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Inside Out 2: A Commentary · Why We Do What We Do

• 0:03
  Speaker 1: You're listening to Why We Do What We Do? Welcome
• 0:16
  Speaker 1: to Why We Do What We Do? I am your
• 0:18
  Speaker 1: outside in host Abraham, and.
• 0:21
  Speaker 2: I'm your feeling very seen by this movie host Shane.
• 0:25
  Speaker 1: I bet we are a psychology podcast. We talk about
• 0:28
  Speaker 1: the things that humans and non human animals do. And
• 0:32
  Speaker 1: for the first second time ever, I guess we're actually
• 0:35
  Speaker 1: going to be discussing a film and how it depicts
• 0:38
  Speaker 1: psychological things. This is sort of a sequel to last
• 0:42
  Speaker 1: week's episode, but it is not necessarily a two part
• 0:45
  Speaker 1: like these are fully intended to stand on their own,
• 0:48
  Speaker 1: but they are about two movies that are sequels of
• 0:50
  Speaker 1: one another, so they are related and that is all.
• 0:53
  Speaker 2: Yes, that's what we're doing today, and so today we're
• 0:56
  Speaker 2: talking about inside Out too. So this is our second
• 0:58
  Speaker 2: installment of Why we Do But we Do goes to
• 1:00
  Speaker 2: the movies. Yeah, who knows if we'll do more of these.
• 1:03
  Speaker 2: It seems like a fun exercise, so we're having to
• 1:05
  Speaker 2: have a good time with it. But I think mostly
• 1:07
  Speaker 2: because these movies are good.
• 1:08
  Speaker 1: They are good. Yeah, we've floated the idea to each other,
• 1:11
  Speaker 1: not on the show so far, of other movies that
• 1:15
  Speaker 1: try to tackle psychological things that now feel like they
• 1:18
  Speaker 1: maybe are in the realm of possibility for us to discuss.
• 1:21
  Speaker 1: So I'd be certainly interested listeners. If you have some
• 1:24
  Speaker 1: that you would like to hear our treatment on, like,
• 1:26
  Speaker 1: feel free to write in and tell us. If you
• 1:28
  Speaker 1: like the way that we handle this, and you think
• 1:30
  Speaker 1: that there's others you'd like to hear our take on,
• 1:32
  Speaker 1: then let us know. And if not, don't. No, yeah,
• 1:36
  Speaker 1: and we won't. But we've sort of floated that idea
• 1:38
  Speaker 1: of maybe doing this again because this has been a
• 1:40
  Speaker 1: lot of fun so far and I'm looking forward to
• 1:42
  Speaker 1: this discussion.
• 1:43
  Speaker 2: Yeah, yeah, this will be this will be cool. I
• 1:45
  Speaker 2: also wanted to point out, because this is something that
• 1:47
  Speaker 2: we did I didn't mention in the previous episode. You
• 1:49
  Speaker 2: mentioned What Dreams May Come, Yeah, which is one of
• 1:52
  Speaker 2: my favorite movies ever.
• 1:53
  Speaker 1: Wow, I just love them.
• 1:55
  Speaker 2: I mean, I love It's so good.
• 1:57
  Speaker 1: I mean, the story is riche Matheson's maybe the off
• 2:00
  Speaker 1: That's what I was just gonna say.
• 2:01
  Speaker 2: So, Like, I didn't know that Richard Matheson wrote wrote
• 2:04
  Speaker 2: What Dreams May Come, And if you're not familiar with
• 2:06
  Speaker 2: Richard Matheson's work, he wrote, I am legend.
• 2:08
  Speaker 1: Yeah, oh, man, he is such a good author. Like
• 2:12
  Speaker 1: I think I've read three of his books and every
• 2:14
  Speaker 1: one of them have just been so so good.
• 2:18
  Speaker 2: He's incredible.
• 2:19
  Speaker 1: He's incredible, really remarkable author.
• 2:21
  Speaker 2: Yeah.
• 2:22
  Speaker 1: I don't think about him personally, so hopefully he's not
• 2:24
  Speaker 1: some neo Nazi weird creep or something. But yeah, his
• 2:27
  Speaker 1: writing great.
• 2:28
  Speaker 2: That would not be good, Yeah, that would not be good.
• 2:30
  Speaker 2: That would be like, that would be like getting really
• 2:31
  Speaker 2: into Atlas Shrugged and discovering ain RAN's.
• 2:34
  Speaker 1: Bullsh That's true. Yeah, which I also liked those books
• 2:39
  Speaker 1: or Atlas Shrugs specifically, but I don't I guess, I
• 2:43
  Speaker 1: guess where I would say that. This is like, I'm
• 2:44
  Speaker 1: not endorsing Richard Matheson as a person because I just
• 2:48
  Speaker 1: don't know anything about him, but his writing I have
• 2:50
  Speaker 1: very very much loved. I don't know have we even
• 2:52
  Speaker 1: got on because we mentioned in the last episode. I
• 2:55
  Speaker 1: was like, how did we get on this path? Shane? Yes,
• 2:58
  Speaker 1: I would like to wish you a happy Brain Injury
• 3:00
  Speaker 1: Awareness Day, not because of you. Oh but it's the
• 3:04
  Speaker 1: day of the week.
• 3:05
  Speaker 2: Yeah, yeah, yeah, I appreciate that. It's also Courageous Follower Day.
• 3:10
  Speaker 1: It is. It's discover what your name means day.
• 3:13
  Speaker 2: My name means a gift from God.
• 3:14
  Speaker 1: In Irish, my name means someone read the Bible.
• 3:22
  Speaker 2: I like that. I like that.
• 3:23
  Speaker 1: It's Equal Payday, Global Day of the Engineer, indeed.
• 3:28
  Speaker 2: Specifically the one from Prometheus, which is scary. It is
• 3:35
  Speaker 2: March fourth, Do Something Day.
• 3:38
  Speaker 1: Okay, good, that's I appreciate it. Okay, National Dance the
• 3:43
  Speaker 1: Waltz Day. Okay.
• 3:46
  Speaker 2: It's National Grammar Day. Yeah. I've never danced the waltz,
• 3:48
  Speaker 2: but that sounds fun.
• 3:50
  Speaker 1: I appreciate grammar Day. It is National pound cake Day.
• 3:53
  Speaker 2: I appreciate that quite a bit. Sure, it's National snack Day,
• 3:56
  Speaker 2: which I also appreciate.
• 3:58
  Speaker 1: Oh, yes, definitely. It is Old Inauguration Day.
• 4:02
  Speaker 2: Ooh.
• 4:02
  Speaker 1: Maybe out the last two presidential and three presidential inaugurations
• 4:06
  Speaker 1: we've had, it might.
• 4:08
  Speaker 2: Be well, I mean, even the last January twenty or
• 4:11
  Speaker 2: whatever it is. That one may also be the old
• 4:13
  Speaker 2: inauguration Day. Given the circumstances now, we may never have
• 4:16
  Speaker 2: another one again.
• 4:17
  Speaker 1: True, it's World Obesity Day. It is Chocolate chip cookie Week.
• 4:22
  Speaker 2: I'll support it. It's Ender metriosis Week. Oooh.
• 4:26
  Speaker 1: It is National Cheerleading Week.
• 4:29
  Speaker 2: It is I think that. That's I think we'll have
• 4:31
  Speaker 2: the cheerleading. We have the national cheerleading event here in
• 4:34
  Speaker 2: Daytona every year, so it's wild. We talked about that
• 4:39
  Speaker 2: on this show. Yeah, with that cheerleading show. It's a
• 4:41
  Speaker 2: National Dental Assistance Recognition Week.
• 4:44
  Speaker 1: And it is National ghost Writers Week. This is maybe
• 4:47
  Speaker 1: the most disparate topics like week that we've ever done.
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  Speaker 2: Yeah, there's like a couple pairs though, Right, so there's
• 4:57
  Speaker 2: grammar and ghostwriters.
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  Speaker 1: Okay, you're right, chocolate chip cookie week in Obesity Day.
• 5:02
  Speaker 1: Oh I thought you're gonna say tental assistance.
• 5:04
  Speaker 2: Oh, dental assistance. Yeah, there you go. So maybe they're
• 5:07
  Speaker 2: they're they're loosely related. It's like it's it's just a
• 5:09
  Speaker 2: practice in RFT. You could, yeah, you could draw a connection.
