1: video essay, and I ended up really enjoying it. It
• 10:53
  Speaker 1: was I didn't really know what to expect, but it was.
• 10:57
  Speaker 1: It was a wild time, truly of ways. Yeah, the twists,
• 11:01
  Speaker 1: the twists in this movie. Did I expect a poophole? No?
• 11:07
  Speaker 1: I did not, So, Jamie, what's your history with Dora?
• 11:11
  Speaker 1: In the Lost City of Gold slash Dora, the intellectual
• 11:16
  Speaker 1: property Dora as text know that I definitely like. I
• 11:21
  Speaker 1: think my younger cousins watched the Blues Clues Dora block,
• 11:26
  Speaker 1: a classic Nick Junior block. They used to have that mascot.
• 11:32
  Speaker 1: I hesitate to even call them a mascot. It was
• 11:35
  Speaker 1: a mascot called face and it was just just a
• 11:39
  Speaker 1: block of color with a face and then he'd be like, Hi, there,
• 11:43
  Speaker 1: face here. And I loved the face. The face would
• 11:46
  Speaker 1: just tell you what was gonna be on TV. It
• 11:48
  Speaker 1: was a little scary, but it was also kind of exciting.
• 11:51
  Speaker 1: I loved face right. Face changed colors all the time.
• 11:56
  Speaker 1: Face like would have holiday like face could saying I
• 12:00
  Speaker 1: have no idea what you're talking about. I feel like
• 12:03
  Speaker 1: there's probably porn of face, but that would be like
• 12:06
  Speaker 1: kind of but I don't know. I feel like, but
• 12:11
  Speaker 1: I'm sure it's out there. But that's actually really challenging
• 12:14
  Speaker 1: because it's the whole look. If you look up face,
• 12:17
  Speaker 1: it's just a screen. The whole screen was a face.
• 12:20
  Speaker 1: It was like if Rocky Horror was for children and
• 12:22
  Speaker 1: not scary, kind of like the beginning of Rocky Horror,
• 12:25
  Speaker 1: but a whole a whole face that was just like
• 12:28
  Speaker 1: Blues Clues again somehow the builder. So I guess I'm
• 12:35
  Speaker 1: saying I saw Dora. I liked Dora. Dora's like the sweetest,
• 12:40
  Speaker 1: most lovable kid character. And also I feel like in
• 12:44
  Speaker 1: the Nick Junior universe at that time, where like the
• 12:47
  Speaker 1: really young kids universe, there were like not really many
• 12:52
  Speaker 1: girl children who were like the leads of shows, and
• 12:55
  Speaker 1: especially non white girls. So I door is cool. I
• 13:00
  Speaker 1: hadn't seen this movie. I remember seeing the poster for
• 13:02
  Speaker 1: this movie and being like this could go a lot
• 13:04
  Speaker 1: of ways, like this could be so fun or so bad,
• 13:07
  Speaker 1: or like who knows. But I didn't see it until
• 13:10
  Speaker 1: preparing for this episode. And I know, I just remember
• 13:12
  Speaker 1: that you loved it, Caitlin, and you saw it like
• 13:14
  Speaker 1: four times. It was so perfect transition for what is
• 13:18
  Speaker 1: your history with Dora? Four times? I don't think so
• 13:23
  Speaker 1: you saged multiple times, not in theaters, not only saw
• 13:27
  Speaker 1: once in theaters. But I did watch it a few
• 13:29
  Speaker 1: times after that prior to prepping for this episode, because
• 13:33
  Speaker 1: I kept being like, hey, friend of mine, do you
• 13:37
  Speaker 1: want to watch the Dora the Explorer movie? And they're like,
• 13:40
  Speaker 1: I guess but then we would have such a fun
• 13:43
  Speaker 1: time anyway. So okay, So I did not grow up
• 13:47
  Speaker 1: watching the Dora animated series, of which there might be
• 13:52
  Speaker 1: more than one, isn't there, Like Dora the Explorer, and
• 13:54
  Speaker 1: then like Dora and Friends. Diego had his own show
• 13:59
  Speaker 1: My Little Sister wat Yeah, and I think later they
• 14:03
  Speaker 1: did like one where Dora was older, right, I think
• 14:07
  Speaker 1: that's Dora and Friends. She was like a pre teen.
• 14:11
  Speaker 1: The only thing I remember about that is that there
• 14:12
  Speaker 1: was an upset that always happens when a big company
• 14:17
  Speaker 1: ages up their I P. And they like drew Dora
• 14:20
  Speaker 1: to be over sexualized as a pre teen, and there
• 14:24
  Speaker 1: was a big issue, like anytime they redesigned the Disney princesses,
• 14:27
  Speaker 1: suddenly they're thinner, like there's you know, it was like that,
• 14:31
  Speaker 1: but for Dora, and I remember there was quite a
• 14:34
  Speaker 1: bit of upset and they ended up changing the design.
• 14:37
  Speaker 1: I think rightfully so, But it's just always I'm like,
• 14:39
  Speaker 1: how is that still happening? And I think that that's
• 14:43
  Speaker 1: something that this movie avoids in a way that I
• 14:47
  Speaker 1: was so pleased about. So I didn't watch the cartoon,
• 14:53
  Speaker 1: as you might have noticed, when earlier I said TikToker,
• 14:58
  Speaker 1: which I actually think is the right phrase. But anyway,
• 15:00
  Speaker 1: I'm so old. I think that's right. I think so
• 15:04
  Speaker 1: I was being I was being old. Yeah, yeah, Jamie.
• 15:10
  Speaker 1: The point is I had aged out of being the
• 15:14
  Speaker 1: target demographic for Dora and Blues Clues. I never watched
• 15:19
  Speaker 1: any of those. In fact, I never had Nick Jr.
• 15:21
  Speaker 1: I didn't have cable until I was an adult, so
• 15:25
  Speaker 1: stuck with Arthur and dragon Tales. Oh, dragon Tail slapped,
• 15:30
  Speaker 1: dragon Tails did slap. I feel it was underrated. Where
• 15:32
  Speaker 1: is the live action? Actually I don't want it, but
• 15:35
  Speaker 1: oh yeah, please don't. But I remember they introduced the
• 15:38
  Speaker 1: Colombian kid. I think it was a bit after I
• 15:40
  Speaker 1: had aged out of it, but my sister was watching it,
• 15:43
  Speaker 1: and they introduced like a Colombian kid in one of
• 15:45
  Speaker 1: the later seasons and becomes like a main character. I
• 15:47
  Speaker 1: didn't know that. I think I cried and I was
• 15:50
  Speaker 1: like too old to cry over dragon Tails. When that happens,
• 15:54
  Speaker 1: you're never too old to cry over dragon Tails. I
• 15:58
  Speaker 1: didn't know there was a Columbian character on Dragontails. That's
• 16:01
  Speaker 1: so cool. It meant, even though I didn't watch it anymore,
• 16:06
  Speaker 1: you're just like, well, good for children. Yeah, it's good
• 16:10
  Speaker 1: for the Colombian kids out there, including my sister. I guess.
• 16:14
  Speaker 1: I mean it goes to show how important representation is.
• 16:18
  Speaker 1: But so there was no reason why I was so
• 16:22
  Speaker 1: excited to see Dora and the Lost City of Gold.
• 16:25
  Speaker 1: But I was like, I'm going to go see this movie.
• 16:27
  Speaker 1: I think it's because again, like adventurers, trying to find
• 16:31
  Speaker 1: lost cities or lost relics is like my one of
• 16:34
  Speaker 1: my favorite subgenres. So I was like, cool a movie
• 16:39
  Speaker 1: where this like vaguely familiar character to me is doing that.
• 16:43
  Speaker 1: I'll go see it. So I went to see in theaters,
• 16:45
  Speaker 1: loved it, had a blast, uh, and have wanted to
• 16:50
  Speaker 1: cover it on the podcast ever since. So here we
• 16:54
  Speaker 1: are finally doing it. We got we got a fair
• 16:57
  Speaker 1: amount of we got a fair amount of request when
• 17:00
  Speaker 1: the movie originally came out to do this movie. Like what,
• 17:04
  Speaker 1: I'm excited. I mean, there's a lot of stuff to
• 17:05
  Speaker 1: talk about. But this movie does subvert a lot of
• 17:08
  Speaker 1: I mean because because we we did um Romancing the
• 17:12
  Speaker 1: Stone for our first anentry movie, which makes most of
• 17:18
  Speaker 1: the mistakes you can make in this genre. And so
• 17:21
  Speaker 1: it was it was interesting to watch an adventure movie
• 17:24
  Speaker 1: that centers on a woman that came out thirty years
• 17:27
  Speaker 1: later and see how things changed. Yeah, I haven't watched
• 17:31
  Speaker 1: that one because a lot of people would bring it
• 17:34
  Speaker 1: up when I mentioned that I was Colombian and I
• 17:39
  Speaker 1: was like, um, I don't want to see what like
• 17:44
  Speaker 1: depiction of Colombia is like, you can skip it, you
• 17:49
  Speaker 1: can skip it. Yeah. Very jealous of everyone, of every
• 17:52
  Speaker 1: Columbian who gets to move to the US now because
• 17:55
  Speaker 1: they won't be getting like, oh, like Narcos or like
• 17:58
  Speaker 1: like Romancing the Stone when they said they're from here.
• 18:01
  Speaker 1: Instead they having Canto, which huge improvement. Thank you. Um,
• 18:07
  Speaker 1: let's take a quick break and we will be right back.
• 18:17
  Speaker 1: And we're back. Um. Should I dive into the recap
• 18:21
  Speaker 1: for Dora and the Lost City of Full good Luck?
• 18:24
  Speaker 1: This is a wild one, okay. So we meet young
• 18:30
  Speaker 1: Dora and her cousin Diego when they're six years old
• 18:35
  Speaker 1: give or take. They love exploring the Amazon rainforest where
• 18:40
  Speaker 1: they live. We meet Boots the monkey, We meet Dora's backpack,
• 18:47
  Speaker 1: we meet her map briefly. I think these are all
• 18:50
  Speaker 1: characters in the animated series. Yes, and and you won't
• 18:55
  Speaker 1: believe us they're way less scary looking as cartoons. Yeah,
• 18:59
  Speaker 1: Boots the sign, Oh my god, Danny Trejo, Boots is
• 19:03
  Speaker 1: what they should have sonic to that, because it looked
• 19:06
  Speaker 1: Boots looked too much like like a very real monkey,
• 19:09
  Speaker 1: but like kind of blue. I didn't love it. It
• 19:12
  Speaker 1: is not a good design for Blue. I did not
• 19:16
  Speaker 1: care for it at all. That's like my base complained
• 19:18
  Speaker 1: of the movie same and the c g I animals
• 19:22
  Speaker 1: in general, because I think Swiper the Fox also has
• 19:27
  Speaker 1: a weird character design slash like c g I that
• 19:30
  Speaker 1: looks like it was from like two thousand five, Like
• 19:33
  Speaker 1: it seems really outdated. Swiper kind of has these bedroom
• 19:36
  Speaker 1: eyes and like, did you a scary c g I character?
• 19:42
  Speaker 1: For sure? But then like these piercing blue eyes, and
• 19:44
  Speaker 1: I'm like, wow, they really went above and beyond. And
• 19:46
  Speaker 1: that specific part of the character, which I don't think
• 19:49
  Speaker 1: is how the cartoon even looks, Like why they give
• 19:52
  Speaker 1: him these like flirtatious I don't know. I've had PMS
• 19:57
  Speaker 1: for five hundred days. Maybe maybe it was it's word
• 20:00
  Speaker 1: flirtatious and I'm just like fully removed from reality. I
• 20:05
  Speaker 1: don't know, though, because there are so many examples of
• 20:09
  Speaker 1: people seeing an animated fox in a kids movie and
• 20:14
  Speaker 1: it making them very horny because the Disney robin hood
• 20:19
  Speaker 1: is like, is a sexual awakening for a lot of people?
• 20:24
  Speaker 1: Isn't that like a famously furry like cornerstone? Yeah? Really yeah,
• 20:30
  Speaker 1: this has a good furry cornerstone that I didn't know
• 20:33
  Speaker 1: that that's wild. And then also like, I know, fantastic
• 20:37
  Speaker 1: Mr Fox. People get all all foamed up for for
• 20:40
  Speaker 1: that fox as well. I get it, but let's not
• 20:43
  Speaker 1: get into it too much. None of us want to
• 20:45
  Speaker 1: discover that tonight. No, but like swipers on screen and
• 20:50
  Speaker 1: there were moments where it's like, is this a date?
• 20:53
  Speaker 1: You know, like this is this is wild? Okay, it's
• 21:00
  Speaker 1: his voice, Yes, doesn't hurt? Does not hurt? I also
• 21:04
  Speaker 1: completely forgot the part of what was satisfying about this
• 21:07
  Speaker 1: movie when it came out was the just like when
• 21:09
  Speaker 1: you first see the trailer and you're like, that's so
• 21:12
  Speaker 1: many famous people for what this movie appears to be.
• 21:15
  Speaker 1: You're like the and Danny Traho as Boots, and you're like,
• 21:19
  Speaker 1: huh what because Boots in the Calan in the cartoon,
• 21:23
  Speaker 1: Boots is like a five year old. It's like Boots
• 21:26
  Speaker 1: that's funny. Certainly not an adult man, much less Danny
• 21:30
  Speaker 1: Trail like. Anyways, I love that scary looking boots. Okay,
• 21:34
  Speaker 1: So we meet scary Boots and other of Dora's sidekick characters.
• 21:40
  Speaker 1: We meet Dora's mom and dad, her mom Lena played
• 21:45
  Speaker 1: by Eva Longoria and her dad Cole, played by Michael Penia,
• 21:49
  Speaker 1: who famously, Chucky Cheese is favorite actor, also famously a scientologist.
• 21:55
  Speaker 1: Those are my Painia facts. Michael is a scientologist. Yeah, yeah,
• 22:00
  Speaker 1: he's pretty. He's not like a super like public like
• 22:06
  Speaker 1: you know, Tom cruising around about it scientologist, but he's
• 22:09
  Speaker 1: definitely a scientologist who. In one of my favorite YouTube
• 22:13
  Speaker 1: videos of all time, Chuck E. Cheese interviewed Michael Pania
• 22:17
  Speaker 1: on his channel he never interviewed anyone, and then out
• 22:21
  Speaker 1: of nowhere, he was like, today, I have an interview
• 22:24
  Speaker 1: with my favorite actor, Michael Pania. It was to promote
• 22:28
  Speaker 1: Tom and Jerry, another Michael Pania movie with a lot
• 22:32
  Speaker 1: of bad c G. I huh, okay, Michael pan your
• 22:38
  Speaker 1: rocks And that's literally everything I know about him all
• 22:41
  Speaker 1: in a row. I'm learning so much about Michael Pena right. Okay,
• 22:47
  Speaker 1: So Dora's parents are professors archaeologists, maybe not super clear
• 22:55
  Speaker 1: what their exact jobs are, but they're professors of some
• 22:59
  Speaker 1: sort explorers and they're explorers, right, not treasure hunters, but
• 23:05
  Speaker 1: we'll get to that. So they tell Dora and Diego
• 23:09
  Speaker 1: about the legend of Pata, a lost Incan city of gold,
• 23:14
  Speaker 1: which Elena and Cole are trying to find. But again,
• 23:18
  Speaker 1: they don't intend to keep the gold because they make
• 23:21
  Speaker 1: the distinction between explorers and treasure hunters, where explorers equals good,
• 23:26
  Speaker 1: treasure hunters equals bad. So it feels like they're working
• 23:30
  Speaker 1: more in like a historian, like documenting history. Yeah, right,
• 23:36
  Speaker 1: which is I've never heard that distinction made in this
• 23:38
  Speaker 1: genre before ever. True, it feels very like self aware
• 23:42
  Speaker 1: in that regard, right, which is, you know, pretty interesting
• 23:46
  Speaker 1: giving the fact that like even even very recent adventure
• 23:50
  Speaker 1: movies make a lot of mistakes in that regard, including
• 23:54
  Speaker 1: one that came out recently A k Uncharted, which sucked,
• 24:00
  Speaker 1: And then at the time of this recording, The Lost
• 24:03
  Speaker 1: City starring Sandra Bullock and Channing Tatum has not yet
• 24:06
  Speaker 1: been released. But I would be surprised, honestly if it
• 24:12
  Speaker 1: makes any of those distinctions and is very self aware.
• 24:16
  Speaker 1: We'll see, but anyway, the next day, Dora has to
• 24:21
  Speaker 1: say goodbye to cousin Diego, who moves back to the States.
• 24:26
  Speaker 1: Then we cut to ten years later. Dora, now played
• 24:29
  Speaker 1: by Isabella Mer said, who was I think Isabella Monir.
• 24:35
  Speaker 1: At the time, she is running around the jungle, she's
• 24:40
  Speaker 1: still exploring, she's talking to animals, she's talking to the camera,
• 24:45
  Speaker 1: and she is looking for Pata pata. She is so wonderful.
• 24:51
  Speaker 1: Her performance was giving me Amy Adams an enchanted, like
• 24:56
  Speaker 1: it was so like cartoony, but also are like grounded
• 25:00
  Speaker 1: enough and like she's just like lights up everything. She said,
• 25:04
  Speaker 1: I loved her. I've never I've never seen this actress
• 25:07
  Speaker 1: before and I just fell in love with her same.
• 25:09
  Speaker 1: That is a very good comparison because it is it
• 25:11
  Speaker 1: is kind of feel like like that kind of like
• 25:14
  Speaker 1: satire that doesn't really get mean. It's very like we're
• 25:19
  Speaker 1: having fun with the character without having to, you know,
• 25:22
  Speaker 1: make like cheap jokes about it. It's very very sincere
• 25:25
  Speaker 1: in a way that makes it so enjoyable, right, especially
• 25:29
  Speaker 1: because it gets commented on a little later when Diego
• 25:34
  Speaker 1: after they've been in school for a little bit and
• 25:36
  Speaker 1: Diego is like, don't you see that? Like everyone's making
• 25:38
  Speaker 1: fun of you for the way you are, and she's like, yeah,
• 25:41
  Speaker 1: I see it, but like this is just who I am,
• 25:43
  Speaker 1: Like this is how I am, and I'm not gonna
• 25:47
  Speaker 1: stop being myself because other people don't like it. And
• 25:50
  Speaker 1: Dora was just very sweet. I think one of my
• 25:54
  Speaker 1: notes when watching the movie is I would die for Dora. Yeah,
• 25:59
  Speaker 1: she is such a sweetheart. And like I did, like
• 26:04
  Speaker 1: like that's something that again it's like, oh wow, you
• 26:06
  Speaker 1: really there's a bad version of this. There's a lot
• 26:09
  Speaker 1: of times in this movie where it could have gone
• 26:11
  Speaker 1: down a very like generic boring road where it's like
• 26:14
  Speaker 1: Dora has to change to fit into high school and
• 26:17
  Speaker 1: like Dora gets a makeover from Sammy to fit into
• 26:21
  Speaker 1: high school, but she doesn't change. She stays herself, wins
• 26:26
  Speaker 1: people over, and then all of a sudden, the high
• 26:28
  Speaker 1: school portion of the movie suddenly ends and it's a
• 26:31
  Speaker 1: different movie. Um, which was wild, but I was on
• 26:35
  Speaker 1: board a very gracious transition. She's kidnapped out of the
• 26:39
  Speaker 1: movie that started, and then a second movie starts. Hey
• 26:44
  Speaker 1: it works for me, Like yeah, okay, so she, like
• 26:49
  Speaker 1: her parents, is now looking for Patata, and she finds
• 26:52
  Speaker 1: a big clue, which turns out her parents already know
• 26:56
  Speaker 1: about and they already have plans to head to Peru
• 27:00
  Speaker 1: to find but they don't think Dora is ready to
• 27:03
  Speaker 1: come along, so they send her to live with her
• 27:08
  Speaker 1: aunt and uncle and cousin Diego in Los Angeles. Ever
• 27:13
  Speaker 1: heard of it? She goes to think of fictional silver
• 27:16
  Speaker 1: Lake High School? Yeah, called silver Lake High School? Is
• 27:20
  Speaker 1: it really called silver Lake High School in the movie?
• 27:23
  Speaker 1: I think so? Yeah. I love that they keep calling
• 27:25
  Speaker 1: it the city. It's like, if it weren't for the
• 27:28
  Speaker 1: map that they showed, like when she's flying, we wouldn't
• 27:31
  Speaker 1: really know. They just keep saying like, yeah, you know,
• 27:33
  Speaker 1: they moved to the city and they live in the
• 27:36
  Speaker 1: jungle right right. It feels very like tongue in cheek
• 27:39
  Speaker 1: to the way that the show would refer to places.
• 27:42
  Speaker 1: I don't know if it was a purpose, but it
• 27:45
  Speaker 1: always got a giggle out of me when they were like, yes,
• 27:48
  Speaker 1: in the city, Dora, welcome to the city, like they
• 27:52
  Speaker 1: didn't know where they want to shoot, right, Like I
• 27:54
  Speaker 1: I didn't think about the fact that could have been intentional,
• 27:57
  Speaker 1: Like in a reference to the show, because I was
• 27:59
  Speaker 1: just like, there's there's a lot of this movie that
• 28:02
  Speaker 1: is like kept extremely vague that you're just like why,
• 28:07
  Speaker 1: I mean, at least location wise, I was like, Okay,
• 28:10
  Speaker 1: I don't know, well you talk about it, but well
• 28:12
  Speaker 1: the way that like the first Indiana Jones movie, when
• 28:16
  Speaker 1: Indiana Jones is like stealing an artifact from indigenous people,
• 28:21
  Speaker 1: the text on the screen just says like South America,
• 28:25
  Speaker 1: and it's like, do you want to be more specific
• 28:29
  Speaker 1: where in South America? No, thank you to the South
• 28:33
  Speaker 1: American Jungle? What else do you want? Um? Okay? So um.
• 28:40
  Speaker 1: Dora is sent to live with cousin Diego in the
• 28:45
  Speaker 1: city a k a. Los Angeles, and specifically the neighborhood
• 28:49
  Speaker 1: of Silver Lake, which is one of the cooler neighborhoods
• 28:53
  Speaker 1: in Los Angeles. Is we got brunch, come on by.
• 29:00
  Speaker 1: I do miss Silver League. It's great, definitely one of
• 29:02
  Speaker 1: the one of the best neighborhoods. Okay. So, her parents
• 29:06
  Speaker 1: want Dora to go to the city and make friends,
• 29:10
  Speaker 1: but Dora doesn't know how to make friends. Then Dora
• 29:15
  Speaker 1: arrives in l A. She reunites with Diego, now played
• 29:20
  Speaker 1: by Jeff Wallberg. He who Okay, I was having a
• 29:25
  Speaker 1: crisis this whole. One of the things that bothered me
• 29:27
  Speaker 1: about my top two maybe complaints about the movie that
• 29:30
  Speaker 1: are silly are that Boots looks like shit and that
• 29:35
  Speaker 1: whoever is playing Diego is the worst actor I've ever seen.
• 29:38
  Speaker 1: I was like, why is this teen actor doing such
• 29:41
  Speaker 1: a bad job to the point where like I feel
• 29:43
  Speaker 1: like the music was doing heavy lifting for him sometimes
• 29:45
  Speaker 1: and I was like, oh, I guess he's sad um
• 29:47
  Speaker 1: but he was just like sitting there. He's Mark Wahlberg's nephew.
• 29:51
  Speaker 1: That is why he's bad at acting. And in the movie,
• 29:54
  Speaker 1: that's why his name is Jeff Wallberg. That's why his
• 29:57
  Speaker 1: name is Jeff Wallberg. Because all the they're young actors
• 30:01
  Speaker 1: in the movie are doing I think, I thought we're
• 30:03
  Speaker 1: doing a great job, Like they were really fun. They're
• 30:05
  Speaker 1: doing kind of these like theater kid performances that the
• 30:09
  Speaker 1: movie requires. And then you just have like this guy
• 30:12
  Speaker 1: who's like, Dora, I am cool. I am cool, Dora,
• 30:16
  Speaker 1: I'm the cool guy at school. And then he's like
• 30:19
  Speaker 1: I have a crush And I was like, why is
• 30:21
  Speaker 1: this kid so bad? It's because he's like weird nepotism.
• 30:25
  Speaker 1: At first, I thought you were implying that he was
• 30:27
  Speaker 1: bad because he was related to Mark Wahlberg. I mean,
• 30:32
  Speaker 1: I think that is the subtext. It's not it's not
• 30:36
  Speaker 1: his fault, but he's that his uncle is his uncle.
• 30:39
  Speaker 1: It is his fault that he's not doing a very
• 30:42
  Speaker 1: good job. We can't blame Mark on that one. No,
• 30:46
  Speaker 1: unfortunately we can't, but maybe we should. He's promoted from
• 30:49
  Speaker 1: manager at Wallburger's to being in this movie. I mean,
• 30:55
  Speaker 1: maybe we can blame Mark Wahlberg if Mark Wahlberg gave
• 30:58
  Speaker 1: him acting lessons, which I'm fine with. That headcanon is
• 31:03
  Speaker 1: explaining why Jeff is not very good. He um was
• 31:06
  Speaker 1: always talking as if he had like a bunch of
• 31:08
  Speaker 1: marbles in his mouth. There was like one line in
• 31:12
  Speaker 1: the Museum where I was like, Jeff, Jeff, we need
• 31:16
  Speaker 1: another take from Jeff, Like he was just like, oh
• 31:18
  Speaker 1: here we go, ageain like he's he's And then I
• 31:21
  Speaker 1: was like, maybe he's just doing too convincing of a
• 31:23
  Speaker 1: job of being a teen boy who's not interested, because
• 31:26
  Speaker 1: teen boys weren't interested. Mumble all day long. But I'm like, Jeff,
• 31:31
  Speaker 1: do you know the cameras on I just it was like,
• 31:35
  Speaker 1: I don't know, I there's I don't mean to tease it.
• 31:38
  Speaker 1: I just had to check to make sure that he's like, yeah,
• 31:40
  Speaker 1: he's like twenty six years old. Jeff, you did a
• 31:43
  Speaker 1: stinky job. But that's okay. You'll get other chances. You're nepotism, okay.
• 31:50
  Speaker 1: So Dora goes to her first day of high school.
• 31:53
  Speaker 1: She meets a couple fellow students, including Sammy played by
• 31:58
  Speaker 1: Madeline Madden, who needs she needs to be the smartest
• 32:02
  Speaker 1: person in the room, and who Diego thinks is mean
• 32:06
  Speaker 1: and awful. And we also meet Randy played by Nicholas
• 32:12
  Speaker 1: Comb Comby. I don't know how to say that name.
• 32:15
  Speaker 1: He has been beamed in from two thousand and five,
• 32:19
  Speaker 1: Like what is this kid's haircut is like Hannah Montana.
• 32:24
  Speaker 1: I was like, children don't have this haircut anymore. It
• 32:27
  Speaker 1: was just that was another fascinating element that just felt
• 32:30
  Speaker 1: very outside of time. He had the haircut that all
• 32:32
  Speaker 1: the characters in the fourth Harry Potter movie have. Yes, yes,
• 32:37
  Speaker 1: it's like bad Rupert Grint hair. Like it's what I'm sorry,
• 32:43
  Speaker 1: I don't know why I'm tearing these young men to shreds,
• 32:48
  Speaker 1: Like Jeff Wolberg, no talent. This kid's your p MS, Jamie,
• 32:52
  Speaker 1: it's this is how your PMS is manifested, just bullying
• 32:56
  Speaker 1: young actors. Oh yeah, well, anyways, so Randy is kind
• 33:02
  Speaker 1: of a like quote unquote nerdy kid who is really
• 33:04
  Speaker 1: into astronomy. Both he and Sammy are social misfits, as
• 33:10
  Speaker 1: is Dora, who is super friendly to everyone, but everyone
• 33:15
  Speaker 1: thinks that she's a dork. Even Diego is embarrassed of her,
• 33:20
  Speaker 1: especially at a dance where Dora dances all silly. I
• 33:25
  Speaker 1: love I love that they did not again, it's just
• 33:28
  Speaker 1: like this movie is so funny to be where it's
• 33:31
  Speaker 1: like they called there like more like dork. I'm like, okay,
• 33:34
  Speaker 1: we need to punch up. Do we get one punch
• 33:36
  Speaker 1: up writer on this like Dorca Like, but again, you know,
• 33:42
  Speaker 1: high school bullies, like in real life, can't come up
• 33:45
  Speaker 1: with anything much more clever than that. That is true.
• 33:49
  Speaker 1: I had I had a theory Like Nicholas Comb, the
• 33:52
  Speaker 1: haircut guy. I've looked at him. I was like, I
• 33:55
  Speaker 1: think he's secretly thirty years old, and that does happened?
• 34:00
  Speaker 1: I feel like there's always it happened on Hannah Montana,
• 34:03
  Speaker 1: where that was like a seventeen year old who was
• 34:06
  Speaker 1: like five hundred. It was like wild and he was
• 34:10
  Speaker 1: he was he was twenty seven when this movie came out. Okay,
• 34:14
  Speaker 1: so that's like euphoria casting kind of you know, not
• 34:17
  Speaker 1: to grass to grassy is appropriate. Wow, that's wild because Dora,
• 34:22
  Speaker 1: like the actress, is like twenty now I remember looking up,
• 34:25
  Speaker 1: so she must have been like seventeen when she Yeah, yeah,
• 34:29
  Speaker 1: I think she was like actually a teenager. And I
• 34:31
  Speaker 1: think the other three actors are a little bit older,
• 34:34
  Speaker 1: which is fine and like normal for movies. But I
• 34:36
  Speaker 1: was like, my big haircut guy is uh running on
• 34:40
  Speaker 1: his doctorate? And okay, alright. So we then get a
• 34:47
  Speaker 1: montage of Dora going to school. She's also corresponding with
• 34:51
  Speaker 1: her parents and tracking their journey through the rainforest on
• 34:56
  Speaker 1: her map, but then she stops hearing from her parents
• 35:01
  Speaker 1: and she grows concerned about that. Then, on a field
• 35:05
  Speaker 1: trip to the Natural History Museum, Dora, Diego, Sammy, and
• 35:09
  Speaker 1: Randy all end up in a group together and then
• 35:13
  Speaker 1: all four of them are kidnapped by some bad guys,
• 35:18
  Speaker 1: these mercenaries who are trying to find Dora's parents, who
• 35:22
  Speaker 1: they know will lead them to Patapata, so Dora and
• 35:27
  Speaker 1: friends although they're not friends yet. Dora and company are
• 35:31
  Speaker 1: taken to Peru, but then they're rescued by Alejandro played
• 35:36
  Speaker 1: by Eugenio Derbez, a friend of Dora's parents, allegedly right,
• 35:43
  Speaker 1: they are all running away from the mercenaries, but then
• 35:46
  Speaker 1: Swiper the fox voiced by Benicio del Toro steals doors map,
• 35:51
  Speaker 1: but Dora and friends are able to escape once again
• 35:55
  Speaker 1: and they set off to find doris parents. They find
• 35:59
  Speaker 1: doors parents her and her family's symbol painted on a
• 36:03
  Speaker 1: nearby tree. Their family symbol is also a red just
• 36:06
  Speaker 1: a circle. Again, I'm just like a second draft, please
• 36:10
  Speaker 1: that this looks like a place all there. I was like,
• 36:13
  Speaker 1: is this a hilarious joke, because it wouldn't. It's a
• 36:16
  Speaker 1: very funny joke if like their family symbol is just
• 36:19
  Speaker 1: a red circle and they keep calling it a loop
• 36:22
  Speaker 1: diegos like the red loop, right, the mirror notion that
• 36:27
  Speaker 1: Dora's family has like a symbol was very funny that too.
• 36:32
  Speaker 1: That got a huge laugh out of me the first
• 36:33
  Speaker 1: time when She's like my family symbol and I was like,
• 36:36
  Speaker 1: I laughed, like everyone has one. It couldn't be like,
• 36:40
  Speaker 1: oh look a survey marker. Oh look, no, it's my
• 36:44
  Speaker 1: family symbol. Was like, oh my god, I don't know
• 36:47
  Speaker 1: if that was meant to be a joke, but it
• 36:48
  Speaker 1: got a huge laugh out of me. It is funny.
• 36:50
  Speaker 1: And then the fact that the symbol it could just
• 36:53
  Speaker 1: have been there by accident, because it's such a nothing
• 36:56
  Speaker 1: like it's like my family symbol would be a little
• 37:00
  Speaker 1: cigarette in someone's back pocket, like it would be you
• 37:03
  Speaker 1: would know when it's my family symbol. But they're like
• 37:08
  Speaker 1: red circle. So they find that, and Dora and company
• 37:14
  Speaker 1: head into the rainforest on foot to follow their trail.
• 37:17
  Speaker 1: They find Dora's parents campsite, but it's been ransacked, but
• 37:22
  Speaker 1: then Boots the Monkey shows up and joins the group.
• 37:25
  Speaker 1: Then there's a scene where Sammy has to pooh, that's
• 37:31
  Speaker 1: the whole thing. And then suddenly a bunch of arrows
• 37:35
  Speaker 1: are being we're just gonna go past that. I mean
• 37:39
  Speaker 1: we I guess we can unpack the pool. There's a
• 37:41
  Speaker 1: whole song. There's a whole song, right, Okay. I kept
• 37:45
  Speaker 1: trying to be like, is this progressive or is this
• 37:48
  Speaker 1: just something that happens in the movie. I guess it's
• 37:51
  Speaker 1: like whatever. It's like, oh, in adventure movies, no one
• 37:55
  Speaker 1: ever takes a ship and isn't that interesting? And it's like, oh,
• 37:58
  Speaker 1: women taking a ship. You don't see movies very often.
• 38:01
  Speaker 1: But I'm like, but do I want to? I guess
• 38:03
  Speaker 1: not really, but but people really, like, really loved when
• 38:07
  Speaker 1: Melissa McCarthy pooped in Bridesmaids. They're like, wow, this is
• 38:10
  Speaker 1: the first for some people. That's how that scene changed
• 38:14
  Speaker 1: cinema because a lot of women, a lot of people
• 38:16
  Speaker 1: didn't know women pooped before that were that scene. Let
• 38:20
  Speaker 1: women poop in movies, but only she had to poop.
• 38:24
  Speaker 1: And then she was like, I haven't pooped for forty
• 38:26
  Speaker 1: eight hours, and I was like what, Like, they've only
• 38:30
  Speaker 1: been gone for like six hours, So it seems like
• 38:32
  Speaker 1: she's having like a separate no one else has to
• 38:38
  Speaker 1: poop the whole movie. So I think she was just
• 38:41
  Speaker 1: like she went on the field trip constipated. Yeah, and
• 38:45
  Speaker 1: I'm not sure she even gets to poop because as
• 38:49
  Speaker 1: soon as she starts pooping, then these arrows are shot
• 38:53
  Speaker 1: at the group and they have to run away. Let
• 38:55
  Speaker 1: women have dingleberries and okay, that okay, that's your subsect.
• 39:03
  Speaker 1: Of my movement let women poop. Yeah you say that,
• 39:08
  Speaker 1: and then I stand up. I'm like and another thing. Yeah,
• 39:17
  Speaker 1: I'll have a little poo left over. Well, she didn't
• 39:20
  Speaker 1: finish and she didn't have i mean toilet paper. Right. Yeah,
• 39:24
  Speaker 1: So we don't know what's going on with Sammy, but
• 39:27
  Speaker 1: she's thrown into a love. Yeah, before you know it,
• 39:30
  Speaker 1: she's in she's in love. She's got tickleberries, she's in love.
• 39:33
  Speaker 1: She's anything's possible in this movie. True. Okay, so all
• 39:40
  Speaker 1: these arrows are being shot at them, and Alejandro thinks
• 39:43
  Speaker 1: it's the Lost Guardians, whose mission it is to protect Patapata.
• 39:49
  Speaker 1: They managed to get away, they nearly cross paths with
• 39:53
  Speaker 1: the mercenaries, who are also now in the rainforest following
• 39:57
  Speaker 1: the map to try to find doors parents. So they
• 40:00
  Speaker 1: nearly cross paths with them, but then Dora and friends
• 40:03
  Speaker 1: head in a different direction toward an old opera house.
• 40:07
  Speaker 1: But oh no, they step into some quicksand and Alejandro
• 40:13
  Speaker 1: almost dies, but then the teens save him and just
• 40:18
  Speaker 1: don't really save him though the plot saves him because
• 40:21
  Speaker 1: it actually was quicksand that just fell into regular sand.
• 40:26
  Speaker 1: It was like a ledge yeah right, yeah, but they
• 40:29
  Speaker 1: pulled him out from beneath, and then scorpions have sex
• 40:33
  Speaker 1: on his head. Did you say that? I did not
• 40:36
  Speaker 1: say that. That feels worth men. Scorpions do have sex
• 40:40
  Speaker 1: on his head. This is a pig movie, Dore excitingly saying, like,
• 40:46
  Speaker 1: the scorpions are mating. They're mating, but then when you
• 40:50
  Speaker 1: look at them, they're just kissing the scorpions. Yeah, they're
• 40:53
  Speaker 1: they're fucking french in each other. There. So they get
• 40:58
  Speaker 1: out of the quicksand situation, and and then they cross
• 41:01
  Speaker 1: paths with an old woman who tells them which right,
• 41:07
  Speaker 1: who tells them in the indigenous language of Quetchua, Yeah,
• 41:12
  Speaker 1: that anyone who is seeking pat is a curse, or
• 41:17
  Speaker 1: like we'll be cursed, or I forget exactly what it is.
• 41:21
  Speaker 1: But then she offers to guide anyone who wants to
• 41:24
  Speaker 1: go back home. So Sammy and Randy say goodbye to
• 41:27
  Speaker 1: the rest of the group and set off with the
• 41:30
  Speaker 1: old woman. But then they notice a tattoo of the
• 41:34
  Speaker 1: symbol of the Lost Guardians, which is far more intricate
• 41:38
  Speaker 1: than the Dora family symbol, which is again just a circle.
• 41:45
  Speaker 1: What if she also had a red circle, I'd be like, Wow,
• 41:49
  Speaker 1: she's part of doors family. But you see a milk cap,
• 41:53
  Speaker 1: You're like, wow, red circle. They must know, Dora, I'm
• 41:58
  Speaker 1: gonna get that tattooed on me, just red circle. And
• 42:00
  Speaker 1: then we're like, what is that. I'm like, Dora's family
• 42:03
  Speaker 1: will understand. Yeah, yeah, if you know, you know exactly.
• 42:08
  Speaker 1: So they see this tattoo on the old woman's wrist
• 42:11
  Speaker 1: and they freak out and they run back towards the others. Meanwhile, Dora, Diego,
• 42:16
  Speaker 1: and Alejandro make their way through this patch of giant flowers,
• 42:21
  Speaker 1: which release hallucinogenic spores that make them just completely trip balls.