• 5:12
  Speaker 2: You just need some creative thinking.
• 5:14
  Speaker 1: But yes, yes, practice, yes, yes, okay. Oh man, all right,
• 5:21
  Speaker 1: we don't just talk about the holidays though. This is
• 5:23
  Speaker 1: a full length discussion about a thing. And as we said,
• 5:25
  Speaker 1: the thing today is a movie. So we are talking
• 5:28
  Speaker 1: about the sequel to inside Out. We did a discussion
• 5:32
  Speaker 1: about the first inside Out movie. That was our first
• 5:35
  Speaker 1: time doing sort of a dive into a movie. But
• 5:38
  Speaker 1: because that it sort of took on the concept of
• 5:43
  Speaker 1: depicting how human behavior sort of works. We were like,
• 5:47
  Speaker 1: all right, we need to talk about this thing. I've
• 5:49
  Speaker 1: decided even though this movie is like eleven years old,
• 5:52
  Speaker 1: and so we did that, and so now we're taking
• 5:55
  Speaker 1: on the sequel because it continues to expand on that
• 5:57
  Speaker 1: theme and there's a lot of new things in here
• 5:59
  Speaker 1: to discuss. So that'll be this discussion today. If you're
• 6:03
  Speaker 1: joining us for the first time, welcome. I hope that
• 6:05
  Speaker 1: you enjoy what you hear in this. This is a
• 6:07
  Speaker 1: fully standalone episode. However, if you like to go listen
• 6:09
  Speaker 1: to the first part or where we review the first movie,
• 6:12
  Speaker 1: you can check that out because some of there will
• 6:14
  Speaker 1: be some overlap. If you are a returning person, then
• 6:17
  Speaker 1: welcome back. We hope that you are continuing to find
• 6:19
  Speaker 1: joining this and thank you for sticking around. And either way,
• 6:21
  Speaker 1: if you'd like to support us, you can join us
• 6:23
  Speaker 1: on Patreon, leave us a rating and a review, like subscribe,
• 6:27
  Speaker 1: tell a friend, subscribe to us for a friend, give
• 6:30
  Speaker 1: us as a gift to a friend, something like that.
• 6:33
  Speaker 1: We'll talk more about the ways you can support us
• 6:34
  Speaker 1: at the end of this discussion all right, now I
• 6:37
  Speaker 1: think we're ready to dive into our topic.
• 6:38
  Speaker 2: Yes, yeah, let's do it.
• 6:40
  Speaker 1: Okay, So this film that we're covering is this It's
• 6:43
  Speaker 1: a sequel that introduces new characters and concepts that expand
• 6:46
  Speaker 1: on the ideas of the first movie. We will break
• 6:49
  Speaker 1: down this movie. We'll do a quick overview of the
• 6:51
  Speaker 1: previous movie in case just just as a refresher, but
• 6:54
  Speaker 1: we'll do a quick overview of the first movie, and
• 6:56
  Speaker 1: then we'll break down this movie. We'll offer our perspectives
• 6:59
  Speaker 1: on considerations for the sequences illustrated in this film. And
• 7:04
  Speaker 1: major spoiler warning, all of the spoilers. We will be
• 7:07
  Speaker 1: reviewing the majority of the plot points from the entire
• 7:10
  Speaker 1: movie beginning to end. Every critical piece of it is
• 7:13
  Speaker 1: in here and everything that happens. So if you don't
• 7:15
  Speaker 1: want the spoiled, there is no way you are getting
• 7:18
  Speaker 1: out of this one without that happening.
• 7:20
  Speaker 2: Yes, so let's go ahead into a quick overview of
• 7:23
  Speaker 2: Inside Out one so you can catch up and then
• 7:25
  Speaker 2: how it sets up the prequel or the sequel I
• 7:28
  Speaker 2: should say, of Inside Out too cool. In case you
• 7:30
  Speaker 2: didn't see the first movie or listen to our episode
• 7:32
  Speaker 2: about it, the first movie is a Disney Pixar animated
• 7:35
  Speaker 2: film that follows young girl named Riley, although the movie
• 7:37
  Speaker 2: mostly takes place inside of her mind, which is populated
• 7:40
  Speaker 2: by several character hamuncula that represent her five emotions joy, anger, fear, discussed,
• 7:45
  Speaker 2: and sadness.
• 7:47
  Speaker 1: So in this Riley is an eleven year old girl.
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  Speaker 1: In the movie, She's from the Midwest. She loves hockey,
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  Speaker 1: but her life is upended when her family moves across
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  Speaker 1: the country to San Francisco. Distressed by the situation, Riley
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  Speaker 1: decides to run away from home, or perhaps her emotions
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  Speaker 1: decide this for her. The cause effective relationship is murky.
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  Speaker 2: Sure. Now, for the most part, we're watching emotions Joy
• 8:08
  Speaker 2: and sadness who get accidentally booted out of headquarters, and
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  Speaker 2: they spend most of the rest of the movie trying
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  Speaker 2: to get back to headquarters, traversing the abyss where old
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  Speaker 2: memories are purged, imagination land, abstract reasoning, train of thought,
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  Speaker 2: the subconscious talking about dream manufacturing other areas of the brain.
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  Speaker 2: I mean, basically, it's like they are exploring various parts
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  Speaker 2: of her mind. Yep.
• 8:28
  Speaker 1: And while joy and sadness emotions are away from headquarters,
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  Speaker 1: Riley's personality I guess yes, start to crumble and many
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  Speaker 1: important parts of her are lost. But eventually the emotions
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  Speaker 1: do make it back to headquarters and Riley has and
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  Speaker 1: her emotions have this epiphany moment and she instead of
• 8:48
  Speaker 1: running a well, she's in the process of running away
• 8:51
  Speaker 1: from home, but she stops before she really takes off,
• 8:54
  Speaker 1: and she returns home, failing to complete her attempts to
• 8:58
  Speaker 1: run away, failing in a good way. And the movie
• 9:01
  Speaker 1: ends with the Emotions team getting a large panel upgrade.
• 9:05
  Speaker 1: So they have this control panel where they like manipulate
• 9:07
  Speaker 1: things that are related to her reactions and which emotion
• 9:11
  Speaker 1: is controlling the panel affects how she reacts. But they
• 9:14
  Speaker 1: give this giant panel upgrade in her mind with a
• 9:17
  Speaker 1: new shared sense of camaraderie and collaboration with one another
• 9:21
  Speaker 1: as emotions, and it comes with this big scary puberty
• 9:25
  Speaker 1: alarm button. And so Inside Out picks up with Riley
• 9:28
  Speaker 1: about two years after the event of the first movie.
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  Speaker 1: So now she is thirteen.
• 9:32
  Speaker 2: Yes, yes, yes, yes, So let's talk a little bit
• 9:35
  Speaker 2: of the movie itself. Inside Out to You is a
• 9:37
  Speaker 2: twenty twenty four Disney Pixar film and It's a sequel
• 9:40
  Speaker 2: to the twenty fifteen movie of essentially the same name,
• 9:42
  Speaker 2: inside Out, that we talked about in the previous episode.
• 9:45
  Speaker 2: This time it was written by Meg Lafov, who was
• 9:47
  Speaker 2: involved in the first movie. Then you've also got Dave
• 9:50
  Speaker 2: Holston and Kelsey Mann. We talked about lafav the last time,
• 9:53
  Speaker 2: but she is mostly known for writing on Captain Marvel,
• 9:56
  Speaker 2: My Father's Dragon, and Inside Out. This seems to be
• 9:59
  Speaker 2: the first movie for Holston, who mostly had decades of
• 10:02
  Speaker 2: experience writing for TV, including Weeds, and kelsey Mann was
• 10:06
  Speaker 2: both a writer and director of this movie. He's also
• 10:09
  Speaker 2: known for his work on The Good Dinosaur and l
• 10:11
  Speaker 2: e O and a light Year. Here's an interesting one
• 10:14
  Speaker 2: because it's the movie. It's the movie that Andy loved
• 10:17
  Speaker 2: that made him want to buy the buzz Lightyear toy. Yeah,
• 10:20
  Speaker 2: toys based on So it's an in universe movie. So
• 10:23
  Speaker 2: it's like a toy story tie in because it's an
• 10:26
  Speaker 2: in universe movie. It's weird.