• 42:28
  Speaker 1: The movie becomes animated for a few minutes. It's like
• 42:31
  Speaker 1: jet Apod and something like you're You're like, it's like
• 42:36
  Speaker 1: a Seth Rogan movie for like a minute. I like that,
• 42:39
  Speaker 1: say that was fun. I loved it. It was a
• 42:41
  Speaker 1: cute way of inserting all the like the show arts
• 42:44
  Speaker 1: because it's animated in this time of the show right right,
• 42:47
  Speaker 1: and they feature all the characters that they didn't make
• 42:49
  Speaker 1: it to a live action bit and it's just yeah,
• 42:53
  Speaker 1: and like the the iguana and like it was just
• 42:56
  Speaker 1: very it was just very cute in a very non
• 42:59
  Speaker 1: cute context. I guess right. It was like doors tripping
• 43:05
  Speaker 1: and suddenly it's like the animated show is like sure
• 43:10
  Speaker 1: because they just wanted to get that in there. Yeah,
• 43:12
  Speaker 1: I'm wondering if they're like, oh, let's like pay homage
• 43:16
  Speaker 1: to the animated show, how can we do that? What
• 43:18
  Speaker 1: if the characters trip balls and hallucinate that they're all animated?
• 43:23
  Speaker 1: This movie is so wild, Like I just it did
• 43:27
  Speaker 1: remind me how like I feel like this was true
• 43:30
  Speaker 1: when we were kids as well, but like how Nickelodeon
• 43:34
  Speaker 1: they were just always doing weirder stuff and you could
• 43:37
  Speaker 1: always count on a Nickelodeon cartoon to have stuff that
• 43:41
  Speaker 1: was like slightly not appropriate for children anyway, like Disney
• 43:46
  Speaker 1: uh simply didn't. So they're like, Okay, we're gonna make
• 43:49
  Speaker 1: our protagonists a teenager who's on drugs, and you're like, cool,
• 43:53
  Speaker 1: it's Euphoria. There are actually goes to you for your
• 43:57
  Speaker 1: high school that would have been that such it goes?
• 44:00
  Speaker 1: Does you I haven't seen Euphoria? Does it take place
• 44:02
  Speaker 1: in Los Angeles? I think so that would be pretty sure.
• 44:05
  Speaker 1: So funny if they had the movie with this tone,
• 44:08
  Speaker 1: they're like, oh, she's not in Euphoria, But they all
• 44:11
  Speaker 1: God did the same my school, and Dora's just dealing
• 44:14
  Speaker 1: with some very different problems. They're actually they're kind of
• 44:17
  Speaker 1: comparatively very innocent. That would be. I have seen the
• 44:20
  Speaker 1: first episode and a half of Euphoria. It's such a
• 44:24
  Speaker 1: heavy show that I like just could not keep watching.
• 44:28
  Speaker 1: But I'm pretty sure, Yeah, they live in the valley,
• 44:31
  Speaker 1: So put Dora in that show. It would she really?
• 44:35
  Speaker 1: You know? I again, I don't. I don't watch the
• 44:37
  Speaker 1: show because I I like one of the teenagers in
• 44:41
  Speaker 1: this movie. I'm five years old, But but I think
• 44:44
  Speaker 1: it would be. I think she would bring some much
• 44:45
  Speaker 1: needed levity. I agree, I agree. Yeah, Okay, So they're
• 44:50
  Speaker 1: all tripping and then Sammy and Randy find Dora and
• 44:54
  Speaker 1: Diego and Alejandro again, and then they all set off
• 44:59
  Speaker 1: to find the entrance of Pata Pata, but they then
• 45:03
  Speaker 1: fall into an aqueduct that starts filling with water. They
• 45:08
  Speaker 1: figure out how to escape that, and right then Dora's
• 45:12
  Speaker 1: parents find them and Dora explains why they're there and
• 45:18
  Speaker 1: the Alejandro rescued them, and her parents are like, we
• 45:22
  Speaker 1: don't know anyone named Alejandro, because twist, Alejandro is a
• 45:27
  Speaker 1: bad guy who is working with the mercenaries who right
• 45:31
  Speaker 1: then show up and capture Dora and her friends and parents.
• 45:35
  Speaker 1: That was very weird to me, like it was for
• 45:38
  Speaker 1: a twist that it's kind of obvious, Like it took
• 45:40
  Speaker 1: me by surprise the first time I saw it, because
• 45:43
  Speaker 1: I'm used to little bit as being kind of like
• 45:46
  Speaker 1: just like the funny sidekick. Like to me, he's just
• 45:49
  Speaker 1: to me, he's just Donkey from Shrek. Yeah, he does
• 45:53
  Speaker 1: the Spanish voice for Donkey, so whenever I hear him,
• 45:57
  Speaker 1: it's just like, that's just Donkey. And then we he
• 46:00
  Speaker 1: was the bad guy. Was like, oh my god, they
• 46:02
  Speaker 1: made a bad guy. Like I felt betrayed just like that.
• 46:08
  Speaker 1: I mean, there's also so much foreshadowing because right after
• 46:10
  Speaker 1: he's rescued from the quicksand he's like, I'm a bad guy.
• 46:14
  Speaker 1: I'm such a bad guy, and he's basically just telling
• 46:17
  Speaker 1: you that he's the bad guy, and the door was
• 46:19
  Speaker 1: like no, no, no, no, no, no, you're not. We
• 46:21
  Speaker 1: all feel like that sometimes that was Dora's one fumble.
• 46:25
  Speaker 1: But then I was like, she's an explorer, she's not
• 46:27
  Speaker 1: a journalist, so right, I can't believe that didn't that
• 46:32
  Speaker 1: didn't chew me in. I was gasped the first time around.
• 46:37
  Speaker 1: I was like, what that twist took me by so
• 46:40
  Speaker 1: much surprise when I saw it in theater. Really, yeah, guys,
• 46:46
  Speaker 1: He's like, I'm a friend of your prayers, but you've
• 46:48
  Speaker 1: never heard of me. Also, I'm wearing the scarf that
• 46:50
  Speaker 1: the villain of the movie always wears. He's wearing He's
• 46:53
  Speaker 1: wearing a next scarf. Look, no, it's always wearing next scarf. True.
• 46:58
  Speaker 1: In Paddington too, he wears a cravat. Yes, okay. So
• 47:06
  Speaker 1: they see Patapata often the distance, but before they get
• 47:09
  Speaker 1: to the entrance, Boots shows up and unties the teens
• 47:13
  Speaker 1: and they're able to escape, but they need to get
• 47:16
  Speaker 1: into Patapata so that they can get the gold and
• 47:19
  Speaker 1: use it to bargain for Dora's parents lives. And then
• 47:24
  Speaker 1: that's when we get the fund scene where Boots actually
• 47:27
  Speaker 1: talks to Dora. Boots is voiced by Danny Trayho. This no,
• 47:35
  Speaker 1: Boots is voiced by Danny Treyho. He I thought it
• 47:39
  Speaker 1: was so funny, but also the fact that Boots is
• 47:42
  Speaker 1: the one giving I was like, is Dora still on drugs?
• 47:46
  Speaker 1: Is this something that's still and he tells her like
• 47:50
  Speaker 1: friendship is important and growing up is is goals, and
• 47:55
  Speaker 1: you go girl boss and they never speaks again. I
• 47:58
  Speaker 1: liked it. It's comedy comedy. The real gold in this
• 48:02
  Speaker 1: movie is the comedy. I think we can all agree
• 48:05
  Speaker 1: that is true. It is surprisingly funny movie in terms
• 48:09
  Speaker 1: of how smart the humor is. It's just it's just
• 48:13
  Speaker 1: very rarely did they go for like a very obvious
• 48:15
  Speaker 1: joke except for the poophole. I wouldn't even call that obvious,
• 48:19
  Speaker 1: but that was still subversive. That was it was. It
• 48:22
  Speaker 1: was just a weird choice, right, That was intellect. That
• 48:25
  Speaker 1: was an intellectual I kind of expected that kind of
• 48:29
  Speaker 1: humor when I found out that it was directed by
• 48:32
  Speaker 1: James Bobbin, who directed The Muppets the two two eleven
• 48:37
  Speaker 1: reboot that I adore, and I feel like that takes
• 48:41
  Speaker 1: that same kind of like half joking but very sincere
• 48:44
  Speaker 1: approach to it's I P. And I was very pleasantly
• 48:49
  Speaker 1: surprised when watching this that I was like, oh my god,
• 48:51
  Speaker 1: they he managed to keep that same tone. It's just
• 48:55
  Speaker 1: just very fun. When they reboots don't feel the need
• 48:59
  Speaker 1: to like make fun of the I p to be like,
• 49:01
  Speaker 1: oh we get that there's a silly uh, we're making
• 49:05
  Speaker 1: fun of it with you. It's just very Yeah, I agree.
• 49:08
  Speaker 1: The real gold is the comedy. Thank you, thank you
• 49:11
  Speaker 1: so much. Um uh. James Bobbin also wrote for Fled
• 49:16
  Speaker 1: the Concords. I believe so lots of good humor here anyway. So,
• 49:22
  Speaker 1: after solving an astronomy based jungle puzzle, the teams are
• 49:29
  Speaker 1: able to open the entrance to Patapata. They go into
• 49:34
  Speaker 1: a temple. They have to solve some more jungle puzzles.
• 49:39
  Speaker 1: There are various booby traps and dangers along the way.
• 49:43
  Speaker 1: Then they come upon a couple of piles of treasure
• 49:46
  Speaker 1: and the last puzzle they have to make an offering
• 49:49
  Speaker 1: to the gods via a small golden monkey statue. And
• 49:54
  Speaker 1: then the offering has to be what the incas revered
• 49:58
  Speaker 1: the most. So all I hun Row shows up and
• 50:01
  Speaker 1: he thinks the answer is gold, so he makes an
• 50:03
  Speaker 1: offering of gold, but he's wrong, and the ground opens
• 50:08
  Speaker 1: up beneath him and swallows him. Except he doesn't die
• 50:11
  Speaker 1: because it's a kid's movie. Yeah, so he's just kind
• 50:15
  Speaker 1: of hanging. Although this does feel like a movie that
• 50:18
  Speaker 1: is like wild enough and enough, like surprising thing happened.
• 50:22
  Speaker 1: Things happened that I was I was prepared for someone.
• 50:24
  Speaker 1: I mean, not like a main character, but I'm like,
• 50:26
  Speaker 1: someone can die in this movie. Someone. I don't know why.
• 50:30
  Speaker 1: When I rewatched this, I had the vague idea that
• 50:33
  Speaker 1: Swiper had died, and then I was like, and then
• 50:38
  Speaker 1: I watched this, I was like, oh, maybe I imagined it,
• 50:41
  Speaker 1: but I don't know why. I didn't really was like, yes,
• 50:45
  Speaker 1: Whiper died in the door of a movie. It's very
• 50:47
  Speaker 1: It's just like and it's like, oh, no, I guess
• 50:51
  Speaker 1: I made that up. That's like the sort of thing
• 50:53
  Speaker 1: that where if you told me that, I wouldn't doubt
• 50:55
  Speaker 1: you for a second. And like, that's a lie that
• 50:58
  Speaker 1: that has some legs. Yeah, four legs, Swiper's legs. Whoa, Jamie,
• 51:06
  Speaker 1: thank you, I have PMF. So you keep saying okay.
• 51:16
  Speaker 1: So then the old woman from earlier shows up with
• 51:21
  Speaker 1: the Lost Guardians of Pata. The old woman turns out
• 51:25
  Speaker 1: to be a young inc and goddess question Mark I
• 51:32
  Speaker 1: thinks princess right. She's played by Coryannka Kilchure. Dora explains
• 51:40
  Speaker 1: to her that they are explorers, not treasure hunters. And
• 51:45
  Speaker 1: then Dora makes an offering to the monkey statue of water,
• 51:48
  Speaker 1: which is the correct answer, and then doors open to
• 51:52
  Speaker 1: reveal an enormous golden monkey statue. But then Swiper shows up,
• 51:59
  Speaker 1: who has not perished. He shows alive, and well, he's alive,
• 52:03
  Speaker 1: and well he shows up and swipes the little monkey statue,
• 52:10
  Speaker 1: and then all hell breaks loose, so they have to
• 52:12
  Speaker 1: rush out of Patapata. Dora puts the little monkey statue
• 52:16
  Speaker 1: back and then Patapata seals itself closed again. So then
• 52:21
  Speaker 1: Dora and her family and friends returned to their house
• 52:24
  Speaker 1: in We're not sure where, maybe so the map that
• 52:29
  Speaker 1: we see Dora leaving from, she's either in Columbia or
• 52:33
  Speaker 1: Brazil or like right on the border there she's in
• 52:37
  Speaker 1: the Amazon. I guess she's in the Amazon, right. So
• 52:41
  Speaker 1: they returned to her house there, and her parents invite
• 52:45
  Speaker 1: her on their next exploration, but Dora tells them she
• 52:50
  Speaker 1: wants to return to l A and learn more about
• 52:54
  Speaker 1: high school culture, that idea at Euphoria High. She wants
• 52:57
  Speaker 1: to go back to Euphoria High. That's the one thing
• 53:00
  Speaker 1: you don't do. Don't go back there. Horrible ship happens
• 53:04
  Speaker 1: that including a big song and dance number, which is
• 53:09
  Speaker 1: how the movie ends, where Dora and her friends are
• 53:13
  Speaker 1: singing and dancing about the adventure they were just on.
• 53:17
  Speaker 1: And that's the end of the movie. So let's take
• 53:22
  Speaker 1: another break and then we will come back to discuss
• 53:31
  Speaker 1: and we are back and where to begin. Yeah, I
• 53:36
  Speaker 1: think we didn't establish how hot Swiper was like enough, Yeah,
• 53:41
  Speaker 1: could we actually talk about that? I mean, I want
• 53:44
  Speaker 1: to make sure that we really are hitting on everything,
• 53:46
  Speaker 1: and I think that that is obviously the most relevant
• 53:49
  Speaker 1: of course of discussion here. Swiper. Look, Ciper is very hot,
• 53:53
  Speaker 1: not very I take back the very. Let's not get
• 53:59
  Speaker 1: ahead of ourselves. Let's let's you know, I'm going to
• 54:03
  Speaker 1: feel so differently about it tomorrow. Um anyway, um I was,
• 54:09
  Speaker 1: I am. I would love to sort of start this
• 54:11
  Speaker 1: discussion by talking about looking at this movie and and
• 54:15
  Speaker 1: looking at this genre for your video essay and kind
• 54:19
  Speaker 1: of taking us through through that journey and sort of
• 54:21
  Speaker 1: starting the conversation there. Yeah. Just like Caitlyn said, I
• 54:25
  Speaker 1: feel like I've always been also really into that lost
• 54:28
  Speaker 1: city kind of story. I mean, I grew up watching
• 54:31
  Speaker 1: Indiana Jones and uh, I remember watching the Road to
• 54:36
  Speaker 1: Eldorado a lot. But even though it didn't, I didn't
• 54:39
  Speaker 1: really like it. The El Dorado myth was originated here
• 54:45
  Speaker 1: in Colombia, so I always was like, oh, it's kind
• 54:49
  Speaker 1: of like Colombia, and I watched it a lot, even
• 54:52
  Speaker 1: though the movie does not take place in Colombia. It
• 54:55
  Speaker 1: is it is just like a very like Messo American aesthetic,
• 55:00
  Speaker 1: which is, you know, it's own thing. But I feel
• 55:03
  Speaker 1: like I always really loved adventure, and the more that
• 55:06
  Speaker 1: I started learning, you know, growing up and everything, I
• 55:09
  Speaker 1: really like, oh, it's always so uthering, like the adventure
• 55:13
  Speaker 1: genre almost by definition. And as I started to realize
• 55:18
  Speaker 1: that the uttering, like the object of the mothering was,
• 55:23
  Speaker 1: among other places, my country, it was even weirder. It
• 55:27
  Speaker 1: was kind of like, Oh, this thing that I've always enjoyed,
• 55:30
  Speaker 1: it's just like it has this like kind of like
• 55:33
  Speaker 1: dark underside. It's underside of things, make up words sometimes, underbelly,
• 55:40
  Speaker 1: side boob, whatever, underbelly. That's what I was thinking of
• 55:44
  Speaker 1: dark side. It has it has an underbelly, a dark
• 55:48
  Speaker 1: underbelly that I don't know that I was. I started
• 55:51
  Speaker 1: to get very curious about exploring. So you would you
• 55:55
  Speaker 1: say that you're you yourself are an explorer. Yes, Actually,
• 56:00
  Speaker 1: if you're exploring this topic, I am exploring the explorer's exploring.
• 56:06
  Speaker 1: Who explores the explorers, it's you. But who explores the explorers?
• 56:13
  Speaker 1: That explorer the explorers? And why is Swiper sexy? There's
• 56:20
  Speaker 1: so many questions that we need to answer here. Yeah, so,
• 56:25
  Speaker 1: I don't know, I mean, I just remember that that
• 56:27
  Speaker 1: as a little kid, like the thing that I always
• 56:29
  Speaker 1: said that I wanted to be when I grew up
• 56:30
  Speaker 1: with like adventurer, explorer, etcetera. So later, as a grown
• 56:36
  Speaker 1: up like kind of like investigating while that was so,
• 56:39
  Speaker 1: it drew me so much to it. And yeah, you
• 56:41
  Speaker 1: you run into all these like lost cities stories that
• 56:44
  Speaker 1: are kind of like these outsiders finding a culturally important
• 56:49
  Speaker 1: relic or place for this often extinct, sometimes hidden civilization,
• 56:57
  Speaker 1: and it just has all these like colonial bagage to it.
• 57:00
  Speaker 1: It's very like it's it's kind of like, you know, oh, yeah,
• 57:04
  Speaker 1: we we have to uncover this puzzle that was probably
• 57:08
  Speaker 1: not ours to solve and find this place. And you
• 57:12
  Speaker 1: get that in a lot of things, like you get
• 57:14
  Speaker 1: that in in the Road to Alorado, in all the
• 57:16
  Speaker 1: Indiana Jones movies in like National Treasure. I don't know,
• 57:21
  Speaker 1: and all in all these lost cities are like lost
• 57:25
  Speaker 1: treasure stories, and I guess I approached Dora and the
• 57:30
  Speaker 1: Lost City of Gold with a similar mindset. I was like, Oh,
• 57:34
  Speaker 1: it's probably gonna be like that. But it feels so
• 57:37
  Speaker 1: um aware, like we said, it's feel it feels very
• 57:40
  Speaker 1: self aware of how this is often an issue, and
• 57:43
  Speaker 1: it kind of like has it's like built in disclaimers
• 57:48
  Speaker 1: to kind of have like kind of like have its
• 57:50
  Speaker 1: cake and needed to. It's just like, oh, we get
• 57:53
  Speaker 1: to do like a fun adventure romp, but we also
• 57:56
  Speaker 1: get to do it, you know, without all that baggage,
• 57:59
  Speaker 1: which I don't think that's like very successful. I think
• 58:04
  Speaker 1: that kind of baggage is harder to get rid of,
• 58:06
  Speaker 1: but it is. It is very cool that we are
• 58:10
  Speaker 1: finding ways to tell these exciting, like lost city stories
• 58:13
  Speaker 1: that I really enjoy in ways that are more aware
• 58:17
  Speaker 1: of the context in which they exist, because you know,
• 58:21
  Speaker 1: like the City of Gold as a myth was kind
• 58:23
  Speaker 1: of made up by the Spanish and that propelled like
• 58:26
  Speaker 1: colonization across the Americas. So it is something that has
• 58:30
  Speaker 1: very specific historical baggage that is now kind of like oh,
• 58:35
  Speaker 1: fun little goal, fun little quests, and it's like yeah,
• 58:39
  Speaker 1: but but uh so, I don't know. I guess that's
• 58:43
  Speaker 1: what always draws me to this kind of story, is
• 58:45
  Speaker 1: that kind of approach that they will take and it's
• 58:49
  Speaker 1: just exciting, Like the jungle puzzles are fun, Randy. Randy
• 58:53
  Speaker 1: says that right, just like in the movie. So, yeah,
• 58:58
  Speaker 1: I don't know. I don't know if I answered your prompt.
• 59:04
  Speaker 1: I felt like I derailed at some point, not at all, No,
• 59:07
  Speaker 1: I I first of all, we're gonna link your video
• 59:11
  Speaker 1: in the description. It really is wonderful and like so
• 59:14
  Speaker 1: well done, and I did. I was. I was pleasantly
• 59:17
  Speaker 1: surprised by this again, just like a simple choice that
• 59:21
  Speaker 1: the movie makes that I thought was like a like
• 59:23
  Speaker 1: a lesser movie would have complicated needlessly. It's like all
• 59:27
  Speaker 1: of the kids are on the same page of being
• 59:30
  Speaker 1: anti colonial. They know it. They all agree to the
• 59:33
  Speaker 1: point where they're like citing very specifically examples of like
• 59:38
  Speaker 1: intense imperialism and colonialism as it pertains to adventure stories
• 59:42
  Speaker 1: where they're like, oh, yeah, you know, England, France, America,
• 59:45
  Speaker 1: like yeah that when when she says America and then
• 59:48
  Speaker 1: she says, like the United Fruit Company. I was like,
• 59:51
  Speaker 1: oh my god, I United Fruit Company mentioned in Dora
• 59:54
  Speaker 1: the Explore the movie. It was like, it was like,
• 59:57
  Speaker 1: who writing this movie was like, let's talk about corporative
• 1:00:01
  Speaker 1: colonialism in the Americas by way of a joke Indoor
• 1:00:06
  Speaker 1: the Explorer, Right, It's kind of amazing. Oddly the people
• 1:00:12
  Speaker 1: who wrote this movie where three white men, and then
• 1:00:16
  Speaker 1: also the director is a white guy, which does lend
• 1:00:21
  Speaker 1: itself to a few things about this movie that are
• 1:00:25
  Speaker 1: still trophy and like not very thoughtfully done. And we
• 1:00:30
  Speaker 1: can get to those in a moment. But one of
• 1:00:34
  Speaker 1: the reasons I liked this movie so much when I
• 1:00:36
  Speaker 1: first saw it is that it was such a departure
• 1:00:39
  Speaker 1: from you know, like the Indiana Jones movies that I
• 1:00:42
  Speaker 1: also grew up loving. But then once we unpacked one
• 1:00:46
  Speaker 1: of those movies on this podcast, I was like, oh
• 1:00:48
  Speaker 1: my god, like oopsies, my bad for loving this movie
• 1:00:52
  Speaker 1: so much. It's kind of it's kind of wild the stuff.
• 1:00:57
  Speaker 1: But the Indiana Jones movies get away with even the
• 1:01:00
  Speaker 1: latest one, yea and hopefully the fifth one is different.
• 1:01:04
  Speaker 1: But like, because I will be watching it, I'll go
• 1:01:06
  Speaker 1: see it at least twice. Yeah. Yeah, I mean it's
• 1:01:11
  Speaker 1: like I was going to watch it and then you
• 1:01:12
  Speaker 1: cast Phoebe walder Bridge, like I'm going to be there. Yeah,
• 1:01:16
  Speaker 1: but it's it's it is kind of it is kind
• 1:01:18
  Speaker 1: of I don't know, the things that they get away
• 1:01:22
  Speaker 1: with in Someone in the in those especially the Temple
• 1:01:25
  Speaker 1: of Doom and Crystals Call, it's just like yipes. Yeah.
• 1:01:30
  Speaker 1: So much of it is just I mean, like so
• 1:01:33
  Speaker 1: much of the genre, like you're like you're saying earlier,
• 1:01:36
  Speaker 1: Jose is just like to a point where I feel
• 1:01:39
  Speaker 1: like it's uniquely so ingrained in like anyone who grew
• 1:01:42
  Speaker 1: up with Hollywood movies that it took me, I think,
• 1:01:45
  Speaker 1: probably embarrassingly long to interrogate. I was like, oh, there
• 1:01:48
  Speaker 1: stealing from an indigenous culture and we're rooting for that
• 1:01:53
  Speaker 1: the whole movie. Like that is such an insidious, absurd
• 1:01:59
  Speaker 1: idea to to grow up with, to the point where
• 1:02:02
  Speaker 1: it even when I think we're having a lot of
• 1:02:05
  Speaker 1: larger cultural conversations, we weren't having, you know, ten twenty
• 1:02:09
  Speaker 1: years ago, there's still huge movies that can get away
• 1:02:12
  Speaker 1: with doing the same old ship like you were saying,
• 1:02:14
  Speaker 1: with that, was it a shitty Tom Holland movie that
• 1:02:17
  Speaker 1: came out Caitlin Oh starring Jeff Wahlberg's uncle as well,
• 1:02:22
  Speaker 1: that's what we should start calling him. God. Yeah, Dora
• 1:02:26
  Speaker 1: just feels like such a departure from this, not in
• 1:02:30
  Speaker 1: every single way, but in the way that again, as
• 1:02:33
  Speaker 1: you point out in your video, when it comes to
• 1:02:36
  Speaker 1: the El Dorado myth, and then you can extend this
• 1:02:39
  Speaker 1: to basically any movie about adventurers looking for any lost city,
• 1:02:44
  Speaker 1: any lost treasure, any lost relic, anything like that. These
• 1:02:48
  Speaker 1: stories are so steeped in imperialism and colonialism and asking
• 1:02:54
  Speaker 1: the audience to root for white explorers who are trying
• 1:02:57
  Speaker 1: to claim the treasure is their own, or at the
• 1:03:00
  Speaker 1: very least they're just showing up uninvited to other people's
• 1:03:04
  Speaker 1: homes and cities and territories and trespassing. And the indigenous
• 1:03:11
  Speaker 1: characters who the white characters are normally stealing from or
• 1:03:14
  Speaker 1: invading their space, are never the protagonists of these movies.
• 1:03:18
  Speaker 1: They're like aggressively troped and mothered and villainized and like
• 1:03:23
  Speaker 1: because it's also it's like even the way we use
• 1:03:27
  Speaker 1: the term explorer as it pertains to white protagonists, Like no,
• 1:03:30
  Speaker 1: they're colonizers. They're thieves, right, They're not good people, and
• 1:03:34
  Speaker 1: we should be rooting for them to funk each other
• 1:03:37
  Speaker 1: at the end of the movie. Like it's just so
• 1:03:41
  Speaker 1: obsert and frustrating. And the movie also does not frame
• 1:03:47
  Speaker 1: the indigenous people who they are trying to learn about either,
• 1:03:53
  Speaker 1: So that's you know, problem number one, where it's still
• 1:03:58
  Speaker 1: Dora and her friends who are largely non white, So
• 1:04:03
  Speaker 1: I guess there's that, But they're still invading the Lost
• 1:04:08
  Speaker 1: City and the people who still live there, who are
• 1:04:11
  Speaker 1: also again another trope here, but like magical mystical, Like
• 1:04:17
  Speaker 1: they are the only like magical aspect of the movie,
• 1:04:21
  Speaker 1: like before, I didn't notice that until the rewatch was like, oh,
• 1:04:25
  Speaker 1: there's no other magic other than the indigenous transformation and
• 1:04:30
  Speaker 1: the curse in the city before that, it's kind of like, yeah,
• 1:04:33
  Speaker 1: like that trope of the I don't know if magical
• 1:04:37
  Speaker 1: Indian quote unquote is a trope. I think like it
• 1:04:42
  Speaker 1: sounds like the name of a trope. It sounds like
• 1:04:44
  Speaker 1: the name of a trope. I just don't know if
• 1:04:46
  Speaker 1: it's like a term. I think I'm thinking of like
• 1:04:49
  Speaker 1: a similar trope when it comes to black characters. But
• 1:04:53
  Speaker 1: it does feel kind of like that thing where like
• 1:04:56
  Speaker 1: it's the contrast between like the the science explorers and
• 1:05:01
  Speaker 1: the magical indigenous, like the mystical indigenous, which is very routed,
• 1:05:08
  Speaker 1: and you know, you know that those kind of like
• 1:05:11
  Speaker 1: reasons for colonizing people. It's like, oh, well, they're doing
• 1:05:14
  Speaker 1: witchcraft and they're you know, we need to stop them.
• 1:05:18
  Speaker 1: Even the whole like hiding thing, it's like it's also
• 1:05:22
  Speaker 1: very rooted in this kind of here in Columbia. They
• 1:05:24
  Speaker 1: talk about this indigenous malice, which is like it's when
• 1:05:31
  Speaker 1: it's referred to like this habit of like you know,
• 1:05:34
  Speaker 1: like tricking and like hiding, and it's just that it's
• 1:05:39
  Speaker 1: a very very bad concept that people just mentioned a lot.
• 1:05:44
  Speaker 1: When I'm talking about how people white people here are
• 1:05:46
  Speaker 1: so sneaky, it's just, oh, you know, we inherited the
• 1:05:51
  Speaker 1: indigenous malice, and it's just like, mmm, I feel like,
• 1:05:54
  Speaker 1: you know, not wanting people to steal your things doesn't
• 1:05:57
  Speaker 1: mean that you're like hiding some thing that's not malicious.
• 1:06:02
  Speaker 1: So that brings me to another thing about this movie
• 1:06:05
  Speaker 1: and many movies in this genre, But Dora is still
• 1:06:08
  Speaker 1: guilty of it, and I Dora meaning the movie not
• 1:06:11
  Speaker 1: the specific character because did nothing. Dora is seven years old, Caitlin,
• 1:06:19
  Speaker 1: So this Dora movie is what I mean. But okay,
• 1:06:22
  Speaker 1: so think of like the eraws that the indigenous people
• 1:06:27
  Speaker 1: fire at Dora and her friends. Think of the aqueduct
• 1:06:30
  Speaker 1: that Dora and her friends get trapped in that belongs
• 1:06:33
  Speaker 1: to the indigenous people. I think of the various jungle
• 1:06:36
  Speaker 1: puzzles and booby traps and all that stuff that Dora
• 1:06:39
  Speaker 1: and her friends have to solve and get past. So
• 1:06:44
  Speaker 1: it's obviously completely understandable that these indigenous people would want
• 1:06:48
  Speaker 1: to protect their land and in their city and set
• 1:06:52
  Speaker 1: up defenses against people invading their space and stealing from them.
• 1:06:56
  Speaker 1: But these things are all presented as obstacles for Dora
• 1:07:00
  Speaker 1: and her friends to overcome, and from a storytelling perspective,
• 1:07:04
  Speaker 1: the audience is rooting against the obstacles and rooting for
• 1:07:09
  Speaker 1: the hero and her friends to overcome these obstacles. So
• 1:07:13
  Speaker 1: in this way, the Indigenous people are framed as an
• 1:07:16
  Speaker 1: antagonistic force the people and their defenses, right, So it's
• 1:07:22
  Speaker 1: it's so it's I it's so frustrated because it's like, yeah,
• 1:07:27
  Speaker 1: there're like moments where you're like, oh, the movie is
• 1:07:29
  Speaker 1: doing the thing that the movie is very self aware
• 1:07:31
  Speaker 1: that it shouldn't be doing. And I understand why. It's
• 1:07:35
  Speaker 1: like because these are so entrenched in what this genre is.
• 1:07:39
  Speaker 1: But it's like this movie gets around so much that
• 1:07:42
  Speaker 1: there is a way for that to not happen, because
• 1:07:45
  Speaker 1: I guess that that is like the trickier part of
• 1:07:48
  Speaker 1: I really like, like we were talking about, I really
• 1:07:51
  Speaker 1: appreciate and like, how immediately Evil Longoria, I don't know
• 1:07:56
  Speaker 1: the character's name. Evil Longoria is Evil Longoria is Eva Longoria.
• 1:08:00
  Speaker 1: But she says at the beginning of the movie, we
• 1:08:03
  Speaker 1: are not treasure hunters treasure she loses treasure hunting bad,
• 1:08:07
  Speaker 1: exploring good, which is like, okay, cool, but exploring also
• 1:08:13
  Speaker 1: seems to permit and involve like clearly just blowing past
• 1:08:18
  Speaker 1: boundaries right that are clearly set. I mean, I guess
• 1:08:22
  Speaker 1: that that's somewhat complicated by the fact that they're on
• 1:08:24
  Speaker 1: a rescue mission. But it's like, I don't know, it's
• 1:08:28
  Speaker 1: kind of like that the Indiana Jones thing about how
• 1:08:31
  Speaker 1: he's got he's good, he's the good exploring Indiana Jones
• 1:08:35
  Speaker 1: because he's like it belongs in a museum, you know,
• 1:08:38
  Speaker 1: he's not like he doesn't want to sell the things
• 1:08:41
  Speaker 1: for profit or anything. He wants to put it in
• 1:08:43
  Speaker 1: a museum. And that's like framed the good thing, but
• 1:08:46
  Speaker 1: like it's like you're deciding if that should be in
• 1:08:48
  Speaker 1: a museum that doesn't belong to you. It's not your
• 1:08:51
  Speaker 1: choice to make, right, Yeah, And it's a museum that's
• 1:08:54
  Speaker 1: like a shrine to imperial yeah exactly. And so here
• 1:08:58
  Speaker 1: it's kind of like, well we're exploring. It's like you're
• 1:09:00
  Speaker 1: encroaching upon other people's territory. And I get that they
• 1:09:05
  Speaker 1: think that this the city is abandoned and they're like
• 1:09:08
  Speaker 1: in an anthropological like mission to discover And it's like, Okay,
• 1:09:13
  Speaker 1: I guess that's understandable in a in a way of like, well,
• 1:09:16
  Speaker 1: you know, but you also don't have any like Inca
• 1:09:19
  Speaker 1: people around to help you. You know. The Inca people
• 1:09:23
  Speaker 1: are still there, right and want nothing to do with Dora,
• 1:09:27
  Speaker 1: Like it's yeah, when they discover that the guardians are
• 1:09:31
  Speaker 1: still like trying to save a guard the city and everything,
• 1:09:34
  Speaker 1: it's just kind of like, oh, okay, well, I guess
• 1:09:37
  Speaker 1: we should keep going there, exactly. Deal they're trying to
• 1:09:41
  Speaker 1: kill us with arrows but maybe we should just keep going.
• 1:09:45
  Speaker 1: And it's like, well, no, that's not the takeaway. Yeah,
• 1:09:48
  Speaker 1: it is a tricky thing that again it could be
• 1:09:51
  Speaker 1: like just like oh, we're working with Inca, you know, anthropologists,
• 1:09:56
  Speaker 1: and they also want to discover their city and something
• 1:10:00
  Speaker 1: like that, Like, this is not a problem that doesn't
• 1:10:02
  Speaker 1: have a solution. I think I always use as a
• 1:10:05
  Speaker 1: good example of what an adventure lost X thing could
• 1:10:10
  Speaker 1: look like is Mohanna, because it's just it's just kind
• 1:10:15
  Speaker 1: of like, oh, she's discovering something that belongs to her
• 1:10:19
  Speaker 1: own culture, and so she's going through this quest that
• 1:10:22
  Speaker 1: she has a personal connection to. So it's like, I'm
• 1:10:25
  Speaker 1: not saying that they should have made you know, Dora Inca.
• 1:10:29
  Speaker 1: I guess that would come with its own thing, especially
• 1:10:32
  Speaker 1: with no indigenous writers. They don't even have like Latin writers,
• 1:10:39
  Speaker 1: much less Native Americans in a in a more like
• 1:10:42
  Speaker 1: general way, not just the United States, like Indigenous Americans
• 1:10:47
  Speaker 1: from the two content from the Home. It's weird. It's
• 1:10:51
  Speaker 1: I still haven't figured out how to go around the
• 1:10:53
  Speaker 1: fact that people in the US called their country America.
• 1:10:57
  Speaker 1: It always it always provides a bit of a language
• 1:11:00
  Speaker 1: here for me, right, Yeah, I always try to say
• 1:11:03
  Speaker 1: the states, not that other countries don't have state Like
• 1:11:07
  Speaker 1: it's right, it's likes to call it the big old
• 1:11:12
  Speaker 1: piss pot, to call it the big toilet. I like
• 1:11:16
  Speaker 1: to call it the pooh hole, the pooh hole that
• 1:11:19
  Speaker 1: they dig for Sammy to poo in. That's what our
• 1:11:22
  Speaker 1: country is wild anyway, that's I mean, that's an excellent
• 1:11:28
  Speaker 1: I mean, that's an excellent point of just like a
• 1:11:31
  Speaker 1: way that you can keep the adventure story and ground
• 1:11:35
  Speaker 1: it in a way that isn't taking great pains to
• 1:11:38
  Speaker 1: other another culture, which the movie keeps telling you, and
• 1:11:42
  Speaker 1: we know we shouldn't be doing that. So then when
• 1:11:44
  Speaker 1: it starts to happen more and more like into the
• 1:11:47
  Speaker 1: second and then the third act, especially when Dora meets
• 1:11:52
  Speaker 1: the Ink and Princess, I guess, I mean, it's barely
• 1:11:55
  Speaker 1: a conversation. Dora is essentially just like no, I'm good it,
• 1:12:00
  Speaker 1: and the Incan Princess is like, oh okay, and like
• 1:12:04
  Speaker 1: that's kind of it. You're just like, no, no, no,
• 1:12:07
  Speaker 1: that's not what it's interesting because I don't know, I
• 1:12:14
  Speaker 1: feel like again, like I said, like the movie wants
• 1:12:16
  Speaker 1: to have it both ways. It wants to enjoy this
• 1:12:19
  Speaker 1: while also being more aware of it, which is the
• 1:12:23
  Speaker 1: thing that I want for it because I love the
• 1:12:24
  Speaker 1: adventure genre and I don't want it to die. You know,
• 1:12:28
  Speaker 1: it needs to evolve kind of like Westerns. It needs
• 1:12:31
  Speaker 1: to find something that's not colonialism to attach itself to.
• 1:12:35
  Speaker 1: And I think like part of where it begins is
• 1:12:38
  Speaker 1: to start treating the cultures around the object. It's like
• 1:12:41
  Speaker 1: real cultures and not just like set dressing. And I
• 1:12:45
  Speaker 1: feel like this movie gets so much of it right.
• 1:12:47
  Speaker 1: It's like very it's very kind of quote unquote faithful
• 1:12:52
  Speaker 1: to the idea that we have of the Incas in
• 1:12:55
  Speaker 1: that time, but at the same time, it's very like
• 1:13:00
  Speaker 1: gets a lot of stuff weirdly wrong. It uses a
• 1:13:03
  Speaker 1: lot of shorthand that is like, oh, I don't know
• 1:13:07
  Speaker 1: if you needed that. Like at one point in the
• 1:13:09
  Speaker 1: in the aqueduct thing when they're trying to escape it
• 1:13:11
  Speaker 1: or I don't know if it's the aqueduct. In one
• 1:13:13
  Speaker 1: of the jungle puzzles, there's the golden ratio, really the
• 1:13:18
  Speaker 1: golden ratio, and I was like, that's Greek, Like why
• 1:13:22
  Speaker 1: couldn't you find, like, you know, an inc and mark
• 1:13:25
  Speaker 1: of wisdom? It's just like a like knowledge. It's just
• 1:13:29
  Speaker 1: always yeah. It's like when in in other movies they're
• 1:13:34
  Speaker 1: in like South America, but you see like Mayan pyramids
• 1:13:39
  Speaker 1: and it's just like, no, yeah, that's not what this
• 1:13:44
  Speaker 1: architecture looks like. So like they have so much of
• 1:13:48
  Speaker 1: the oh, the astronomy thing that's pretty good, and it's like, yeah,
• 1:13:51
  Speaker 1: that's you're you're on the right path. But then they're like, oh,
• 1:13:56
  Speaker 1: they this movie does a lot better job than others
• 1:14:00
  Speaker 1: treating this is like an actual culture and not just
• 1:14:03
  Speaker 1: the generic South of the Border indigenous right, which is
• 1:14:08
  Speaker 1: always like colorful feathers and pyramids and gold right, which
• 1:14:14
  Speaker 1: is which is something we we discussed a little bit
• 1:14:16
  Speaker 1: in our Romance of the Stone episode because of the
• 1:14:19
  Speaker 1: many ways that that movie completely fumbles representing Colombian culture.