• 10:27
  Speaker 1: Yeah, it is weird. It was enjoyable. I liked it,
• 10:31
  Speaker 1: but it was Yeah, it was fun, it was weird,
• 10:33
  Speaker 1: it was hard. I was like, I'm not sure how
• 10:34
  Speaker 1: to exactly understand what this is, but I do like it.
• 10:38
  Speaker 2: Yeah, yeah, yeah, it's still a good time.
• 10:40
  Speaker 1: All right. So as far as the voice actors in this,
• 10:43
  Speaker 1: because it is animated, most of the voice actors for
• 10:46
  Speaker 1: returning characters are the same. Amy Poehler is the voice
• 10:49
  Speaker 1: of Joy. Phillips Smith is the voice of Sadness. She
• 10:53
  Speaker 1: was also the character on the Office. Lewis Black is
• 10:56
  Speaker 1: the voice of Anger. Diane Lane is Riley's mother. Kyle
• 11:00
  Speaker 1: McLaughlin voices Riley's father. Last time, Riley was voiced by
• 11:04
  Speaker 1: Caitlin Diaz or Diaz, but was this time replaced by
• 11:08
  Speaker 1: Kensington Tallman Bill Hayterer. Last time was fear. This time
• 11:12
  Speaker 1: he was replaced by the incomparable Tony Hale. The sequel
• 11:17
  Speaker 1: Love Tony Hale and then Minnie Kayling last time was
• 11:20
  Speaker 1: discussed has been replaced by Liza Lapira, who I did
• 11:23
  Speaker 1: not recognize her picture or her name, but she is
• 11:28
  Speaker 1: now doing the voice of disgust for the sequel.
• 11:31
  Speaker 2: Yeah. Plus, we get a bunch of new characters, both
• 11:33
  Speaker 2: emotions and as people. So Maya Hawk voices the main
• 11:36
  Speaker 2: additional character anxiety. Io ed A Beery voices Envy, which
• 11:41
  Speaker 2: is perfect. Adele x Rcoppolis voices on Wii, and then
• 11:46
  Speaker 2: Paul Walter Hauser voices Embarrassment. If you don't know who
• 11:49
  Speaker 2: Paul Walter Hauser is, he is Moleman in the New
• 11:53
  Speaker 2: Fantastic Four movie.
• 11:54
  Speaker 1: Oh fun. Yeah, he has like one line in this movie.
• 11:59
  Speaker 1: He makes it some like sounds he goes, and that's
• 12:02
  Speaker 1: about as much as he does until you get to
• 12:05
  Speaker 1: the very very last part. But yeah, he's fun in this.
• 12:09
  Speaker 2: He makes about the same amount of lines that I
• 12:11
  Speaker 2: make whenever ads come up.
• 12:12
  Speaker 1: Cool, Okay, we're back. We've been just sort of talking
• 12:23
  Speaker 1: about the people who are involved in the making of
• 12:26
  Speaker 1: Inside Out too, So for this next part here, we're
• 12:28
  Speaker 1: gonna essentially synops or recap I don't know. We're gonna
• 12:34
  Speaker 1: describe the plot of the entire movie, and then we'll
• 12:37
  Speaker 1: get into breaking that down. So, as we did with
• 12:39
  Speaker 1: the last discussion of the movie, we talk a little
• 12:42
  Speaker 1: bit about the people involved, then we're going to do
• 12:46
  Speaker 1: a fairly in depth summary of the entire plot of
• 12:50
  Speaker 1: the movie. Then we'll get into some of our criticisms
• 12:52
  Speaker 1: about the movie and some of the things that I
• 12:54
  Speaker 1: think really work well about the metaphor of the movie. Yeah,
• 12:58
  Speaker 1: and I would say I probably like this one just
• 13:00
  Speaker 1: as much as the first one. I'm not sure which
• 13:02
  Speaker 1: one I like more. Honestly, I think they're both good.
• 13:05
  Speaker 1: So yeah, they have their moments.
• 13:07
  Speaker 2: Yeah, when this one came out, I remember they announced
• 13:09
  Speaker 2: it and I've said on the show, my daughter's name
• 13:11
  Speaker 2: is Riley and she has anxiety, and so it came
• 13:14
  Speaker 2: out at the time, like I was like, oh, she's
• 13:16
  Speaker 2: a thirteen year old girl with anxiety who is struggling
• 13:19
  Speaker 2: with anxiety, and like she looks my daughter looks like
• 13:21
  Speaker 2: the Riley in these movies too. So I just like,
• 13:24
  Speaker 2: I remember seeing the trailer and I went, I've seen
• 13:26
  Speaker 2: this movie.
• 13:28
  Speaker 1: I've lived in this movie.
• 13:29
  Speaker 2: I've lived this movie. You know, it was pretty pretty accurate.
• 13:33
  Speaker 2: I mean, my Riley doesn't play hockey, but like a
• 13:35
  Speaker 2: lot of the other stuff, I went, sure, that's fair,
• 13:37
  Speaker 2: that's accurate, that's real.
• 13:38
  Speaker 1: At some point, you were visiting Disney World and they're like,
• 13:40
  Speaker 1: let's make a movie about that kid.
• 13:43
  Speaker 2: Yeah, that kid specifically.
• 13:44
  Speaker 1: Yeah, okay, so let's go ahead and talk about the
• 13:48
  Speaker 1: plot of this movie. So the movie briefly recaps Riley's
• 13:52
  Speaker 1: couple of years, recaps I guess it's sort of as
• 13:55
  Speaker 1: a montage thing, but it sort of recaps a couple
• 13:57
  Speaker 1: of years becoming a teenager, and it's goes it briefly
• 14:01
  Speaker 1: touches on like here are some things that have happened
• 14:03
  Speaker 1: to Riley since the last movie kind of and then
• 14:06
  Speaker 1: after going through that, and it is like, okay, she's thirteen.
• 14:09
  Speaker 1: Now this all happens in like thirty seconds. Is really fast.
• 14:13
  Speaker 2: Yeah, yeah, yeah.
• 14:13
  Speaker 1: The movie essentially jumps right into a hockey game because,
• 14:16
  Speaker 1: as we said, Riley loves hockey. That's actually one of
• 14:18
  Speaker 1: her personality islands in the first movie, and in this
• 14:22
  Speaker 1: hockey game, it uses this as an opportunity to reintroduce
• 14:26
  Speaker 1: all of the characters and the setting of o'riley's mind.
• 14:32
  Speaker 2: Yes, now, in the previous movie, they established that Riley
• 14:34
  Speaker 2: had personality Islands or has personality Islands, which represents aspects
• 14:38
  Speaker 2: of her personality. In the first movie, Riley's family personality
• 14:41
  Speaker 2: Island is one of the largest and most robust. However,
• 14:44
  Speaker 2: in this movie, as Riley is becoming a teenager, there's
• 14:47
  Speaker 2: a great visual gag where they show Riley's friends Island
• 14:50
  Speaker 2: is Now this gigantic, huge has towers over the other
• 14:53
  Speaker 2: islands and all this it's like just big in the
• 14:55
  Speaker 2: family island, It's so small that the need binoculars to
• 14:57
  Speaker 2: see the dull little figurines that represent her family, which,
• 15:02
  Speaker 2: like just so everybody, like if you are following psychology,
• 15:05
  Speaker 2: like this is something that like Ericsson's model actually spends
• 15:09
  Speaker 2: a little bit time talking about, like that when you
• 15:11
  Speaker 2: become a teenager, social relationships become so much more valuable
• 15:14
  Speaker 2: than like family relationships, right, like generally speaking, so like
• 15:17
  Speaker 2: that aligns with some psychological like stages of development perspectives.
• 15:21
  Speaker 1: Yeah, like as hypothesized by certain figures. Yeah, and also
• 15:24
  Speaker 1: I think the experience that a lot of parents have
• 15:27
  Speaker 1: that are like, for many years you are the center
• 15:30
  Speaker 1: of the child's world, and then they turn teenagers and
• 15:33
  Speaker 1: all of a sudden you are barely barely a spec
• 15:36
  Speaker 1: in the spectrum of their consciousness.
• 15:38
  Speaker 2: Yeah, yeah, exactly exactly.
• 15:40
  Speaker 1: Like my friends are all that matter go away?
• 15:42
  Speaker 2: Yes, also very accurate. I have lived that experience too. Yep.