• 1:14:25
  Speaker 1: It's like what you're describing of the all over the place,
• 1:14:28
  Speaker 1: just lumping in everything other. They didn't shoot the movie
• 1:14:32
  Speaker 1: in Columbia, it was shot in Mexico. It's like just
• 1:14:35
  Speaker 1: all of this stuff that is not furthering a conversation
• 1:14:39
  Speaker 1: that needs to be happening among movie goers about, you know,
• 1:14:44
  Speaker 1: resisting this urge to lump every non white culture into
• 1:14:50
  Speaker 1: one villainous force, like it's just absurd. How yeah right, yeah,
• 1:14:55
  Speaker 1: it's this generic other it is like, yeah, that's them.
• 1:15:00
  Speaker 1: That's why indigenous people look like. And it's always like, oh,
• 1:15:05
  Speaker 1: if you're doing an adventure movie that is specifically about anthropologists,
• 1:15:09
  Speaker 1: I guess explorers, but I think they're probably anthropologists. They
• 1:15:14
  Speaker 1: seem to be bad at the actual like archeology aspect,
• 1:15:17
  Speaker 1: so they don't seem to know what their job title is,
• 1:15:22
  Speaker 1: which I'm just they're like, we're professors, Like okay, so
• 1:15:25
  Speaker 1: there are no professors of exploring right other than Indiana Jones.
• 1:15:30
  Speaker 1: I guess I guess that is true. I mean that
• 1:15:34
  Speaker 1: felt like more tongue in cheek where I'm like, wow,
• 1:15:36
  Speaker 1: these five year older like I explore, Um, it has
• 1:15:41
  Speaker 1: that same energy of the city the jungle, very like
• 1:15:45
  Speaker 1: it's kind of like a kid, like a kid kind
• 1:15:47
  Speaker 1: of wrote that. I like that. Exploring another thing I
• 1:15:53
  Speaker 1: wanted to talk about, and I'm I'm curious as to
• 1:15:57
  Speaker 1: what your thoughts are on is so for the ink
• 1:16:03
  Speaker 1: and Princess, who also has magical mystical powers because she
• 1:16:08
  Speaker 1: transforms from an old woman into a young woman. So like,
• 1:16:14
  Speaker 1: like we said, there's that kind of like trope of
• 1:16:16
  Speaker 1: like the mystical, magical Indian. I feel like there's also
• 1:16:22
  Speaker 1: maybe the stoic Indian stereotype at play here, and then
• 1:16:28
  Speaker 1: Indian just being a term to refer to indigenous people
• 1:16:32
  Speaker 1: in general. But I think that's the name of that trope.
• 1:16:36
  Speaker 1: But all this to say that this princess slash goddess character, again,
• 1:16:42
  Speaker 1: we know nothing about this person, so I don't even
• 1:16:44
  Speaker 1: know how to describe them or identify them, because that's
• 1:16:48
  Speaker 1: how little princess, right, Okay, not that we know that, yeah,
• 1:16:54
  Speaker 1: exactly from the movie and the movie it's just like
• 1:16:57
  Speaker 1: she she might as well be, you know, like the
• 1:17:00
  Speaker 1: security guard, very nicely addressed security guard. Right. So when
• 1:17:06
  Speaker 1: she's on screen, she's barely speaking, she's not really reacting
• 1:17:11
  Speaker 1: to anything that's happening. In this whole climactic sequence. These
• 1:17:15
  Speaker 1: intruders have come in, some of whom to steal the
• 1:17:19
  Speaker 1: treasures of the city, others too archaeologically document the city. Um,
• 1:17:28
  Speaker 1: they're just visiting. There's this tourists. She's really not reacting
• 1:17:33
  Speaker 1: at all, mostly just kind of standing there stoically and
• 1:17:38
  Speaker 1: totally permitting Dora to make this offering to the gods,
• 1:17:43
  Speaker 1: and it just confused me as to why if there
• 1:17:46
  Speaker 1: are these like lost guardians who have all these measures
• 1:17:51
  Speaker 1: to deflect intruders and all these like defense defensive things
• 1:17:59
  Speaker 1: exactly jungle puzzled to deter intruders, why then when they
• 1:18:04
  Speaker 1: do find when the intruders are there, is she just
• 1:18:08
  Speaker 1: like mm hmmm, go ahead. So I feel like there's
• 1:18:12
  Speaker 1: that stereotype at play. And either way, it's just an
• 1:18:17
  Speaker 1: example of the one Indigenous character with this Actually no,
• 1:18:22
  Speaker 1: because well Tomura Morrison shout out to that actor who
• 1:18:27
  Speaker 1: plays one of the mercenaries, who is Maori. We've talked
• 1:18:31
  Speaker 1: about him on the show before. He's an aquaman among
• 1:18:35
  Speaker 1: many other things. Oh yeah, he's and he's like Mona's bad,
• 1:18:38
  Speaker 1: isn't he? Yes, I have to double check that, but yes,
• 1:18:44
  Speaker 1: So he plays one of the mercenaries, which is also
• 1:18:46
  Speaker 1: weird casting to cast an Indigenous actor as one of
• 1:18:50
  Speaker 1: the people who is like trying to steal from Indigenous people.
• 1:18:55
  Speaker 1: This movie is too inclusive, like more in in his
• 1:19:00
  Speaker 1: mercenaries treasure hunting a right, right, that's not the representation
• 1:19:06
  Speaker 1: we need. You're like, who who's that representing? Like that,
• 1:19:10
  Speaker 1: who's that helping. Yeah, and I don't think I even
• 1:19:15
  Speaker 1: recognized him, but because he's usually like Boba Fette and
• 1:19:20
  Speaker 1: so he's got like a mask on. But yeah, so
• 1:19:23
  Speaker 1: that's weird casting. I guess I know him from being
• 1:19:26
  Speaker 1: as Dad, so I couldn't have recognizing from that either cartoon, right,
• 1:19:31
  Speaker 1: So anyway, this princess is um income. Princess is at
• 1:19:36
  Speaker 1: the very least someone who we don't know anything about,
• 1:19:40
  Speaker 1: which is just another part of this issue of these
• 1:19:43
  Speaker 1: stories never being told from the point of view of
• 1:19:46
  Speaker 1: the characters who are being invaded and stolen from or
• 1:19:51
  Speaker 1: just like you know, these these stories rarely center and
• 1:19:54
  Speaker 1: again like Mowana is one of these few examples of
• 1:19:58
  Speaker 1: an adventure story that you know does center an indigenous
• 1:20:02
  Speaker 1: character learning about her own history and heritage. But this
• 1:20:08
  Speaker 1: movie leans into too many of these tropes. Yeah, and
• 1:20:14
  Speaker 1: like you said, I the whole like stoic affect is
• 1:20:17
  Speaker 1: very It's like it's like in most and most of
• 1:20:20
  Speaker 1: these kinds of movies, like the indigenous women who women
• 1:20:23
  Speaker 1: tend to be either you know, very for lack of
• 1:20:27
  Speaker 1: a better word, very like slutty, I guess, very like sexualized,
• 1:20:33
  Speaker 1: totally available, I guess that's the better word. Found it
• 1:20:38
  Speaker 1: found it. It's just like the way that they're portrayed.
• 1:20:41
  Speaker 1: I'm just tends to be like very American slutty kind
• 1:20:46
  Speaker 1: of trope, or like the very stoic you know. It's
• 1:20:51
  Speaker 1: just kind of like I think, like Disneyspacajonda's kind of
• 1:20:55
  Speaker 1: is somewhere in between. She's very stoic, but she also
• 1:20:58
  Speaker 1: falls in love with this guy like very soon. She's
• 1:21:01
  Speaker 1: just like dressed differently. Yeah. Yeah, she's just wearing less
• 1:21:06
  Speaker 1: than any other Disney princess. Yeah. Yeah, so it's kind
• 1:21:10
  Speaker 1: of like that. I guess if you have to choose
• 1:21:13
  Speaker 1: between her being one or the other, I guess Stowe
• 1:21:16
  Speaker 1: gives the better option. But you know, she can also
• 1:21:19
  Speaker 1: be fun or angry or like, you know, more interesting
• 1:21:26
  Speaker 1: emotion than just like blank, right, but yeah, it is
• 1:21:31
  Speaker 1: kind of interesting. I mean, I guess we did see
• 1:21:33
  Speaker 1: her as the old lady, right, because she's like the
• 1:21:35
  Speaker 1: two characters, right, She's the old lady that they run
• 1:21:40
  Speaker 1: into that kind of warns them against it. Who is fun.
• 1:21:43
  Speaker 1: She's smashing things with rocks. That was like another trope
• 1:21:47
  Speaker 1: of like older woman, bad and scary and confusing, and
• 1:21:52
  Speaker 1: she don't know anything about her, but for some reason,
• 1:21:55
  Speaker 1: when she turns into a younger woman, you still know
• 1:21:58
  Speaker 1: nothing about her. But it's just but it's good. Now
• 1:22:01
  Speaker 1: you're like, because old women are bad. She's young and
• 1:22:06
  Speaker 1: hot now, so now we like her. Yea, So now
• 1:22:08
  Speaker 1: we're like, oh, I'm not afraid of her anymore. It
• 1:22:10
  Speaker 1: turns out I'm afraid of older women because kind of
• 1:22:16
  Speaker 1: like the beast, if you need the beast, Like, oh, sorry,
• 1:22:19
  Speaker 1: I didn't know you were a hot young sorceress, right,
• 1:22:22
  Speaker 1: I'm like, she's just fucking your life up like she's
• 1:22:28
  Speaker 1: and statistically, sexy people are more likely to ruin your life.
• 1:22:31
  Speaker 1: That's just a fact can confirm. Yeah, so it is,
• 1:22:36
  Speaker 1: it is. It is a very again. The the indigenous
• 1:22:39
  Speaker 1: portrayal in the movie is like, I guess, the most
• 1:22:41
  Speaker 1: confused aspect of it, the kind of like they keep
• 1:22:46
  Speaker 1: validating the indigenous claim over their own territory. They keep
• 1:22:49
  Speaker 1: saying like this is not ours. When you have to
• 1:22:52
  Speaker 1: return that Dora returns the gold that Swiper stole. It's
• 1:22:55
  Speaker 1: just kind of like Ciper is a colonizer, right, so
• 1:23:01
  Speaker 1: person call sir. In the credit song, they have that
• 1:23:06
  Speaker 1: monkey statue again, So apparently Doris family did steal it? Oh,
• 1:23:11
  Speaker 1: I thought that was just the one that they already had.
• 1:23:14
  Speaker 1: Oh did they already have one? Yeah, the one that
• 1:23:17
  Speaker 1: I think that's the one that Dora finds. Okay, okay, right,
• 1:23:21
  Speaker 1: was like that would be a huge mess. I thought
• 1:23:24
  Speaker 1: you were going to mention. I thought, for a second,
• 1:23:27
  Speaker 1: I thought you were mentioned. My one qualm with the
• 1:23:30
  Speaker 1: credits musical number is that they have to have that
• 1:23:33
  Speaker 1: very tired joke of like, oh, indigenous food grows, and
• 1:23:39
  Speaker 1: that they have that one bid in which they forced
• 1:23:42
  Speaker 1: the hand that the best to eat bugs, and it's
• 1:23:45
  Speaker 1: just always like right, there's like I can't believe we
• 1:23:48
  Speaker 1: haven't gotten rid of that. They even I don't think
• 1:23:51
  Speaker 1: a lot of people watch the Jungle Cruise movie Hello five.
• 1:24:00
  Speaker 1: I mean I watched it because I kind of love
• 1:24:02
  Speaker 1: the ride and I love that aesthetics. So I was like, oh,
• 1:24:06
  Speaker 1: maybe this will do something interesting like Dora Dead. No,
• 1:24:11
  Speaker 1: but they have this one moment in which they're like
• 1:24:14
  Speaker 1: at the and one of the indigenous like villages and
• 1:24:17
  Speaker 1: the guy's like, oh, this beer is very nice, and
• 1:24:21
  Speaker 1: then the Dwayne Johnson is like, that's massato, it's fermented
• 1:24:25
  Speaker 1: spit and you know, it's very much like the joke
• 1:24:28
  Speaker 1: of like, oh, indigenous food is girls, but like, guess what,
• 1:24:32
  Speaker 1: that's not what massato issat is one of the most
• 1:24:35
  Speaker 1: popular drinks here in Colombia, and it's not fermented spit.
• 1:24:39
  Speaker 1: And it's just like kind of like, why do you
• 1:24:41
  Speaker 1: feel the need to keep making that same joke over
• 1:24:44
  Speaker 1: and over again. It's like the Temple of Doom dinner seat, Yeah, exactly.
• 1:24:50
  Speaker 1: It's like, do you know what European z eats is? Like, yeah,
• 1:24:54
  Speaker 1: but I was about to say, I was like, meanwhile,
• 1:24:56
  Speaker 1: you got I'm just dunking on my own and Irish
• 1:25:00
  Speaker 1: is over and over it, but like canonically nastiest food
• 1:25:03
  Speaker 1: on the planet. I mean, we eat hot dogs. Hot
• 1:25:05
  Speaker 1: dogs are shut up there, and I love hot dogs. Yeah,
• 1:25:11
  Speaker 1: that's right, but it's ape My hot dogs book is
• 1:25:15
  Speaker 1: coming out about how awesome, No I'm kidding, guess about
• 1:25:17
  Speaker 1: how it's pretty fly, it's pretty fucked up and colonial.
• 1:25:23
  Speaker 1: Oh no, okay, I can't believe you would dunk on
• 1:25:28
  Speaker 1: hot dogs in front of me. Unfucking believable. I'm so sorry.
• 1:25:31
  Speaker 1: So one question that I had as I was watching
• 1:25:34
  Speaker 1: this movie that required going back to interrogate the source
• 1:25:40
  Speaker 1: text of Dora is. I guess Dora the Explorer is
• 1:25:45
  Speaker 1: a cartoon that started in two thousand. It was on Nickelodeon,
• 1:25:50
  Speaker 1: and specifically where Dora's heritages is never specified by the show.
• 1:25:57
  Speaker 1: And I was wondering, like, did I misremember that, like
• 1:26:00
  Speaker 1: is a certain culture referenced in regards to to Dora
• 1:26:04
  Speaker 1: and her family? Could you meet her family in the show?
• 1:26:06
  Speaker 1: You see her all the time. But I I went
• 1:26:09
  Speaker 1: back and did some research on it, and you do
• 1:26:12
  Speaker 1: not find out, um and I and I was wondering
• 1:26:14
  Speaker 1: how intentional that was? And it was extremely intentional, um,
• 1:26:19
  Speaker 1: going back to when this show was first developed. So
• 1:26:25
  Speaker 1: bear with me, uh very much to two white women
• 1:26:29
  Speaker 1: hosting this show. But there there's a really fascinating paper
• 1:26:33
  Speaker 1: I found by Ellen Berkman called Dora the Explorer, Latino
• 1:26:38
  Speaker 1: Dad and the Crisis of Identity in the Transition to Neoliberalism, which, honestly, like,
• 1:26:46
  Speaker 1: that's a mouthful. And I'm also like, this is the
• 1:26:48
  Speaker 1: ship that I like to read, Uh, like the same
• 1:26:52
  Speaker 1: you said that title, and I'm like, where do I
• 1:26:54
  Speaker 1: find this? It's a very good paper. I I only
• 1:26:57
  Speaker 1: read the first couple of sections. I read the first
• 1:27:00
  Speaker 1: twenty pages because the answer to the question is very
• 1:27:03
  Speaker 1: thorough and there's more shades of gray than what I
• 1:27:06
  Speaker 1: was expecting. What I expected was that Dorothy Explorer was
• 1:27:09
  Speaker 1: a show developed by white executives Drew that did what
• 1:27:14
  Speaker 1: a lot of adventure genres do, which is, you know,
• 1:27:17
  Speaker 1: take every single Latin culture and just turned it into
• 1:27:20
  Speaker 1: a extremely generalized culture without any specificity, which is what
• 1:27:26
  Speaker 1: happens with Dora. But the reason it happened because there's
• 1:27:30
  Speaker 1: there is another There's a great radio segment as well
• 1:27:34
  Speaker 1: on NPR called the Legacy of Doraty Explorer that came
• 1:27:36
  Speaker 1: out when this movie did. That unpacks the development of
• 1:27:40
  Speaker 1: the show, because Nickelodeon, for you know, all all of
• 1:27:44
  Speaker 1: their faults did at this time, especially in the early
• 1:27:47
  Speaker 1: two thousands, have by a long shot, the most diverse
• 1:27:51
  Speaker 1: slate of shows there. There was like quite a bit
• 1:27:55
  Speaker 1: of representation before this time at least, but all these
• 1:28:00
  Speaker 1: as were run by white executives, usually with consultants, which
• 1:28:04
  Speaker 1: is something we'd come up against in movies all the time,
• 1:28:06
  Speaker 1: of like why can't not a white guy direct this
• 1:28:10
  Speaker 1: movie instead of like we gotta have a white guy.
• 1:28:13
  Speaker 1: But we'll hire consultants. It's like, there there's a better
• 1:28:16
  Speaker 1: way to do this. But I wanted to quote from
• 1:28:18
  Speaker 1: this paper because that is a quality of Dora that
• 1:28:23
  Speaker 1: very much follows through to this movie. I don't think
• 1:28:26
  Speaker 1: that it's specified her country of origin. We just know
• 1:28:31
  Speaker 1: that she lives in the jungle, she moves to the city,
• 1:28:34
  Speaker 1: and she's from a Spanish speaking family. So this is
• 1:28:37
  Speaker 1: about the development of the original animated series. Quote. In
• 1:28:41
  Speaker 1: order to make Dora marketable to the widest possible audience,
• 1:28:43
  Speaker 1: Doris producers took the tact of rendering her as pan ethnic,
• 1:28:47
  Speaker 1: that is, the blurred lines of cultural and national identities,
• 1:28:50
  Speaker 1: in order to envelope as many Latin identifying communities in
• 1:28:54
  Speaker 1: Dora's Latini dad as possible. At the advice of historian
• 1:28:58
  Speaker 1: Carlos Cortes, Dora's creators decided to avoid specifying Dora's national origin. Instead,
• 1:29:05
  Speaker 1: they placed her in a fictional and unnamed world full
• 1:29:08
  Speaker 1: of mixed Latin signifiers which cannot be located on any map,
• 1:29:11
  Speaker 1: but recall real world locations and elements. Cortez argued that
• 1:29:15
  Speaker 1: this would allow all Latin children to see in Dora
• 1:29:18
  Speaker 1: a hero that they related to and we're proud of
• 1:29:20
  Speaker 1: while non Latin children could quote embrace someone different unquote,
• 1:29:25
  Speaker 1: Dora's creators enthusiastically admit to designing Dora according to this logic,
• 1:29:30
  Speaker 1: that is, to giving her what they call quote pan
• 1:29:33
  Speaker 1: Latino appeal unquote. Their phenotypical design decisions reflect the same intentionality.