• 15:48
  Speaker 1: Okay, this is where we're also introduced to a critical
• 15:51
  Speaker 1: new component of Riley's mind that was not at all
• 15:54
  Speaker 1: a part of the first one. And they do sort
• 15:56
  Speaker 1: of say that is something that the emotions discovered or
• 15:59
  Speaker 1: that it maybe happen. I'm not sure anyway. One of
• 16:02
  Speaker 1: the main components of this that is a huge centerpiece
• 16:05
  Speaker 1: for this movie is this idea that Riley's memories form
• 16:10
  Speaker 1: her beliefs, and this is represented as in the previous one,
• 16:14
  Speaker 1: they had these sort of bowling ball sized glowing memory
• 16:18
  Speaker 1: orbs that look like a pallanteer from Lord of the Rings,
• 16:21
  Speaker 1: and the colors of the orbs usually represent the emotions
• 16:25
  Speaker 1: that were involved in the formation of that memory. Okay,
• 16:28
  Speaker 1: so in this one, these memories like fall into this
• 16:32
  Speaker 1: like memory pool thing, or they're brought there into this
• 16:35
  Speaker 1: memory pool, and when the memory enter this pool, this
• 16:39
  Speaker 1: like bright chord grows out of the pool and it
• 16:43
  Speaker 1: represents a belief and so when it plucked, it plays
• 16:45
  Speaker 1: a statement in Riley's voice that is a belief she
• 16:48
  Speaker 1: has about herself. So they depict in the movie like
• 16:51
  Speaker 1: dozens or maybe hundreds of these. There's a lot, yeah,
• 16:54
  Speaker 1: but they give some examples where Joy is going around
• 16:57
  Speaker 1: sort of plucking some of these chords, and you here
• 17:00
  Speaker 1: as the statements like I am a good friend, Mom
• 17:03
  Speaker 1: and Dad are proud of me, I'm kind I'm brave.
• 17:06
  Speaker 1: Those are some of the statements that play from these
• 17:09
  Speaker 1: beliefs that are formed from these memories, and these memories,
• 17:13
  Speaker 1: these chords like go up into the headquarters and they
• 17:16
  Speaker 1: all coalesce in this bright little bundle that they describe
• 17:19
  Speaker 1: as her sense of self, and the sense of self
• 17:22
  Speaker 1: will just say I am a good person. Yeah, and
• 17:25
  Speaker 1: that's that's how that's depicted in this movie.
• 17:27
  Speaker 2: Yeah, and it looks like kind of like a flower.
• 17:30
  Speaker 2: Oh yeah, that's it comes together and like creates like
• 17:32
  Speaker 2: a little bit of like a flower type of thing. Okay,
• 17:35
  Speaker 2: kind of a it's.
• 17:35
  Speaker 1: Greedy, almost like an atom how an adam is depicted
• 17:38
  Speaker 1: with like a nucleus and electrons. But yes, like a
• 17:40
  Speaker 1: flower is a good, a good way to describe it.
• 17:42
  Speaker 2: It's a really interesting to picture. And so that night, coincidentally,
• 17:46
  Speaker 2: the puberty alarm suddenly goes off and a wrecking crew
• 17:48
  Speaker 2: shows up. It starts demolishing the place and as they
• 17:51
  Speaker 2: put it, quote to make room for the others, also
• 17:55
  Speaker 2: leaving them with even an even larger and more elaborate
• 17:58
  Speaker 2: control board. And so they're there's a great gag now
• 18:00
  Speaker 2: where if any of the emotions barely touch the control panel.
• 18:04
  Speaker 2: Riley's reaction is extremely intense, so they try to gently
• 18:07
  Speaker 2: poke it for with like from with a pole while
• 18:11
  Speaker 2: standing across the room, which doesn't work. So you know
• 18:14
  Speaker 2: you've got this, Like now puberty is hit. And now
• 18:17
  Speaker 2: they say make room for others, which is like a
• 18:18
  Speaker 2: whole thing. And then everything is like all the dials
• 18:21
  Speaker 2: and all the levers are like so sensitive that it's
• 18:23
  Speaker 2: like everything is like, you know, just amped up, which
• 18:26
  Speaker 2: is a lot of fun. Yeah.
• 18:27
  Speaker 1: Yeah, Like there her mom comes to wake her up,
• 18:29
  Speaker 1: and anger goes and like presses a button and Riley's
• 18:32
  Speaker 1: reaction is like, oh, why aren't you just good off me?
• 18:36
  Speaker 1: You're always on me all the time. And they're like
• 18:39
  Speaker 1: the other emotions are like that was a bit of
• 18:40
  Speaker 1: an no reaction. He's like, I barely touched it. And
• 18:42
  Speaker 1: every time one of the emotions like just like barely
• 18:45
  Speaker 1: touches the board her emotion, she just flies off the handle. Yeah,
• 18:48
  Speaker 1: really funny. It's pretty great, Oh man, really good, really
• 18:54
  Speaker 1: good teenagers.
• 18:55
  Speaker 2: Okay, oh teenagers.
• 18:57
  Speaker 1: So Riley and her best friend are our best friends
• 19:01
  Speaker 1: are chosen for an elite elite hockey camp with a
• 19:05
  Speaker 1: particularly successful and talented player named Valentina, human character in here,
• 19:11
  Speaker 1: and while they're on their way to this camp, Riley
• 19:14
  Speaker 1: learns sort of accidentally that her best friends that are
• 19:17
  Speaker 1: with her, whose she's very close with, they'll not be
• 19:20
  Speaker 1: moving into the same school as her in the next
• 19:23
  Speaker 1: in the upcoming year. So when she's arrived, she's now
• 19:26
  Speaker 1: very upset. She's trying to hide it, but she's like
• 19:29
  Speaker 1: visibly crying when nobody's looking, and all obviously the motions
• 19:32
  Speaker 1: in her head are very wrapped up in all of this.
• 19:35
  Speaker 1: But she arrives, she's upset, and then she immediately runs
• 19:38
  Speaker 1: into that very cool, super popular girl who's the talented
• 19:42
  Speaker 1: head of the skating team, Valentina, And while fumbling her
• 19:45
  Speaker 1: way through the conversation, we now get introduced to a
• 19:49
  Speaker 1: brand new emotion, Anxiety, who is, as we said, voiced
• 19:53
  Speaker 1: by Maya Hawk. Anxiety is the small, frizzy haired orange
• 19:57
  Speaker 1: character with like the super super skinny, with this gigantic
• 20:01
  Speaker 1: wide mouth that sort of curves up in sort of
• 20:03
  Speaker 1: a smile or down in sort of a frown. And
• 20:06
  Speaker 1: they are just running around with tons of energy and
• 20:09
  Speaker 1: talking about essentially how they're they're planning for the future
• 20:13
  Speaker 1: and worried about all the bad things that might happen.
• 20:15
  Speaker 2: Yeah, yeah, yeah, And this is also the time they
• 20:18
  Speaker 2: use to introduce some of the other new emotions. So
• 20:20
  Speaker 2: you got envy, embarrassment on Wei, and a brief hysterical
• 20:24
  Speaker 2: character Nostalgia, who might be my favorite of like of
• 20:29
  Speaker 2: all of these is so good. So so they immediately
• 20:33
  Speaker 2: start gaining control of the headquarters, except for Nostalgia, who
• 20:36
  Speaker 2: they got back behind a closed door, citing that she
• 20:38
  Speaker 2: still has about ten years to graduations and a best
• 20:41
  Speaker 2: friend's wedding before she's invited to the HQ control rooms.
• 20:44
  Speaker 1: Ye's got of fun that's a direct quote. They're like,
• 20:46
  Speaker 1: they're like, you have about ten years to graduations and
• 20:49
  Speaker 1: a best friend's wedding. Yeah, and then and now just
• 20:54
  Speaker 1: depicted as like this very old woman. It's very funny. Yeah,
• 20:58
  Speaker 1: make you chuckle, you know.
• 21:00
  Speaker 2: And I think I think there's something to be said
• 21:01
  Speaker 2: about the design of the new characters, like you know, like, yeah,
• 21:04
  Speaker 2: we talk about the designs of the characters. I think
• 21:06
  Speaker 2: they're really interesting. But you know, you mentioned anxiety being
• 21:09
  Speaker 2: like kind of like high energy, like frizzy hair, like
• 21:12
  Speaker 2: just kind of like almost frazzled, like almost like kind
• 21:14
  Speaker 2: of how you would like characterize or humanize anxiety. But
• 21:17
  Speaker 2: my favorite design of all of them is embarrassment, because
• 21:20
  Speaker 2: embarrassment is quiet but big and takes up so much
• 21:25
  Speaker 2: room and and just like there's like something about that
• 21:28
  Speaker 2: where it's like, embarrassment is such a big emotion, but
• 21:32
  Speaker 2: like we don't really it's not very it's not expressed
• 21:35
  Speaker 2: very well, right, Like it's like you kind of keep
• 21:37
  Speaker 2: it quiet, so it's like it's this big, huge emotion
• 21:40
  Speaker 2: that you don't really talk about, which I thought was
• 21:42
  Speaker 2: really a fascinating design choice.
• 21:44
  Speaker 1: Yeah, actually, let's take this as a quick moment to
• 21:46
  Speaker 1: describe the new characters, because you're right that the visual
• 21:48
  Speaker 1: choices they made with them were obviously very deliberate. And
• 21:51
  Speaker 1: not only is Embarrassment very large, but he's pink and
• 21:55
  Speaker 1: has a gigantic nose. Yes, he wears a hoodie which
• 21:59
  Speaker 1: he frequently will pull tight around his face so you
• 22:01
  Speaker 1: can barely see his eyes or even just his nose
• 22:03
  Speaker 1: poking out, and he says almost nothing the entire movie.
• 22:07
  Speaker 1: And then we have Envy. Is really interesting because Envy
• 22:11
  Speaker 1: is this very small, childlike blue character who has well,
• 22:16
  Speaker 1: there maybe is more sort of a purple, but they
• 22:19
  Speaker 1: kind of have this short bob haircut and gigantic eyes. Again,
• 22:23
  Speaker 1: sort of interesting visual choices for how that's supposed to look.
• 22:27
  Speaker 2: Yeah, and then on Lee is like real tall, skinny,
• 22:30
  Speaker 2: dark purple, like just kind of like it's always kind
• 22:34
  Speaker 2: of not is like bored by everything, like it is
• 22:37
  Speaker 2: always on her phone, just kind of like oh whatever,
• 22:40
  Speaker 2: it's very right.
• 22:40
  Speaker 1: To cross like whatever is nearby.
• 22:43
  Speaker 2: Yeah, yeah, not very not up and mobile most of
• 22:47
  Speaker 2: the time, just kind of like laying over and like
• 22:49
  Speaker 2: just kind of just being being like just there right,
• 22:52
  Speaker 2: which I thought was interesting. And then you brought up nostalgia,
• 22:54
  Speaker 2: which is like this little old lady like and she's
• 22:57
  Speaker 2: like gold like gold, like like a gold yellow color,
• 22:59
  Speaker 2: like very like like a pale gold almost like it's
• 23:02
  Speaker 2: the Golden Years type of reference. So like something kind
• 23:05
  Speaker 2: of cool with that too.
• 23:06
  Speaker 1: Yeah. She's got like a gray hair and a tight
• 23:08
  Speaker 1: like tight buns on the side of her head, and
• 23:10
  Speaker 1: she's wearing big glasses and her eyes are almost like
• 23:12
  Speaker 1: squinty and small. Yeah. On we just as you said,
• 23:15
  Speaker 1: it was almost like boneless. Whenever they stand up, their
• 23:17
  Speaker 1: head kind of flops over because they're just kind of
• 23:19
  Speaker 1: like I couldn't be bothered to exhorted enough effort to
• 23:22
  Speaker 1: hold my head up.
• 23:23
  Speaker 2: Yeah, it's great, it's great design choices for him.
• 23:26
  Speaker 1: Such a good And there's there's a really funny scene
• 23:28
  Speaker 1: where like Anxiety is talking directly to a Wii and
• 23:31
  Speaker 1: is like, are you listening? And we goes no, has
• 23:35
  Speaker 1: a French accent, of course, because yeah, of course no. Yeah,
• 23:40
  Speaker 1: are you listening to ads? Yes? We all right, we're back.
• 23:52
  Speaker 1: We've just been describing the introduction of our new host
• 23:56
  Speaker 1: of emotions. We've got I guess four more. Really we're
• 23:59
  Speaker 1: not going to count nostalgia, but we've got anxiety, envy, embarrassment,
• 24:03
  Speaker 1: And on Wii, three of those start with an E
• 24:05
  Speaker 1: and all of them start with vowels.
• 24:07
  Speaker 2: Yeah.
• 24:07
  Speaker 1: I don't know if that was intentional or not, but
• 24:10
  Speaker 1: is the thing that happened?
• 24:11
  Speaker 2: Yeah, it was super interesting.
• 24:13
  Speaker 1: Yeah, all right, So really most of the conflict for
• 24:18
  Speaker 1: Riley and the rest of the movie is her temptation
• 24:21
  Speaker 1: to abandon her friends so that she can establish herself
• 24:24
  Speaker 1: with a new friend group and be very successful in
• 24:27
  Speaker 1: playing hockey. And there's this like going along with whatever
• 24:32
  Speaker 1: the other cool kids, the older kids say whatever they like,
• 24:35
  Speaker 1: even if they like say something incorrect about her, she
• 24:38
  Speaker 1: like won't correct them. In addition, there is this side
• 24:42
  Speaker 1: plot for Riley that's part of this that's her deciding
• 24:45
  Speaker 1: to break into the coach's office and steal her notebooks
• 24:48
  Speaker 1: so she can see what the what notes the coach
• 24:50
  Speaker 1: has written about her. So that's kind of the main
• 24:53
  Speaker 1: conflict about the rest of the movie, is her sort
• 24:55
  Speaker 1: of abandoning her friends.
• 24:57
  Speaker 2: Yeah, and now for the motion, the emotion specifically, anxiety
• 25:01
  Speaker 2: stages a coup, tears down Riley sense himself and launches
• 25:04
  Speaker 2: it far away into the back of her mind. And
• 25:06
  Speaker 2: then she quote bottles up or suppresses the original five
• 25:09
  Speaker 2: emotions and sends them to a vault of secrets, which
• 25:12
  Speaker 2: which has a hilarious another visual gag has a hilarious
• 25:16
  Speaker 2: deep dark secret that's just a big grumbling, hulk, hulking
• 25:19
  Speaker 2: mask that doesn't really say anything. Yeah, it just kind
• 25:22
  Speaker 2: of hides in the shadows, which is really fun. So yeah,
• 25:25
  Speaker 2: so at this point in time, anxiety stages a coup
• 25:27
  Speaker 2: and takes over. So now anxiety's running the show as
• 25:30
  Speaker 2: opposed to like, you know what we saw before, which
• 25:32
  Speaker 2: was joy historically had been running the show until they
• 25:35
  Speaker 2: decided to cooperate with each other.
• 25:37
  Speaker 1: Yeah, there's a couple more. There's like a secret. There's
• 25:39
  Speaker 1: this cartoon from when she was a kid that she
• 25:41
  Speaker 1: still likes but doesn't want to admit it, so it's
• 25:43
  Speaker 1: a secret. It's in the vault. Yeah, there's this like
• 25:46
  Speaker 1: video game character she has a crush on, so she's
• 25:49
  Speaker 1: embarrassed by. So he's in the vault down there. But
• 25:52
  Speaker 1: that's uh, yeah, they're down there in the in the
• 25:56
  Speaker 1: bottled up glass jar and whatnot.
• 25:59
  Speaker 2: Yeah.
• 25:59
  Speaker 1: Meanwhile, and anxiety is now running the show, which means
• 26:02
  Speaker 1: that as Riley is forming new memories, they're now being
• 26:05
  Speaker 1: colored by anxiety. And so anxiety takes one of these
• 26:09
  Speaker 1: anxiety laden memories and deposits in that pool of her beliefs.