• 1:29:39
  Speaker 1: For example, they changed Dora's eye color from green to
• 1:29:41
  Speaker 1: brown after content supervisor pointed out that the majority of
• 1:29:45
  Speaker 1: Latino's have brown eyes unquote. Though delocalizing, dehistoricizing, and despecifying
• 1:29:52
  Speaker 1: uh Dora's identity in these ways maybe a financially advantageous tactic,
• 1:29:56
  Speaker 1: it creates a glaring contradiction that destabilizes Dora's character when
• 1:30:00
  Speaker 1: partnered with her alleged quote unquote authenticity. To create a
• 1:30:03
  Speaker 1: pan athic stereotype of Latino Dad and then to label
• 1:30:06
  Speaker 1: it as authentic is to erase, reduce, essentialized, and fetishize
• 1:30:10
  Speaker 1: a multitude of national, cultural, ethnic, racial, historical, and linguistic identities.
• 1:30:15
  Speaker 1: And then to claim that the products still perfectly mirrors
• 1:30:18
  Speaker 1: reality unquote, which that totally scans for me. And then
• 1:30:25
  Speaker 1: on the other side of this very of this very
• 1:30:29
  Speaker 1: real reality, Okay, Jamie uh uh sounds like your PMS
• 1:30:35
  Speaker 1: is acting up again, that my pms make me forget
• 1:30:37
  Speaker 1: word um wow feminist podcast. Uh well, and well this
• 1:30:45
  Speaker 1: is true. On the other end of that, it sounds like,
• 1:30:49
  Speaker 1: based on this oral history that was put together that
• 1:30:52
  Speaker 1: one of the reasons that decision was intentionally made was
• 1:30:55
  Speaker 1: because Nickelodeon was going on the assumption that there was
• 1:30:59
  Speaker 1: only own to be one shell that would have a
• 1:31:03
  Speaker 1: Spanish speaking protagonist, and they wanted so there was like
• 1:31:06
  Speaker 1: almost a pressure to represent as wide a net of
• 1:31:10
  Speaker 1: of children as possible, because of course we're not going
• 1:31:13
  Speaker 1: to have two shows with Latin characters from a specific culture.
• 1:31:18
  Speaker 1: That would be ridiculous. And so it's it's a very
• 1:31:22
  Speaker 1: like early two thousand's style paradox. But I will link
• 1:31:27
  Speaker 1: the paper if if you if you want to dig
• 1:31:29
  Speaker 1: into it. It's a really really fascinating read that very
• 1:31:32
  Speaker 1: much like Unpacts. Like, while Dora was certainly a huge stride,
• 1:31:37
  Speaker 1: there is still a lot of marketing Hollywood over sanitized
• 1:31:42
  Speaker 1: bullshit attached to the franchise. Yeah, I the quote that
• 1:31:49
  Speaker 1: you read, I feel like, more concretely and more eloquently
• 1:31:53
  Speaker 1: than I ever could have put together, like a very
• 1:31:55
  Speaker 1: good idea that I like, that idea of that pane look,
• 1:32:01
  Speaker 1: that pan Latino aesthetic that is so popular in a
• 1:32:07
  Speaker 1: lot of Hollywood media. It's always kind of like a
• 1:32:10
  Speaker 1: one hand, it's like, oh, that's nice. I mean we
• 1:32:14
  Speaker 1: you know, I certainly did not grow up watching a
• 1:32:16
  Speaker 1: lot of Latino kids shows other than like, you know,
• 1:32:20
  Speaker 1: like ones that were made in Latin America. But you know,
• 1:32:25
  Speaker 1: I being a little kid, sometimes you like the cooler,
• 1:32:28
  Speaker 1: shinier foreign stuff better. I guess that's not an experience
• 1:32:32
  Speaker 1: that Americans have, but it is an experience that not
• 1:32:35
  Speaker 1: kids usually know. Yeah, exactly like I guess it's not
• 1:32:39
  Speaker 1: until like you're old enough to recognize that American booze
• 1:32:42
  Speaker 1: is not very good and you start looking for European one.
• 1:32:46
  Speaker 1: But Mike's hard lemonade, Mr Hard, Mr Hard lemonade with
• 1:32:51
  Speaker 1: like a word. I guess I was thinking of like Champagne.
• 1:32:57
  Speaker 1: I don't know. I drink. I only drink the cheapest
• 1:33:00
  Speaker 1: thing I can find, So I'm not a good I'm
• 1:33:03
  Speaker 1: not a very good reference for this. I don't know
• 1:33:05
  Speaker 1: why I chose that. Similarly, I need a drink um?
• 1:33:11
  Speaker 1: Are you also? Pms sing? I don't know mabe it
• 1:33:17
  Speaker 1: can be transmitted through contagious Uh. You know, ever since
• 1:33:27
  Speaker 1: I watched Turning Red, it's been, it's been, it's been
• 1:33:30
  Speaker 1: feeling very much like that. I forget what I was saying. Oh,
• 1:33:35
  Speaker 1: the pan Latino thing. Yeah, so you you grew up
• 1:33:39
  Speaker 1: wanting to watch for and stuff because you know, it
• 1:33:41
  Speaker 1: has like a better budget, it has like cooler things.
• 1:33:44
  Speaker 1: I don't know, it's like kind of like preferring Nickelodeon
• 1:33:46
  Speaker 1: or Disney Channel to like PBS Kids. I guess kind
• 1:33:50
  Speaker 1: of like that same thing applied to like, oh that country.
• 1:33:53
  Speaker 1: It just has a better budget, so those shows always
• 1:33:55
  Speaker 1: look nicer and stuff like that. So I guess I
• 1:33:59
  Speaker 1: grew up watching stuff about Latina people, but it was
• 1:34:02
  Speaker 1: more like Latina made content. And when he came to
• 1:34:05
  Speaker 1: like four and one is like, yeah, there's Dora and
• 1:34:07
  Speaker 1: there's um I'm drawing up link here about like TV
• 1:34:10
  Speaker 1: shows or something like that. I loved The Brothers Carcia.
• 1:34:14
  Speaker 1: That's a very specific early two thousand show that I
• 1:34:17
  Speaker 1: loved on Nickelodeon is The Brothers. I was. I'm only
• 1:34:20
  Speaker 1: remembering it because the show's about Latin kids and teenagers
• 1:34:24
  Speaker 1: were like heavily referred to in this paper. But the
• 1:34:28
  Speaker 1: Brothers Garcia was really fun. And then Tyina. Did you
• 1:34:30
  Speaker 1: ever watch Tina? No, I don't know what this is?
• 1:34:35
  Speaker 1: Was like the best. She was an Afro Latino girl
• 1:34:40
  Speaker 1: who lived in New York and went to like an
• 1:34:43
  Speaker 1: art high school, and she wanted to be a famous singer.
• 1:34:46
  Speaker 1: And it was everyone in middle school was like Tyin
• 1:34:50
  Speaker 1: as a hero. She had like a pink denim jacket.
• 1:34:52
  Speaker 1: It was very exacting. I don't think this show made
• 1:34:55
  Speaker 1: it here. I don't. I don't think I had heard
• 1:34:57
  Speaker 1: of it. I wonder how it holds up. Just remember
• 1:35:00
  Speaker 1: thinking Tina was the coolest, and um she was. She
• 1:35:05
  Speaker 1: also has played by the same actor who plays Lindsay
• 1:35:10
  Speaker 1: Lohan's bandmate and Freaky Friday. She plays like the goth
• 1:35:14
  Speaker 1: girl who's like, yeah, yeah, I really love her. She
• 1:35:19
  Speaker 1: is amazing. Yeah kind of on another side, So the
• 1:35:25
  Speaker 1: paper you cited obviously made a ton of amazing points
• 1:35:30
  Speaker 1: which extend to the Dora movie as well, because Dora
• 1:35:35
  Speaker 1: and her family's specific heritage is not identified. But as
• 1:35:41
  Speaker 1: I was looking for a specific review of this movie,
• 1:35:45
  Speaker 1: which is a whole other section that will get to
• 1:35:47
  Speaker 1: in a moment, but I was looking for a specific review,
• 1:35:51
  Speaker 1: and I thought it had been published in the l
• 1:35:53
  Speaker 1: A Times, So I just like googled, like l A
• 1:35:55
  Speaker 1: Times Dora and the Lost City of Gold review, hoping
• 1:35:59
  Speaker 1: that I would find it. I didn't, because it turns
• 1:36:01
  Speaker 1: out the review I was looking for was in the
• 1:36:03
  Speaker 1: Hollywood Reporter. But what I did find was like several
• 1:36:06
  Speaker 1: different articles in l A Times alone about Latin A
• 1:36:12
  Speaker 1: writers talking about how it was so meaningful for them
• 1:36:17
  Speaker 1: to see Dora and the Lost City of Gold just
• 1:36:21
  Speaker 1: for Latin a representation in a movie. So even though
• 1:36:25
  Speaker 1: it genericizes the culture and basically just says, oh, Dora
• 1:36:32
  Speaker 1: is obviously Latina because she speaks Spanish and other reasons
• 1:36:39
  Speaker 1: because like and again, there's no specific cultural things that
• 1:36:43
  Speaker 1: really get mentioned, so there's not a whole lot to
• 1:36:46
  Speaker 1: go on. But despite that, there were a lot of
• 1:36:50
  Speaker 1: people because I don't remember anyone talking about this movie
• 1:36:53
  Speaker 1: except for me when I saw it in theaters, Like,
• 1:36:56
  Speaker 1: I don't know if I just missed the Twitter conversation
• 1:36:59
  Speaker 1: about it. I think maybe just like people my like
• 1:37:03
  Speaker 1: our age weren't talking about it or what. But like,
• 1:37:06
  Speaker 1: it is also the kind of movie where it's like
• 1:37:09
  Speaker 1: the audience of this movie is a little unclear to me, Like,
• 1:37:12
  Speaker 1: I guess it's yes, it's adapting a show about a
• 1:37:15
  Speaker 1: seven year old turning her into a seventeen year old,
• 1:37:18
  Speaker 1: but she still acts like a seven year old. And
• 1:37:20
  Speaker 1: it's for a show that is like low key not
• 1:37:23
  Speaker 1: really on as much as it used to be, which
• 1:37:25
  Speaker 1: is a lot of like reboot culture issues where you're
• 1:37:28
  Speaker 1: like is this for me? If so, thank you? Like right,
• 1:37:33
  Speaker 1: it does feel like a family movie that like, it's
• 1:37:37
  Speaker 1: kind of like, yeah, if you're a kid who watched
• 1:37:39
  Speaker 1: the show, you'll enjoy it. But also if you remember
• 1:37:42
  Speaker 1: watching the show, you'll enjoy two because it's a little
• 1:37:45
  Speaker 1: bit grown up. Yeah, but I didn't they don't know
• 1:37:48
  Speaker 1: if they marketed that way. It was a very confusingly
• 1:37:53
  Speaker 1: made and marketed movie. And in regards to tone and audience,
• 1:37:56
  Speaker 1: it's like, I guess you just want to catch everyone. Yeah, fair.
• 1:38:01
  Speaker 1: I mean I enjoyed it as an adult. Kids probably
• 1:38:06
  Speaker 1: did too. So there was a bunch of fart jokes,
• 1:38:09
  Speaker 1: so an extended pood joke, I don't remember. I also
• 1:38:14
  Speaker 1: don't remember people talking about it though, right, no one
• 1:38:17
  Speaker 1: was talking about it, and if there was any conversation
• 1:38:22
  Speaker 1: about it. When it came out, I just kind of
• 1:38:24
  Speaker 1: missed it because I was the only one of my
• 1:38:26
  Speaker 1: friends who saw it in theater. Like no, like no
• 1:38:30
  Speaker 1: one was talking about it that I was aware of.
• 1:38:33
  Speaker 1: So anyway, so I was looking for a specific review
• 1:38:35
  Speaker 1: and I found all this other writing that had been
• 1:38:38
  Speaker 1: done about it that I just missed. But there was
• 1:38:42
  Speaker 1: a lot of appreciation for the movie. It's Latin a family.
• 1:38:47
  Speaker 1: Many of the main characters, voice actors included are Latin. Yeah,
• 1:38:53
  Speaker 1: so there's just it just like it is a story
• 1:38:56
  Speaker 1: about Latin a family and they're going on an an adventure,
• 1:39:01
  Speaker 1: and there was just a lot of excitement about that
• 1:39:04
  Speaker 1: as far as representation goes in a Hollywood movie. I
• 1:39:09
  Speaker 1: want to be clearance that that paper has written about
• 1:39:11
  Speaker 1: the animated series. That's not a criticism of the film
• 1:39:15
  Speaker 1: at all, but just that that was like a question
• 1:39:18
  Speaker 1: I had. That is something that was like carried over
• 1:39:20
  Speaker 1: into the movie. But I mean, I totally agree that
• 1:39:23
  Speaker 1: it's like I don't think it's a bad thing that
• 1:39:26
  Speaker 1: her going on an adventure isn't inherently connected to her culture.
• 1:39:31
  Speaker 1: That happens in adventure movies more often than not. I
• 1:39:35
  Speaker 1: guess the cool thing that I don't know if this
• 1:39:38
  Speaker 1: is what the writers that you were mentioning in the
• 1:39:40
  Speaker 1: article we're talking about, But I think it's cool that
• 1:39:44
  Speaker 1: you have this like Latino family at its core, which
• 1:39:47
  Speaker 1: if I were to guess, it's probably like a Mexican
• 1:39:51
  Speaker 1: American family, just because of the esthetics of like, oh,
• 1:39:55
  Speaker 1: they're like their life in l A. It feels very
• 1:39:58
  Speaker 1: kind of like Chicano to me. I might be wrong,
• 1:40:01
  Speaker 1: but it does feel kind of like that. It's very
• 1:40:04
  Speaker 1: weird that they didn't decide to then set the movie
• 1:40:07
  Speaker 1: in like Mexico instead of the Amazon, But you know,
• 1:40:11
  Speaker 1: I guess they were still going for that pan Latina
• 1:40:13
  Speaker 1: like appeal. But regardless of whether or not their specific
• 1:40:17
  Speaker 1: caricages reference, I do understand that there's something meaningful in
• 1:40:21
  Speaker 1: the fact that they themselves, at no point in those
• 1:40:24
  Speaker 1: stories are like mothered for that there's no reason to
• 1:40:28
  Speaker 1: justify them being Latina other than the fact that the
• 1:40:30
  Speaker 1: I p s. So I don't know, you get so many,
• 1:40:35
  Speaker 1: so many stories that feature Latinic characters have to justify
• 1:40:39
  Speaker 1: it in some regard. Sometimes sometimes you can be very specific,
• 1:40:44
  Speaker 1: and sometimes you can be very like oh look, I'm
• 1:40:46
  Speaker 1: representing this very specific culture, but it doesn't land the
• 1:40:50
  Speaker 1: same way because you're still centering the story on wideness,
• 1:40:54
  Speaker 1: which is kind of my main complaint about the New
• 1:40:56
  Speaker 1: West Side story. For example, It's just like, yeah, you
• 1:41:00
  Speaker 1: can go all in on the Puerto Rican components of it,
• 1:41:04
  Speaker 1: but this story still centers itself so much on whiteness
• 1:41:08
  Speaker 1: that it is kind of a little tiring. It was
• 1:41:11
  Speaker 1: a little tiring for me to watch in some regards well,
• 1:41:14
  Speaker 1: mostly because the movie taunted itself as being a very
• 1:41:17
  Speaker 1: relevant and modern update. You have to say, yeah, it's like, okay, sure,
• 1:41:24
  Speaker 1: I guess there's no Natalie Wood and Brown phase anymore
• 1:41:28
  Speaker 1: so points, but um, that's a very little bar. But
• 1:41:35
  Speaker 1: in Nora, there's no need for that, you know. You you
• 1:41:37
  Speaker 1: you can just have these people exist in their own
• 1:41:41
  Speaker 1: little adventure movie and it doesn't have to justify itself
• 1:41:45
  Speaker 1: like oh yeah, I don't know. It's uh, it's kind
• 1:41:49
  Speaker 1: of refreshing the pressingly, so even if we don't get
• 1:41:54
  Speaker 1: into the specifics. Even even when you get into the specifics,
• 1:41:57
  Speaker 1: a lot of Americans don't care. I saw so many
• 1:42:01
  Speaker 1: people being like, oh, I didn't even know that Encanto
• 1:42:05
  Speaker 1: was said in Colombia, I just looked like the generic
• 1:42:08
  Speaker 1: Latin American country to me. And it's like, well, maybe
• 1:42:11
  Speaker 1: you are the problem here, like that movie tells you
• 1:42:15
  Speaker 1: where you are exactly. It's like maybe if you if
• 1:42:19
  Speaker 1: you don't think they all look like Mexicans or something
• 1:42:21
  Speaker 1: like that, then you won't have that problem. So I
• 1:42:26
  Speaker 1: don't know, I do wish and I always talk about
• 1:42:29
  Speaker 1: how important it is that we are more specific in
• 1:42:32
  Speaker 1: our stories, Like, especially when I lived in l A.
• 1:42:35
  Speaker 1: It was very easy to get branded as like, oh,
• 1:42:38
  Speaker 1: a Latino storyteller, and it's like, yeah, I mean, I'm
• 1:42:44
  Speaker 1: more of a Columbian storyteller, but I guess you could
• 1:42:46
  Speaker 1: call my stories Latina, even though they tend to be
• 1:42:50
  Speaker 1: very Columbian in point of view. So I always appreciate
• 1:42:53
  Speaker 1: that kind of specificity. But I do recognize that something
• 1:42:57
  Speaker 1: that what Dora does is also valuable and uh, not
• 1:43:01
  Speaker 1: having to question the ethnicity of their characters and doing
• 1:43:05
  Speaker 1: so in a way that it's fun and I don't know,
• 1:43:10
  Speaker 1: it doesn't have to deal with baggage that much, like
• 1:43:12
  Speaker 1: it just allows allows Latino people to exist without having
• 1:43:17
  Speaker 1: to question their validity to be there at all. Right,
• 1:43:22
  Speaker 1: did that have to do with what we were talking about?
• 1:43:23
  Speaker 1: I feel like, again, exactly what that makes totals it's
• 1:43:31
  Speaker 1: such a dense, complicated but it's like I think, for
• 1:43:34
  Speaker 1: the especially for the tone of what this movie is,
• 1:43:38
  Speaker 1: it makes total sense and it probably behooves the story
• 1:43:41
  Speaker 1: to like no, I mean, and then it's I don't know.
• 1:43:45
  Speaker 1: In my mind, I'm like, Okay, there's a way to
• 1:43:46
  Speaker 1: be specific without centering the story around it. But it's
• 1:43:51
  Speaker 1: I don't know. I mean, it's like, it's not like
• 1:43:53
  Speaker 1: agent Cody Banks is trapesing around wherever the funk he
• 1:43:56
  Speaker 1: is being like I'm irish, like you know, Like, so
• 1:44:02
  Speaker 1: that was No, I loved it. Maybe that I don't
• 1:44:08
  Speaker 1: remember what happens to that movie. Maybe that is what happens.