• 26:13
  Speaker 1: And for the most part, we've seen these beliefs depicted
• 26:17
  Speaker 1: as these like smooth blue light chords that grow like
• 26:22
  Speaker 1: a vine and grow up to headquarters, whereas anxiety, when
• 26:27
  Speaker 1: this belief sprouts, is the sort of electric, jagged memory thread,
• 26:32
  Speaker 1: and it begins to grow up and form a new
• 26:35
  Speaker 1: sense of self, because remember she had torn down her
• 26:38
  Speaker 1: old sense of self. And then we hear this first
• 26:40
  Speaker 1: statement when she plucks this, this is a new belief
• 26:44
  Speaker 1: that she has. That's if I am a fire Hawk,
• 26:47
  Speaker 1: I won't be alone. Fire Hawk is the name of
• 26:49
  Speaker 1: the team she's trying out for, and so it's this
• 26:52
  Speaker 1: fear about loneliness and the like I have to do
• 26:56
  Speaker 1: this thing so that I don't have this bad thing happen.
• 27:00
  Speaker 1: Just yeah, so on point for anxiety.
• 27:04
  Speaker 2: Yeah, and also super important when we talk about like
• 27:06
  Speaker 2: sense of self and like the way that the beliefs
• 27:08
  Speaker 2: were structured. Previously, the beliefs were structured as I'm a
• 27:11
  Speaker 2: good person, and now it's if then can if then seems,
• 27:15
  Speaker 2: which is a huge change.
• 27:17
  Speaker 1: It is, and it's like it's just such smart writing
• 27:20
  Speaker 1: in a way to like depict how how that is
• 27:23
  Speaker 1: different and like fundamentally different. They it was really really
• 27:26
  Speaker 1: good that the way that they did that. So yeah,
• 27:28
  Speaker 1: and we'll get more to that. We're talking about like
• 27:29
  Speaker 1: the metaphor and the criticisms of this, but yeah, but yeah,
• 27:33
  Speaker 1: that that is a new thing. That is an important
• 27:35
  Speaker 1: thing to note, is like how those statements have now
• 27:37
  Speaker 1: changed from like something about her to this like a
• 27:40
  Speaker 1: thing I have to do fueled by worry.
• 27:43
  Speaker 2: Yeah, absolutely, now the core emotions quickly break out of
• 27:46
  Speaker 2: their prison and find the stream of consciousness, which is
• 27:50
  Speaker 2: so great as far as like the discuss like just
• 27:53
  Speaker 2: like the train of thought, stream of God.
• 27:56
  Speaker 1: It's like an actual river.
• 27:57
  Speaker 2: Yeah, yeah, yeah, it's it's a purple river populated by
• 27:59
  Speaker 2: objects that were or whatever Riley's thinking about. They send
• 28:02
  Speaker 2: Sadness back to the headquarters to call them back once
• 28:04
  Speaker 2: they get Riley's sense of self, and they hop into
• 28:07
  Speaker 2: onto a floating piece of broccoli in the stream of consciousness,
• 28:09
  Speaker 2: which is really fun.
• 28:11
  Speaker 1: Yeah, that's there because she's eating some like healthy protein
• 28:14
  Speaker 1: bar that she's pretending she likes, although she hates it.
• 28:16
  Speaker 1: So she's thinking about all the things that she thinks
• 28:18
  Speaker 1: it tastes like that are things she hates. So there's
• 28:20
  Speaker 1: also a cardboard box in the stream. Yeah, but okay,
• 28:26
  Speaker 1: So they're traveling down the river. As they travel, they
• 28:30
  Speaker 1: get to a point where Riley is confronted with something
• 28:32
  Speaker 1: she's embarrassed about, so she makes a sarcastic comment about
• 28:36
  Speaker 1: it to try and win over her new friends. This
• 28:39
  Speaker 1: like severs the stream of consciousness and cracks open part
• 28:44
  Speaker 1: of her mind and creates a sarcasm it's beautiful, very punny,
• 28:53
  Speaker 1: And so they narrowly jump off of the broccoli onto
• 28:56
  Speaker 1: the side before they fall into the sarcasm. But they
• 29:00
  Speaker 1: see these workers across the other side and they try
• 29:01
  Speaker 1: to shout to them, but because they're shouting across the sarcasm,
• 29:04
  Speaker 1: everything they say sounds sarcastic and it pisses the workers
• 29:08
  Speaker 1: off and drives them away. Sure, those workers may have
• 29:11
  Speaker 1: been able to help them, but every time they're like,
• 29:14
  Speaker 1: help us, like we really need you. Like what the
• 29:16
  Speaker 1: workers here is, Oh, we really need you, And so
• 29:19
  Speaker 1: they're like, those guys are jerks. Let's leave.
• 29:23
  Speaker 2: So it's such a great gag. It's so fun.
• 29:26
  Speaker 1: Yeah.
• 29:26
  Speaker 2: So they continue their journey to the back of Ri's
• 29:28
  Speaker 2: mind and happen across imagination Land and discover it's been
• 29:31
  Speaker 2: appropriated by anxiety to essentially mass produce worst case scenario
• 29:35
  Speaker 2: nightmares to keep Riley worried about the future, which is good.
• 29:38
  Speaker 2: Lord Perfect I was like.
• 29:42
  Speaker 1: Well that's pretty spot on.
• 29:44
  Speaker 2: I just what do you I Like, I went, yeah,
• 29:47
  Speaker 2: that's that's exactly what it is. But join the team,
• 29:50
  Speaker 2: hijack the operation, and make happy hypothetical moments. We see
• 29:52
  Speaker 2: Riley visibly relax and fall asleep, which is I think valuable. Yeah.
• 29:57
  Speaker 1: Yeah, so like Anxiety is keeping Riley up with all
• 29:59
  Speaker 1: these worries, and they managed to like for long enough
• 30:02
  Speaker 1: play just like happy memories, so that Riley's able to
• 30:05
  Speaker 1: sort of we see her like like that out a
• 30:07
  Speaker 1: sigh and be able to fall asleep. Yeah, but okay,
• 30:10
  Speaker 1: she's not asleep for very long because Anxiety is on
• 30:13
  Speaker 1: duty here, and so Anxiety and the Anxiety crew wake
• 30:17
  Speaker 1: Riley up and they essentially using the controls send her
• 30:21
  Speaker 1: back to the coach's office to They're like, we need
• 30:25
  Speaker 1: to read this notebook. We need to know what the
• 30:26
  Speaker 1: coach thinks of us so that we can plan for
• 30:28
  Speaker 1: the future. That's a big thing with anxiety, as like
• 30:31
  Speaker 1: planning for That's why the whole worst case scenarios thing
• 30:34
  Speaker 1: with the imaginations. It's just worry about this, worry about this,
• 30:37
  Speaker 1: worry about this, and like plan for a thing to
• 30:39
  Speaker 1: try and do that thing, but of course be worried
• 30:42
  Speaker 1: about it not working.
• 30:43
  Speaker 2: Yeah.
• 30:44
  Speaker 1: I think, as we mentioned, they sent Sadness back, so
• 30:45
  Speaker 1: Sadness was able to get back and is hiding out
• 30:48
  Speaker 1: in HQ and headquarters. She's like tucked around a corner
• 30:52
  Speaker 1: out of site where they aren't really looking, but she
• 30:54
  Speaker 1: is pretty quickly found out by embarrassment, who actually decides
• 30:58
  Speaker 1: to help hide her from anxiety and the other emotions.
• 31:02
  Speaker 2: Yeah, and I'm sure we'll talk about anxiety when we
• 31:05
  Speaker 2: get to the metaphor section. But like she's creating these
• 31:07
  Speaker 2: worst case scenarios to try to be helpful. Yes, yeah,
• 31:10
  Speaker 2: so it's like the whole thing is like she's she's
• 31:12
  Speaker 2: doing it because she's trying to look out for Riley. Yeah,
• 31:14
  Speaker 2: so her intention is not malicious, it just yeah, yeah,
• 31:17
  Speaker 2: we'll get into that. So as join and crew on
• 31:20
  Speaker 2: the way to the back of the mind, Riley has
• 31:22
  Speaker 2: a brainstorm again brilliant, where the ideas are swirling around
• 31:27
  Speaker 2: in a tornado like storm of ideas, all of which
• 31:29
  Speaker 2: are destructive. They get through the storm and manage to
• 31:32
  Speaker 2: make their way to the back of the mind and
• 31:34
  Speaker 2: find Riley's sense of self.