• 1:44:10
  Speaker 1: Maybe no, don't. Yeah, don't you remember that Cody Banks
• 1:44:13
  Speaker 1: goes in an extended tirade of would United Ireland. Yeah,
• 1:44:19
  Speaker 1: that's how I how I learned about that conflict through
• 1:44:23
  Speaker 1: through Cody Cody. Oh my god. Okay, So the review
• 1:44:31
  Speaker 1: that I was trying to find was a Hollywood Reporter
• 1:44:35
  Speaker 1: review by critic Todd McCarthy, who did not like the movie,
• 1:44:41
  Speaker 1: and some of the reasons I mean, all the reasons
• 1:44:43
  Speaker 1: he sites are I would say, not valid. I don't
• 1:44:47
  Speaker 1: agree with his review, but some of them are just
• 1:44:50
  Speaker 1: like just fucking gross because he's basically saying the movie
• 1:44:54
  Speaker 1: is to like sanitized and squeaky clean, which was refusing
• 1:45:00
  Speaker 1: for him because Dora is too sexy, basically like she's
• 1:45:08
  Speaker 1: aged up to be a teenager. So like people telling
• 1:45:10
  Speaker 1: on themselves like this. Do you remember that review of
• 1:45:14
  Speaker 1: The Little Mermaid that was like, I want to fund
• 1:45:16
  Speaker 1: this Mermaid so bad? I hated the movie because like
• 1:45:20
  Speaker 1: what stop? Like, do you know you're writing this down? Like? So,
• 1:45:31
  Speaker 1: I'll share an excerpt just to demonstrate what film writing
• 1:45:36
  Speaker 1: by some critics still is. So this is what Todd
• 1:45:40
  Speaker 1: McCarthy said about the movie quote, what keeps things alive
• 1:45:45
  Speaker 1: up to a point is the imperturbable attitude of the
• 1:45:49
  Speaker 1: titular heroine, who was invested with try and Stop Me
• 1:45:52
  Speaker 1: spirit by Isabelle Emer said, who's actually eighteen and looks
• 1:45:57
  Speaker 1: it despite preventative measures. The same goes for Jeff Wahlberg,
• 1:46:02
  Speaker 1: whose nineteen. There's a palpable gap you can't help but
• 1:46:06
  Speaker 1: notice between the essentially innocent, borderline pubescent nature of the
• 1:46:10
  Speaker 1: leading characters and the film itself, and the more confident
• 1:46:15
  Speaker 1: and mature vibes emanating from the leading actors. The director
• 1:46:20
  Speaker 1: seems to be trying to keep the hormones at bay,
• 1:46:24
  Speaker 1: but there are some things you just can't disguise, perhaps
• 1:46:28
  Speaker 1: human nature first and foremost. Dora seems committed to projecting
• 1:46:33
  Speaker 1: a pre sexualized version of youth, while throbbing unacknowledged. Beneath
• 1:46:40
  Speaker 1: the surface is something a bit more real, its presence
• 1:46:45
  Speaker 1: rigorously ignored. End quote. Is he like in jail? Yeah? Like, dude,
• 1:46:55
  Speaker 1: Dora isn't protecting anything you're doing projecting. I do like
• 1:47:02
  Speaker 1: this is so nasty for so many reasons. And I
• 1:47:04
  Speaker 1: also feel like there's the additional racially charged tendency to
• 1:47:08
  Speaker 1: over sexualize Latina actors. And then there also is a
• 1:47:13
  Speaker 1: part of me that is like someone publishing and l
• 1:47:16
  Speaker 1: this severe is so bizarre, like it was bizarre in
• 1:47:23
  Speaker 1: nine when maybe it was that guy. Maybe this is
• 1:47:25
  Speaker 1: just his claim to fame where he's like, I want
• 1:47:28
  Speaker 1: to have sex with cartoons, but I can't and that
• 1:47:31
  Speaker 1: makes me mad, and I'm a give me my paycheck.
• 1:47:38
  Speaker 1: Wow wow wow, wow wow stop. Absolutely wild that this
• 1:47:43
  Speaker 1: would get published It's just I'm just horrifying and just
• 1:47:47
  Speaker 1: getting worse. It's just getting worse. It's like, oh, she
• 1:47:51
  Speaker 1: was she was like sixteen with an Adultie would be
• 1:47:56
  Speaker 1: weird to talk this much about her throwing under a surf,
• 1:48:01
  Speaker 1: but we're talking about a character. Yes, Oh so jail,
• 1:48:07
  Speaker 1: jail jail. Oh that was brutal. I was I was
• 1:48:12
  Speaker 1: going to say, because we have a few more plot
• 1:48:15
  Speaker 1: things to kind of zoom through, is that the way
• 1:48:19
  Speaker 1: that Dora was dressed I thought worked for the movie.
• 1:48:24
  Speaker 1: She's you know, she she wears a couple different outfits,
• 1:48:27
  Speaker 1: like none of them are drawing attention to her body.
• 1:48:30
  Speaker 1: And I feel like if this movie was made even
• 1:48:31
  Speaker 1: ten years ago, it would have been like Dora's all
• 1:48:34
  Speaker 1: grown up and it's like, yeah, she's all grown up
• 1:48:37
  Speaker 1: and she's you know, wearing a shirt like it's all good.
• 1:48:40
  Speaker 1: And the fact that we even have to point this
• 1:48:42
  Speaker 1: out is like, Wow, she's dressed appropriately and not over sexualized.
• 1:48:47
  Speaker 1: But that's an issue that exists in Dora the Explorer
• 1:48:49
  Speaker 1: Cannon because in that show Dora and Friends, she's like
• 1:48:53
  Speaker 1: aged up to be twelve or thirteen, and they change
• 1:48:55
  Speaker 1: they give her like a curvy body shape and like
• 1:48:59
  Speaker 1: pink a her or like you know, not not the
• 1:49:02
  Speaker 1: original pink, you know, like pastelify her or whatever it is.
• 1:49:05
  Speaker 1: And so I did appreciate that, at least I do appreciate.
• 1:49:10
  Speaker 1: It's not like, you know, no one's getting a metal
• 1:49:13
  Speaker 1: about it. But like when a franchise or an I
• 1:49:16
  Speaker 1: p like gets flak for some ship like Dora did
• 1:49:20
  Speaker 1: an oh nine I checked and then course corrects it
• 1:49:24
  Speaker 1: and future iterations. I feel like that is net good
• 1:49:29
  Speaker 1: and which also makes this writer even more of a
• 1:49:32
  Speaker 1: perfect because I'm like, she's wearing a fucking crew neck
• 1:49:34
  Speaker 1: T shirt. What is wrong with you? Yeah? If you
• 1:49:39
  Speaker 1: walk into Dorothy Explorer being like, god, I hope it's sexual,
• 1:49:43
  Speaker 1: It's like what, Yeah, what are you expecting? Todd McCarthy like,
• 1:49:48
  Speaker 1: what what talking about? Todd? Buddy? Buddy, buddy, We're worried
• 1:49:56
  Speaker 1: about you, buddy. That's the nastiest thing I've ever ready
• 1:50:00
  Speaker 1: speaking of inserting sexual stuff, not sexual but like love
• 1:50:04
  Speaker 1: stuff where it doesn't need to be. I didn't like
• 1:50:06
  Speaker 1: Marky Mark's nephew and Sammy with the forced love story.
• 1:50:11
  Speaker 1: It didn't fit, It didn't make sense. The chemistry wasn't there.
• 1:50:14
  Speaker 1: Between the characters and there's already a more interesting thing
• 1:50:17
  Speaker 1: going on with Sammy and Dora, and that took away
• 1:50:21
  Speaker 1: from it. Yeah, I didn't like the Shoehorn love story
• 1:50:23
  Speaker 1: at all that moment. I think when they wake up
• 1:50:26
  Speaker 1: in the box and like they're like kind of like
• 1:50:28
  Speaker 1: leaning against each other. No, it wasn't there. It was
• 1:50:31
  Speaker 1: when they were in the museum and they were like
• 1:50:33
  Speaker 1: kind of like bantering a little bit. I was like, Oh, no,
• 1:50:35
  Speaker 1: they're gonna fall in love. And every time that is
• 1:50:40
  Speaker 1: something Games happened, it was like who needed this questions,
• 1:50:44
  Speaker 1: especially because I kind of love Sammy's characterization. Yeah, it's
• 1:50:48
  Speaker 1: just kind of like her and Dora are kind of
• 1:50:51
  Speaker 1: very like girl bossy in a way that sometimes feels
• 1:50:54
  Speaker 1: a little bit uh pandery, like in the in that
• 1:50:58
  Speaker 1: like faux family an ism of like movie studios like
• 1:51:02
  Speaker 1: to plug I guess, but it made it was kind
• 1:51:06
  Speaker 1: of endearing because I was like, Oh, this is kind
• 1:51:08
  Speaker 1: of how a lot of like like you know, like
• 1:51:10
  Speaker 1: model u N teenage girls behave. It's kind of like
• 1:51:16
  Speaker 1: kind of like that girl bossy behavior that is kind
• 1:51:19
  Speaker 1: of they're projecting it because they're learning about it, but
• 1:51:24
  Speaker 1: they're not like yet in the nuances of it, and
• 1:51:27
  Speaker 1: I thought it was very fun. It felt very sincere
• 1:51:30
  Speaker 1: to how high schoolers behave, at least that kind of archetype.
• 1:51:36
  Speaker 1: I also thought it was interesting the and this is
• 1:51:39
  Speaker 1: maybe kind of corny, but Diego calls Sammy bossy and
• 1:51:45
  Speaker 1: she responds by saying, oh, what what next? Are you
• 1:51:47
  Speaker 1: going to call me shrill or too difficult? And then
• 1:51:51
  Speaker 1: she alludes to the fact that he has taken a
• 1:51:53
  Speaker 1: misogyny one oh one class, which is pretty funny. I
• 1:51:57
  Speaker 1: hated that that was like, I was like, good job, whatever,
• 1:52:02
  Speaker 1: it's fine, it's for kids. It's like it works for
• 1:52:05
  Speaker 1: the genre. But I was just like, wow, two white
• 1:52:07
  Speaker 1: dads really are fucking clapping themselves on the back at
• 1:52:10
  Speaker 1: home for that, Like that is what it feels like
• 1:52:19
  Speaker 1: to us. But I will say I thought it was
• 1:52:22
  Speaker 1: since we we see characters say problematic things in movies
• 1:52:26
  Speaker 1: all the time, and it's rare that it ever gets
• 1:52:29
  Speaker 1: called out or challenged, like Sammy actually challenging that. I
• 1:52:33
  Speaker 1: was like, Okay, that's at least something we don't see.
• 1:52:37
  Speaker 1: And if kids are seeing this movie and they see
• 1:52:39
  Speaker 1: an example of a character being the recipient of sexism
• 1:52:44
  Speaker 1: and then that being challenged like that could set an
• 1:52:47
  Speaker 1: example for a young person watching this. It's totally fine.
• 1:52:51
  Speaker 1: I just I just remize it like that. But also
• 1:52:54
  Speaker 1: I'm not you know ten so sorry, I just insulted you. Friend.
• 1:53:01
  Speaker 1: That was kind of the scene that made me realize,
• 1:53:03
  Speaker 1: like what I was just said, like like you said
• 1:53:05
  Speaker 1: to me feels very like patting, like self congratulatory. But
• 1:53:09
  Speaker 1: at the same time, I was like, I I do.
• 1:53:12
  Speaker 1: I do think that some high schoolers speak with that
• 1:53:14
  Speaker 1: kind of thanks. So I don't know if it was
• 1:53:16
  Speaker 1: on purpose in that way. It was probably not, but
• 1:53:19
  Speaker 1: it worked that way. It was kind of like, yeah,
• 1:53:22
  Speaker 1: it is, I don't know. Like she she goes to
• 1:53:24
  Speaker 1: the costume party to the Halloween ball dressed as like
• 1:53:26
  Speaker 1: Ruth Bader Ginsberg. It's like, I know. I was just like, okay,
• 1:53:30
  Speaker 1: first of all, she's going to grow out to be
• 1:53:31
  Speaker 1: fucking Jen Saki or like something kind of bleak. Actually,
• 1:53:35
  Speaker 1: she's gonna grow up to be a centrist, Sammy the Centrist,
• 1:53:40
  Speaker 1: so real quick back to the wedged in Diego Sammy
• 1:53:44
  Speaker 1: love story. I also did not care for it for
• 1:53:49
  Speaker 1: a number of reasons, not the least of which is
• 1:53:51
  Speaker 1: the Sammy surprise kisses Diego at the end, which I
• 1:53:55
  Speaker 1: feel like it's a new trend of like more contemporary
• 1:53:57
  Speaker 1: movies of like now the girl to probably kisses the boy.
• 1:54:01
  Speaker 1: Isn't that so subversive? Isn't that feminism? And it's like no, no,
• 1:54:05
  Speaker 1: people of any gender should be surprised kissing anybody else
• 1:54:08
  Speaker 1: of any gender, So that was annoying. I also kind
• 1:54:13
  Speaker 1: of thought that maybe they would wedge in a Dora
• 1:54:16
  Speaker 1: and Randy romance, especially because they bonded so much over astronomy.
• 1:54:22
  Speaker 1: My guess was that it was there and then they
• 1:54:23
  Speaker 1: wrote it out or something like that, because it felt
• 1:54:26
  Speaker 1: like that was planted because he kept he was doing
• 1:54:28
  Speaker 1: that like weird guy from a Disney Channel show thing
• 1:54:30
  Speaker 1: where you keeping like, yeah, we have so much in common.
• 1:54:33
  Speaker 1: I'm like, I hate this. I feel like he kept
• 1:54:35
  Speaker 1: planting like, oh, maybe something flirty is going to happen,
• 1:54:38
  Speaker 1: and it seems like maybe I got scaled back or cut. Yeah,
• 1:54:42
  Speaker 1: that meeting seed that like when they meet, it definitely
• 1:54:45
  Speaker 1: feels like a crush set up. And then it was like, oh,
• 1:54:48
  Speaker 1: they didn't feel the need to follow up on that.
• 1:54:51
  Speaker 1: They probably it might have been cut in the editing,
• 1:54:53
  Speaker 1: you might have not even been like in the writing
• 1:54:55
  Speaker 1: right because they shot it that way, right, because so
• 1:54:59
  Speaker 1: many movies would be like, oh, well, it's a boy
• 1:55:02
  Speaker 1: and a girl and they're close to each other and
• 1:55:04
  Speaker 1: they have one thing in common, so obviously there they
• 1:55:06
  Speaker 1: should kiss at the end. Again, the bar is so low.
• 1:55:10
  Speaker 1: But the fact that the movie didn't do that, I
• 1:55:12
  Speaker 1: was like, okay, point for the movie, have a point
• 1:55:16
  Speaker 1: like the others the other right, so they can't slay
• 1:55:20
  Speaker 1: each other out. So that's disappointing. And then I think,
• 1:55:23
  Speaker 1: Jamie you mentioned. The more interesting relationship dynamic that's happening
• 1:55:27
  Speaker 1: here is the one between Dora and Sammy, where it
• 1:55:32
  Speaker 1: starts out antagonistic and you know, Sammy is threatened by
• 1:55:37
  Speaker 1: Dora for a specific reason. It does feel a little
• 1:55:40
  Speaker 1: petty to me, but you know, Sammy's used to being
• 1:55:44
  Speaker 1: the smartest person in the room and she really likes
• 1:55:46
  Speaker 1: it that way, so that when Dora comes along and
• 1:55:48
  Speaker 1: she also knows things, she's like, who is this other
• 1:55:51
  Speaker 1: person who is smart? There can only be one girl
• 1:55:56
  Speaker 1: kind of how that the beginning of that storyline, But
• 1:55:59
  Speaker 1: it changed just quickly enough that I was like, all right,
• 1:56:02
  Speaker 1: we got out a trope territory. I do think it
• 1:56:03
  Speaker 1: started in trope territory, right, Yeah. I am a girl
• 1:56:06
  Speaker 1: that's smart, and more than one smart girl is is
• 1:56:10
  Speaker 1: poison to me, and I'm a bully. Now you're like, man,
• 1:56:13
  Speaker 1: that's not really how that goes. Smart girls in high
• 1:56:15
  Speaker 1: school actually desperately cling to each other because you're not safe,
• 1:56:21
  Speaker 1: you know, right, so um, but yeah, they become friendly
• 1:56:26
  Speaker 1: and I appreciate that arc. I like that it is
• 1:56:30
  Speaker 1: kind of an arc like Dora's arc. It's like, like
• 1:56:34
  Speaker 1: you said earlier, because it kind of set up was
• 1:56:36
  Speaker 1: like Dore, it's to change or something like to fit in,
• 1:56:39
  Speaker 1: and it just becomes an arc about like her learning that,
• 1:56:43
  Speaker 1: you know, having friends is good. It's just very sweet.
• 1:56:47
  Speaker 1: It's kind of a sweet coming of age adventure movie,
• 1:56:50
  Speaker 1: I guess. But it is cool that she has an
• 1:56:53
  Speaker 1: arc of friendship with this, with her cousin and the
• 1:56:56
  Speaker 1: two kids, that it's like she doesn't have to be
• 1:57:00
  Speaker 1: in the romans with any of them. It's just kind
• 1:57:02
  Speaker 1: of like a like, oh, having friends is cool, and
• 1:57:07
  Speaker 1: it was just very sweet. I was I was very
• 1:57:09
  Speaker 1: endeared by Ed. Maybe I was just a weird kid. No,
• 1:57:13
  Speaker 1: I I also appreciated it, So those stories always get
• 1:57:16
  Speaker 1: to me. Yeah, um, does anyone have anything else that
• 1:57:23
  Speaker 1: they want to discuss about Dora in the Lost City
• 1:57:27
  Speaker 1: of Gold? Um, I just went to shut out the
• 1:57:30
  Speaker 1: other women in Dora's family. I liked Dora's connection with
• 1:57:36
  Speaker 1: her parents. It didn't feel like it leaned too heavy
• 1:57:39
  Speaker 1: on one parent. I feel like sometimes you get like
• 1:57:41
  Speaker 1: dad is the best one and mom is yelling at
• 1:57:45
  Speaker 1: me or disappears, and like, I appreciate it seems like
• 1:57:48
  Speaker 1: there was sort of even parent distribution. Evil Longaria and
• 1:57:51
  Speaker 1: Michael paniar having having a blast. Michael Pane is like,
• 1:57:55
  Speaker 1: did you hear I'm Chuck e Cheese favorite actor? Also,
• 1:57:59
  Speaker 1: I love antology whatever. Like anyways, UM, I wanted to
• 1:58:04
  Speaker 1: also shout out Dora's grandma, who has played by um.
• 1:58:09
  Speaker 1: I want to pull her name up because I recognize her.
• 1:58:13
  Speaker 1: She's a character actor who's been in a ton of stuff.
• 1:58:16
  Speaker 1: Adriana Barrazza. I remember her most clearly from I mean,
• 1:58:21
  Speaker 1: she works with in Or Too a lot. She's a
• 1:58:23
  Speaker 1: Mexican actress and she also like I didn't realize this
• 1:58:26
  Speaker 1: before I was doing research for this episode, but she
• 1:58:28
  Speaker 1: also developed the Mexican method of method, acting like she
• 1:58:34
  Speaker 1: has a super successful performance school and that she runs
• 1:58:38
  Speaker 1: in Mexico. She's like a huge fucking deal and I
• 1:58:41
  Speaker 1: wish that she was given more to do. She's barely
• 1:58:44
  Speaker 1: in the movie. It's basically a cameo for someone who's famous.
• 1:58:48
  Speaker 1: As her She's been in huge movies. I personally loved her,
• 1:58:52
  Speaker 1: and she then dragged me to Hell, a movie I love.
• 1:58:56
  Speaker 1: She kicks as in that movie. I don't know how
• 1:58:58
  Speaker 1: that movie ages, but I used to really love it.
• 1:59:01
  Speaker 1: Um because we'll have to do it on the podcast. Honestly,
• 1:59:04
  Speaker 1: I feel like there's so much to talk about and
• 1:59:06
  Speaker 1: I never want to cover a Justin long movie for
• 1:59:09
  Speaker 1: some reason. I don't know what it is. Maybe I
• 1:59:11
  Speaker 1: just didn't like those commercials he was in, but I
• 1:59:14
  Speaker 1: I don't like to look at him. But I love
• 1:59:16
  Speaker 1: dragging me the hell being so mean to all boys today.