• 31:36
  Speaker 1: Yeah, the whole thing was like anxiety wanted a big idea,
• 31:40
  Speaker 1: so Riley's doing this brainstorm. They get this big idea
• 31:43
  Speaker 1: that they plug into the panel whatever, So anyway, they
• 31:46
  Speaker 1: get back to the sense of self. At the same time,
• 31:48
  Speaker 1: anxiety has managed to transform all of Riley's beliefs into
• 31:53
  Speaker 1: a core sense of self from Anxiety's memories. Right, So
• 31:58
  Speaker 1: anxiety has been populating this belief pool with her own
• 32:01
  Speaker 1: memories and that's forming these if then statements, and then
• 32:06
  Speaker 1: that forms a new sense of self. Anxiety is like, great,
• 32:08
  Speaker 1: we have an anxiety laden sense itself. This is going
• 32:10
  Speaker 1: to be really good for Riley. And it emerges and
• 32:13
  Speaker 1: the sense of self just repeats over and over again,
• 32:15
  Speaker 1: I'm not good enough. And of course anxiety is like, oh,
• 32:21
  Speaker 1: that's what to have happened. So she's like, okay, I
• 32:24
  Speaker 1: can fix this. I can fix this, I can fix us.
• 32:26
  Speaker 1: While this is happening, they have found that sense of self.
• 32:29
  Speaker 1: Joy has it, and it's sort of slowly repeating this
• 32:32
  Speaker 1: like dying recording sounding version of I'm a good person,
• 32:36
  Speaker 1: and it kind of flickers and fades out, indicating that
• 32:39
  Speaker 1: like that sense of herself is dying, and the part
• 32:41
  Speaker 1: that's taking over is this anxiety late and I'm not
• 32:44
  Speaker 1: good enough.
• 32:45
  Speaker 2: Yeah. Yeah. So they call to a childhood cartoon they
• 32:47
  Speaker 2: had met in a secret's vault. It's a pouch that
• 32:50
  Speaker 2: is full of objects and needed to solve a problem.
• 32:52
  Speaker 2: Mostly it's full of TNT, which they used to blow
• 32:55
  Speaker 2: up the wall holding all the memories that they had
• 32:57
  Speaker 2: that they had sent to make to make it Riley
• 33:00
  Speaker 2: and ride the wave of all those memories back to
• 33:03
  Speaker 2: HQ land and land in the pool of our beliefs.
• 33:06
  Speaker 2: So this, you know, is reminiscent of like like Mickey
• 33:09
  Speaker 2: Mouse Clubhouse or like Door the Explorer, where like that
• 33:13
  Speaker 2: childhood cartoon, which is like it was just like this
• 33:15
  Speaker 2: thing that was like super helpful. It's like the mcguffein,
• 33:17
  Speaker 2: you know, like it was really great.
• 33:19
  Speaker 1: It really is. Yeah, So at this point, they're like
• 33:21
  Speaker 1: they're as far away from eight Headquarters as you can
• 33:24
  Speaker 1: possibly get, and like, how are we going to get
• 33:27
  Speaker 1: back there? Let's explode this giant mountain and we'll just
• 33:29
  Speaker 1: ride the wave back. And that's what they do, and
• 33:31
  Speaker 1: it completely works. Like they get it's a whole movie.
• 33:34
  Speaker 1: They've been trying to get back and like they're just like, well,
• 33:37
  Speaker 1: it's just blow this thing up and that sends them back.
• 33:39
  Speaker 1: So they're they're back there, which is fine, I guess.
• 33:42
  Speaker 1: So while this is happening, anxiety again like has just
• 33:46
  Speaker 1: formed the sense of self. It's very worrisome. Riley is
• 33:50
  Speaker 1: at this big hockey game tryout thing that is going
• 33:53
  Speaker 1: to like make her break her inclusion into the team.
• 33:56
  Speaker 1: But Anxiety is controlling Riley and driving her to do
• 33:58
  Speaker 1: terrible things during this, and so as we see Riley
• 34:02
  Speaker 1: essentially is now going into mental collapse, Anxiety is freak,
• 34:06
  Speaker 1: is worried because things are falling apart, and so she
• 34:09
  Speaker 1: really dials things up to eleven and becomes this whirlwind
• 34:12
  Speaker 1: at the control panel, just completely taking over no other
• 34:16
  Speaker 1: emotions can get to it, and pushing Riley basically into
• 34:19
  Speaker 1: a panic attack. So we see the zoomed out version
• 34:23
  Speaker 1: of Riley breathing heavily, like chewing on her lip, like
• 34:26
  Speaker 1: eyes wide, just looking in full panic, and the visual
• 34:30
  Speaker 1: depiction of anxiety is wild. It says really cool how
• 34:33
  Speaker 1: they did this, But it's like an orange swirl spinning
• 34:36
  Speaker 1: around the control panel with all these clacking sounds of
• 34:38
  Speaker 1: her pressing the buttons, and then you have sort of
• 34:40
  Speaker 1: this glitched out version of Anxiety standing the control panel,
• 34:44
  Speaker 1: but because she's moving so fast, she's not actually there,
• 34:47
  Speaker 1: and so Joyce shows up and tries to grab her
• 34:49
  Speaker 1: and like goes right through her because it's just like
• 34:51
  Speaker 1: an image of her that's there because she's moving so fast,
• 34:54
  Speaker 1: because she's trying to fix things, which is sending Riley
• 34:57
  Speaker 1: into panic attack meltdown mode.
• 34:59
  Speaker 2: Yeah yeah yeah, and uh I remember watching that scene
• 35:02
  Speaker 2: and just going yep, yeah, yeah, yeah, yeah, yeah, yeah,
• 35:07
  Speaker 2: it was I just it was It wasn't one of
• 35:09
  Speaker 2: those things where I'm like, you know, as I'm watching it,
• 35:11
  Speaker 2: I'm going, oh my gosh, like I feel so bad.
• 35:13
  Speaker 2: Da dad, I went mm hmm. Yeah, that's what it's like.
• 35:15
  Speaker 2: That's what it's like when you start like getting into
• 35:17
  Speaker 2: that space where it's like you can't think of anything
• 35:19
  Speaker 2: else or have any and I think to the point
• 35:21
  Speaker 2: of the whirlwind, right, yeah, like can't have any other
• 35:24
  Speaker 2: emotion step in, Like it does not override that, Like
• 35:27
  Speaker 2: that feeling of anxiety is so overpowering that you're just like,
• 35:30
  Speaker 2: this is all I feel right now. It's it's it's intense.
• 35:33
  Speaker 1: Yeah, yeah, it's it's so powerful, it's so strong, it's
• 35:36
  Speaker 1: so much it's just it's so in control of everything
• 35:42
  Speaker 1: that it's like it just feels like there's no way
• 35:44
  Speaker 1: out of it. Yeah, which is how I feel when
• 35:46
  Speaker 1: I listen to ads.
• 35:54
  Speaker 2: Okay, so we are at the stage where anxiety has
• 35:58
  Speaker 2: taken control of the panel and none of the emotions
• 36:01
  Speaker 2: are able to help. Joy ends up forcing herself into
• 36:04
  Speaker 2: the storm and tells anxiety to let go and is
• 36:07
  Speaker 2: able to entangle her from the panel. They remove the
• 36:09
  Speaker 2: anxiety statement and reattach the I'm a good person statement. However,
• 36:13
  Speaker 2: Joy realizes they've been trying to push Riley towards a
• 36:15
  Speaker 2: specific thing, so she tears off the old statement and
• 36:18
  Speaker 2: lets the mixture of her memories form a multi state,
• 36:22
  Speaker 2: dynamic set of statements that reflect a range of ways
• 36:24
  Speaker 2: to think about herself. So I need help sometimes, I'm selfish,
• 36:27
  Speaker 2: I'm kind, I need to fit in. I'm brave, but
• 36:30
  Speaker 2: I get scared. I make mistakes, And so you start
• 36:32
  Speaker 2: hearing these statements kind of like start to emerge, and
• 36:35
  Speaker 2: they're all very complex and very nuanced, kind of like
• 36:37
  Speaker 2: at the end of inside Out one where we learn
• 36:39
  Speaker 2: that the memories themselves can be complex and nuanced. With
• 36:41
  Speaker 2: all these emotions, I think a sense of self can
• 36:43
  Speaker 2: also share that level of complexity.
• 36:45
  Speaker 1: And every time a new one emerges, it like forms
• 36:47
  Speaker 1: a different shape. Like some of them are kind of
• 36:49
  Speaker 1: jagged when they're kind of like mean statements and some
• 36:52
  Speaker 1: of them are kind of softer with like more curves
• 36:55
  Speaker 1: when they're these sort of more positive statements. Yeah, and
• 36:58
  Speaker 1: they're different colors like all of that that's happening, and
• 37:00
  Speaker 1: sometimes they're a mixture of like sharp and curvy things.