• 1:59:23
  Speaker 1: I appreciate you haven't been mean to me, No and I,
• 1:59:26
  Speaker 1: and it's not going to happen because I would never
• 1:59:29
  Speaker 1: put you in the same category as Mark Wahlberg's nephew.
• 1:59:32
  Speaker 1: That's insulting. I think the first time I watched it,
• 1:59:35
  Speaker 1: I thought he was fine. I agree that. In the rewatch,
• 1:59:39
  Speaker 1: I was like a little like, oh, he's not very good,
• 1:59:41
  Speaker 1: especially because the other three kids are pretty good. But
• 1:59:44
  Speaker 1: it was kind of like the first time I was
• 1:59:46
  Speaker 1: just like, Oh, he's a very accurate, like straight Latino
• 1:59:50
  Speaker 1: kid like that, like you know, doesn't show emotions, and
• 1:59:54
  Speaker 1: mostly because he wears a soccer jersey to the Halloween
• 1:59:59
  Speaker 1: ball as a cost him. And I was like, that's
• 2:00:00
  Speaker 1: like straight Latino culture right there. I've seen that first hand.
• 2:00:05
  Speaker 1: They think that that's like a costume and it's just like, no,
• 2:00:09
  Speaker 1: it's not. But so I was like, oh, yeah, he's
• 2:00:13
  Speaker 1: the quintessential like straight Latino. And then in the second
• 2:00:16
  Speaker 1: time around, I was like, oh, maybe he's he's not
• 2:00:18
  Speaker 1: quite there yet. Watch him become the most famous actor
• 2:00:22
  Speaker 1: in the entire world and this will aid so poorly
• 2:00:27
  Speaker 1: and actually nepotism is genius. And then in a few
• 2:00:30
  Speaker 1: years they'll talk about Jeff Waldberg's uncle. Yeah, well do
• 2:00:35
  Speaker 1: you remember Jeff Alberg's uncle. Hey, you know how we
• 2:00:39
  Speaker 1: have not been passing the Bechtel test for the past
• 2:00:42
  Speaker 1: couple of minutes because we were talking about Jeff. Well,
• 2:00:45
  Speaker 1: what about any scenes in this movie that do pass
• 2:00:48
  Speaker 1: the Bechdel test. I really don't specifically, I don't know
• 2:00:53
  Speaker 1: if it's the only one, but it's definitely the one
• 2:00:55
  Speaker 1: that just made me realize, like the conversation that passes
• 2:00:58
  Speaker 1: the Bechdel test. He's about poop. Yeah, there is a
• 2:01:02
  Speaker 1: conversation that passes. Yeah, there's a full poop conversation. There's
• 2:01:05
  Speaker 1: also between Dora and her grandmother. They talk about high
• 2:01:10
  Speaker 1: school and being and like Dora feeling lonely. And it's
• 2:01:14
  Speaker 1: an extended scene and I don't think there might be
• 2:01:16
  Speaker 1: mentioned of like oh Diego said, called me weird? Do
• 2:01:20
  Speaker 1: you think I'm weird? Grandma? But other than that, yeah,
• 2:01:22
  Speaker 1: he's not like the topic right, it's about Dora's feelings.
• 2:01:26
  Speaker 1: That's so much better is to use as an example
• 2:01:28
  Speaker 1: than the one about the poop. No, that's one of
• 2:01:32
  Speaker 1: my I think that that's entering the pantheon of fun
• 2:01:35
  Speaker 1: passes because there's no way around it that passes. With
• 2:01:40
  Speaker 1: flying brown colors, I like saw you hesitating, and I
• 2:01:47
  Speaker 1: was like, what is Jamie gonna say? I got p MS.
• 2:01:51
  Speaker 1: I'm being a fucking misinterested and I'm talking about poo poo.
• 2:01:57
  Speaker 1: Louis Cannon, Wow, much like a a loose butthole. Remember
• 2:02:01
  Speaker 1: we talked about shreks loose. But I was like, huh, yeah,
• 2:02:06
  Speaker 1: we did talk about We've talked about We've really just
• 2:02:09
  Speaker 1: talked a lot in this lifetime. We gotta stop. Sometimes
• 2:02:12
  Speaker 1: people will say it say the listener will be like,
• 2:02:15
  Speaker 1: do you remember when you said this? And then they'll
• 2:02:16
  Speaker 1: say the most fucked up thing I've ever heard. I
• 2:02:18
  Speaker 1: was like, no, I have no recollection of saying saying that,
• 2:02:23
  Speaker 1: but I believe you. Oh gosh, yeah. I think that's
• 2:02:28
  Speaker 1: why I can never have my own podcast. But I don't.
• 2:02:30
  Speaker 1: I can't have so many of the stuff I say
• 2:02:33
  Speaker 1: out there on the record. It's brutal. It'll come to
• 2:02:36
  Speaker 1: haunt me. Not in like old tweets kind of way,
• 2:02:40
  Speaker 1: but in like, remember when you said that that was
• 2:02:42
  Speaker 1: kind of my stuff, and it's just like like in
• 2:02:44
  Speaker 1: a very weird way. And it was like, yeah, I
• 2:02:48
  Speaker 1: would see. I usually don't remember that stuff. I don't
• 2:02:50
  Speaker 1: need to say them to a mike. Fast forward to
• 2:02:53
  Speaker 1: me like three years from now, being like Caitlin, I
• 2:02:57
  Speaker 1: am working with Mark Wahlper's nephew. I need you to
• 2:03:00
  Speaker 1: take down the Dora episode. This is literally already happened
• 2:03:04
  Speaker 1: multiple times, and I refused to learn my lesson. Yeah,
• 2:03:10
  Speaker 1: we really do dig ourselves into a hole, a pooh
• 2:03:14
  Speaker 1: hole poo Okay, and we're back. The movie passes the
• 2:03:19
  Speaker 1: Bechdel task. Should we gick it to the nipples? Let's
• 2:03:24
  Speaker 1: do it? So I would give this movie m M.
• 2:03:29
  Speaker 1: I loved it so much, and it definitely gets ten
• 2:03:32
  Speaker 1: out of ten on the Caitlin Rombo meter. And even
• 2:03:35
  Speaker 1: though it is far more self aware than other movies
• 2:03:40
  Speaker 1: of this genre and calls out and challenges several of
• 2:03:45
  Speaker 1: the weaknesses of this genre, it's still does the things
• 2:03:50
  Speaker 1: for the most part in its representation of Indigenous people
• 2:03:55
  Speaker 1: and culture. Some of the stereotypes that are used, the
• 2:03:59
  Speaker 1: failure to care drives the indigenous characters even a little bit.
• 2:04:03
  Speaker 1: Those things are not great. On the other hand, you
• 2:04:06
  Speaker 1: have a female protagonist, which is rare for this genre.
• 2:04:12
  Speaker 1: You have a teen girl driving the narrative. She's comfortable
• 2:04:17
  Speaker 1: and who she is. She's such a likable character. The
• 2:04:22
  Speaker 1: Latina Latina latin X representation that is again sadly all
• 2:04:29
  Speaker 1: too rare for a major Hollywood movie. Um, And it's
• 2:04:34
  Speaker 1: just these characters, they're living their lives they're going on
• 2:04:37
  Speaker 1: an adventure, they're doing the things they like to do.
• 2:04:40
  Speaker 1: Is again unfortunately still quite rare. That was exciting to see.
• 2:04:48
  Speaker 1: Uh so it's complicated. There's a lot of things happening here.
• 2:04:51
  Speaker 1: I would ultimately give this movie. I would give it
• 2:04:56
  Speaker 1: three nipples. It's got many strengths, that's got many weaknesses.
• 2:05:00
  Speaker 1: I think it's a good stepping stone movie in terms
• 2:05:04
  Speaker 1: of like, maybe the next adventure movie you know will
• 2:05:08
  Speaker 1: be even more self aware and subscribe to fewer of
• 2:05:13
  Speaker 1: the tropes, will be less directed and written by entirely
• 2:05:17
  Speaker 1: white guys, which I feel like we yes, right, even
• 2:05:21
  Speaker 1: when white guys are doing a pretty good job, if
• 2:05:24
  Speaker 1: it's still all white is not good. Yeah, and they're
• 2:05:27
  Speaker 1: still kind of doing a bad job. So, uh, this movie,
• 2:05:31
  Speaker 1: this movie again, it feels like a stepping stone for progress,
• 2:05:34
  Speaker 1: but not all the way there. So three nipples. I
• 2:05:39
  Speaker 1: will give one to Dora, I will give one to Sammy,
• 2:05:46
  Speaker 1: and I'll give my third nipple to the mention of
• 2:05:50
  Speaker 1: monkey Facts, which is not unlike Cat Facts with Caitlin.
• 2:05:55
  Speaker 1: But there's a character who I don't even think we
• 2:05:57
  Speaker 1: talked about, um one of the mercenaries. I think his
• 2:05:59
  Speaker 1: name is a viper. He says something like monkeys can
• 2:06:03
  Speaker 1: carry three times their own body weight. That's just a
• 2:06:05
  Speaker 1: monkey fact. So I was like, wow, we're learning so
• 2:06:10
  Speaker 1: much truly, Um, I'll meet you at three as well.
• 2:06:14
  Speaker 1: For for I mean, we've we've a boy if we
• 2:06:17
  Speaker 1: discussed a lot, We've discussed longer than the movie, and
• 2:06:22
  Speaker 1: I think that there is Yeah, it feels like a
• 2:06:25
  Speaker 1: stepping stone movie that certainly moved things in, moves things
• 2:06:29
  Speaker 1: in the right direction. It also is like we we
• 2:06:31
  Speaker 1: didn't discuss in this episode. There's always like, especially when
• 2:06:35
  Speaker 1: a movie is providing heightened representation for anybody and the
• 2:06:39
  Speaker 1: supply is kind of across the board. But because this
• 2:06:43
  Speaker 1: movie does have such strong Latina representation, there is always
• 2:06:49
  Speaker 1: undo pressure put on those movies that doesn't exist for
• 2:06:53
  Speaker 1: movies y protagonists, and that's not a fair or you know,
• 2:06:57
  Speaker 1: reasonable thing to do, and that is always kind of
• 2:06:59
  Speaker 1: a tricky line to toe as well. I think this
• 2:07:03
  Speaker 1: movie is so sweet and fun and does not treat
• 2:07:07
  Speaker 1: indigenous culture with any of the sensitivity that the politics
• 2:07:12
  Speaker 1: of this movie seem that you would think like it's
• 2:07:15
  Speaker 1: it's so bizarre, and I you know, the white guys
• 2:07:18
  Speaker 1: at the top of the production. Don't love that, but
• 2:07:22
  Speaker 1: the performances are so fun. The movie is a blast.
• 2:07:26
  Speaker 1: I love poop pole uh, and I'm getting all three
• 2:07:29
  Speaker 1: of my nipples to fucking so wiper my boyfriend. Yeah, cool,
• 2:07:40
  Speaker 1: Jamie Cool, I'm going to jail. I'm like Todd, I'm like,
• 2:07:47
  Speaker 1: like the swiper was throbbing and I was upset by
• 2:07:51
  Speaker 1: that much rather you talk that way about Swiper is
• 2:07:57
  Speaker 1: portrayed by very of age Nico, So I first, he's
• 2:08:04
  Speaker 1: a ground man. All right, let's get off this. And
• 2:08:09
  Speaker 1: what would your nipple rating? B Um, I am going
• 2:08:13
  Speaker 1: to give it three and a half of my poles.
• 2:08:16
  Speaker 1: Everything that you said I agree with, and that you know,
• 2:08:20
  Speaker 1: it has very good female characters around, which is the
• 2:08:23
  Speaker 1: story like revolves, and I enjoy that. It's just it's
• 2:08:29
  Speaker 1: just it has a very good cast of characters, and
• 2:08:31
  Speaker 1: like half of it is like female, and they're all
• 2:08:33
  Speaker 1: very good. It has that, like what I said about
• 2:08:37
  Speaker 1: like that Latin, a core cast that doesn't have to
• 2:08:41
  Speaker 1: justify its own identity in order to be part of
• 2:08:45
  Speaker 1: the story, which I always appreciate that. That's always fun, um,
• 2:08:49
  Speaker 1: and I appreciate that it means well on paper in
• 2:08:53
  Speaker 1: terms of bridging those gaps between what the adventure genre
• 2:08:57
  Speaker 1: has been and what it could be. But I also
• 2:09:00
  Speaker 1: so agree that it stumbles near the finish line in
• 2:09:06
  Speaker 1: terms of depicting its indigenous characters as more than just
• 2:09:11
  Speaker 1: magical beings that are there for plot reasons. It's just
• 2:09:16
  Speaker 1: it's a shame because, like you said, the rest of
• 2:09:18
  Speaker 1: the movie is very fun, it's very entertaining, very creative.
• 2:09:22
  Speaker 1: If if if all reboots were like this, then maybe
• 2:09:25
  Speaker 1: people wouldn't complain so much about them, right, Yeah, so
• 2:09:29
  Speaker 1: three and a half seems fair, and I'm going to
• 2:09:33
  Speaker 1: give one to Dora want To Samy just like you did,
• 2:09:37
  Speaker 1: just because they deserve them. Want To was always kind
• 2:09:42
  Speaker 1: of very charming, and he was donkey Shrek, so like
• 2:09:46
  Speaker 1: I have to pay my respect. I did not know
• 2:09:48
  Speaker 1: that until you mentioned it earlier, and that's very exciting
• 2:09:53
  Speaker 1: to me. That to me as like he probably has
• 2:09:55
  Speaker 1: a boat, like imagine, that's so that's so much money.
• 2:09:59
  Speaker 1: That's why, Yeah, I can't watch Shrek or Shrek two,
• 2:10:03
  Speaker 1: the ones that I like in English, because the Spanish
• 2:10:07
  Speaker 1: dubbing is so good. The Latin American dubbing is amazing.
• 2:10:11
  Speaker 1: I should watch those. Oh my gosh, it's very good.
• 2:10:14
  Speaker 1: Anton is also doing puzzing boots and I don't know,
• 2:10:19
  Speaker 1: there's something about Shrek having this very thick Northern Mexican
• 2:10:22
  Speaker 1: accent that it's just a lot of fun. Um. And
• 2:10:27
  Speaker 1: I'm going to give the half nipple to Mark Wahlbrick's
• 2:10:30
  Speaker 1: nephew because we've been very mean to him throughout this
• 2:10:32
  Speaker 1: and I think he deserves has potential something. He's young,
• 2:10:37
  Speaker 1: he'll learn, he'll get better. Your nipples are your nipples, man.
• 2:10:42
  Speaker 1: Just I'm giving him the half for a reason. Well, Jose,
• 2:10:47
  Speaker 1: thank you so very much for putting up with us
• 2:10:51
  Speaker 1: for two and a half hours. Thank you for having me.
• 2:10:57
  Speaker 1: I had a lot of fun for most of those
• 2:11:00
  Speaker 1: two and a half hours. All of them. Well, I
• 2:11:03
  Speaker 1: was like, whoa the twist. I was like, which minute
• 2:11:06
  Speaker 1: sucked there? When we talked about our pms for forty
• 2:11:11
  Speaker 1: five minutes, that was the highlight. Yeah, of course, okay, truly,
• 2:11:16
  Speaker 1: thank you so much. Um. Everyone should watch Jose's video.
• 2:11:20
  Speaker 1: We will include it in the description of this episode.
• 2:11:24
  Speaker 1: It's an excellent watch. And yeah, tell us what else
• 2:11:28
  Speaker 1: people can check out of viewers, tell us where they
• 2:11:30
  Speaker 1: can follow you on social media all that stuff. Well,
• 2:11:35
  Speaker 1: you can find me on Twitter at jose M Luna.
• 2:11:39
  Speaker 1: I also have like my YouTube channel I guess where
• 2:11:43
  Speaker 1: I occasionally dropped some essays if the time allows for it.
• 2:11:48
  Speaker 1: I just finished one on incanto and its roots in
• 2:11:52
  Speaker 1: Columbian literature. I'm very proud of it. I think it's
• 2:11:55
  Speaker 1: my best one. Yeah, I've done three, so it's not
• 2:11:57
  Speaker 1: a big compliment. But yeah, yeah, I think my YouTube
• 2:12:01
  Speaker 1: channel is just my name. Nice, but we'll link to
• 2:12:04
  Speaker 1: that as well. Yeah. Your your essays are truly so brilliant.
• 2:12:09
  Speaker 1: Big fan of your work. Thank you for coming by.
• 2:12:12
  Speaker 1: Thank you. That means a lot. This was I had
• 2:12:16
  Speaker 1: a blast. Oh gosh, Well, folks, there you have it.
• 2:12:24
  Speaker 1: That was our unlocked Matron episode on Dora and the
• 2:12:27
  Speaker 1: Lost City of Gold with special guest jose Maria Luna.
• 2:12:31
  Speaker 1: If you liked it, you should, I don't know, maybe
• 2:12:33
  Speaker 1: subscribe to our Matreon to hear more episodes like it.
• 2:12:38
  Speaker 1: Truly like not to We're kind of on a role
• 2:12:41
  Speaker 1: recently on the Matreon. I feel like we're kind of
• 2:12:43
  Speaker 1: this this um it's also Saw episode Hello. I mean,
• 2:12:47
  Speaker 1: who could forget this Saw episode? So on the Matreon.
• 2:12:50
  Speaker 1: You know, not to sell you on it one more time,
• 2:12:53
  Speaker 1: but it is so fun. It's where we cover popular
• 2:12:56
  Speaker 1: requests and also like we do themed months. What are
• 2:13:00
  Speaker 1: we calling this one? It's just like back to School September.
• 2:13:03
  Speaker 1: Back to School September, um, but we had never been
• 2:13:06
  Speaker 1: kissed and there's a pitch perfect episode on the way,
• 2:13:08
  Speaker 1: which are have both been forever requests and we've got
• 2:13:13
  Speaker 1: an exciting horror lineup. You also frequently get to vote
• 2:13:18
  Speaker 1: for movies that we're going to cover on the Matreon.
• 2:13:21
  Speaker 1: Caitlin and I once again get back toel Cast unleashed.
• 2:13:25
  Speaker 1: During our birthday months, we cover the Netflix holiday movies. Um,
• 2:13:30
  Speaker 1: it's really a welcome It's really a place of chaos
• 2:13:36
  Speaker 1: and beautiful chaos. Absolutely, and so thank you for listening
• 2:13:41
  Speaker 1: to this unlocked episode and for more episodes like it,
• 2:13:44
  Speaker 1: you can go to patreon dot com, slash packtel Cast
• 2:13:48
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• 2:13:51
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• 2:13:56
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• 2:14:03
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• 2:14:06
  Speaker 1: rate and review that helps the show out a lot
• 2:14:09
  Speaker 1: and tell us about the merch. Jane, well, okay, fine, okay,
• 2:14:15
  Speaker 1: you can go. Sorry. I literally was looking at a
• 2:14:17
  Speaker 1: picture of Brendan Fraser and I got distracted. I understand
• 2:14:22
  Speaker 1: as I want to do. You can go to t
• 2:14:25
  Speaker 1: public dot com slash the Bechdel Cast for all of
• 2:14:29
  Speaker 1: your merchandizing needs. If those are needs that you have.
• 2:14:34
  Speaker 1: And with that, why don't we put on our backpacks
• 2:14:39
  Speaker 1: and get our little monkey sidekicks, get my little map.
• 2:14:42
  Speaker 1: I go on a little adventure, and I promised to
• 2:14:46
  Speaker 1: be nicer to Mark Wahlberg's nephew this time. Bye Bye,