• 37:03
  Speaker 2: Yeah.
• 37:04
  Speaker 1: It's a really clever, interesting, well written way to sort
• 37:09
  Speaker 1: of depict that breakthrough moment for her. And what we
• 37:14
  Speaker 1: see from Riley is she sort of starts to slowly
• 37:18
  Speaker 1: transition from this heavy, paniced breathing to slow, steady breaths
• 37:25
  Speaker 1: and seems to center herself and is able to make
• 37:27
  Speaker 1: peace with her friends they show up. There have been
• 37:30
  Speaker 1: like this thing where she actually injured one of her
• 37:32
  Speaker 1: friends by playing to aggressively. Her friend shows up because
• 37:35
  Speaker 1: they see her and they're worried about her, and she
• 37:38
  Speaker 1: sort of reconciles with them in that moment as feels
• 37:41
  Speaker 1: better about what she's doing. And then at that point
• 37:44
  Speaker 1: Joy gets to like take full control of the panel
• 37:48
  Speaker 1: for the rest of the hockey game.
• 37:50
  Speaker 2: Yeah, yeah, yeah, which is great. So I think that,
• 37:54
  Speaker 2: you know, just like with the other inside out first one,
• 37:58
  Speaker 2: we're gonna kind of take some time to unpack the
• 38:00
  Speaker 2: criticisms that we have with the concepts that are that
• 38:02
  Speaker 2: are described. And that's not necessarily the movie itself, because
• 38:06
  Speaker 2: I think the movie is excellent and beautiful, but I
• 38:08
  Speaker 2: think that the depictions are at least We're gonna look
• 38:10
  Speaker 2: at the concepts and how the concepts are are described.
• 38:13
  Speaker 2: So it's a little bit difficult to fathom the nature
• 38:15
  Speaker 2: of how some beliefs become memories in a special curated
• 38:18
  Speaker 2: area arranged by her emotions. Like how do you even
• 38:21
  Speaker 2: make sense of that idea of writing a wave of
• 38:24
  Speaker 2: previously discarded memories which wash into a basin of memories
• 38:27
  Speaker 2: and now all of a sudden these form like core
• 38:30
  Speaker 2: parts of her identity. That that part's a little bit
• 38:32
  Speaker 2: like all over the place.
• 38:33
  Speaker 1: I think, Yeah, yeah, there's like just as you said,
• 38:37
  Speaker 1: being careful to make sure we state very clearly upfront
• 38:40
  Speaker 1: that we really really like this movie.
• 38:43
  Speaker 2: Yeah yeah, yeah, And.
• 38:45
  Speaker 1: Like there are some things that I'm thinking about it.
• 38:47
  Speaker 1: I'm like, psychologically, I'm like, that doesn't doesn't make any
• 38:50
  Speaker 1: sense at all, Like, all of a sudden, these memories
• 38:51
  Speaker 1: are just like there, and they're like forming Portcutter personality,
• 38:54
  Speaker 1: when previously they were just in the back of your mind,
• 38:56
  Speaker 1: I guess, And nothing really happened. They just suddenly appeared
• 38:59
  Speaker 1: because these distinct entities were writing. It's just like psychologically
• 39:05
  Speaker 1: very strange to try and wrap your head around how
• 39:07
  Speaker 1: any of that makes any actual sense with like what's
• 39:10
  Speaker 1: going on, sure, and so just the thing to think about.
• 39:14
  Speaker 1: It's just not how these things work like that. That's
• 39:16
  Speaker 1: just not how things work. As we talked about before
• 39:19
  Speaker 1: in Our Memory and our episodes about memory and our
• 39:22
  Speaker 1: last discussion about these the conditions that could cue a
• 39:25
  Speaker 1: memory could happen at any time outside of our immediate control.
• 39:29
  Speaker 1: They don't just hang out in the back of our minds,
• 39:31
  Speaker 1: which also isn't a place right Like we use that
• 39:35
  Speaker 1: language metaphorically to describe something that like we're vaguely aware of,
• 39:39
  Speaker 1: but anyway, like, they don't just hang out there needing
• 39:42
  Speaker 1: like specifically retrieved whenever we need access to them. Again,
• 39:46
  Speaker 1: I mean, they really are not stored at all, not
• 39:48
  Speaker 1: the way that they're depicted, and we've talked about that
• 39:50
  Speaker 1: as well. It's like that whole way that is designed
• 39:54
  Speaker 1: is just not really how memory or our interaction with
• 39:57
  Speaker 1: memory actually works, right.
• 40:00
  Speaker 2: It's also curious how the emotion seemed to sometimes drive
• 40:02
  Speaker 2: her motor movements and sometimes be passive observers of her actions.
• 40:07
  Speaker 2: So sometimes they're doing stuff, sometimes they're not. Sometimes they
• 40:10
  Speaker 2: amper upper reactions. But then like we saw with the
• 40:13
  Speaker 2: Puberty console, like it didn't necessarily need to ramp it up,
• 40:16
  Speaker 2: like they were just already ramped up in DIALD eleven.
• 40:19
  Speaker 2: So like there's like a little bit of that too,
• 40:21
  Speaker 2: And sometimes they seem to have full control over so
• 40:23
  Speaker 2: like there's a little bit of a discrepancy between the
• 40:25
  Speaker 2: way that that's depict in and not really that the
• 40:28
  Speaker 2: emotions are guiding her, but they're controlling her motor movements.
• 40:31
  Speaker 1: Yeah, they're like moving, like particularly when she's playing hockey,
• 40:35
  Speaker 1: they're like rapidly pressing all these buttons. I'm like, as
• 40:38
  Speaker 1: an emotion at that point, i think the real depiction
• 40:42
  Speaker 1: of you kind of taking a back seat and just
• 40:43
  Speaker 1: letting it happen. Like, yeah, if you had an emotion
• 40:46
  Speaker 1: that was focused, they might be at the control panel,
• 40:48
  Speaker 1: but that wasn't an emotion on there, so there's not
• 40:51
  Speaker 1: very much for you to do because you're sort of
• 40:54
  Speaker 1: in the zone at that moment. Sure, but it looks
• 40:57
  Speaker 1: like they're controlling her skating and her passing and her
• 41:00
  Speaker 1: like decisions that she's making in the game, and it's
• 41:02
  Speaker 1: just like, man, what are what are the rules here?
• 41:06
  Speaker 1: I don't I don't understand right. So another thing, and
• 41:10
  Speaker 1: we've talked about this before in various parts of this
• 41:12
  Speaker 1: conversation and in the last movie, but they're essentially depicted
• 41:15
  Speaker 1: as having agency to like get involved in her mind.
• 41:19
  Speaker 1: So they're learning a lesson that they shouldn't be involved
• 41:24
  Speaker 1: in her mind, but they are part of her mind,
• 41:26
  Speaker 1: or maybe they should only sort of be involved in
• 41:29
  Speaker 1: her mind. But emotions are Maybe the message is like motions,
• 41:34
  Speaker 1: emotions are sometimes useful or maybe only useful in small doses.
• 41:38
  Speaker 1: I'm not even really clear what the message is supposed
• 41:40
  Speaker 1: to be in terms of like how they're depicted as
• 41:44
  Speaker 1: like learning a lesson or like the emotions like have
• 41:48
  Speaker 1: this arc where they're learning I shouldn't be controlling rightly, right,
• 41:53
  Speaker 1: And I'm like, so you're you're telling me the emotions
• 41:55
  Speaker 1: are bad, like they need a back seat. Like i
• 41:59
  Speaker 1: I'm like, what are we trying to What are we
• 42:01
  Speaker 1: trying to get from this?
• 42:02
  Speaker 2: You know what I mean? Yea, yeah, yeah, where we geah?
• 42:04
  Speaker 2: Where are we go with that?
• 42:05
  Speaker 1: Like?
• 42:05
  Speaker 2: What's that what Yeah, I hear what you're saying. Like
• 42:07
  Speaker 2: that's because I mean, at the end of the day,
• 42:09
  Speaker 2: like we know that that's just how emotions really work.
• 42:12
  Speaker 2: They like it's behavior, but like the feeling or the
• 42:15
  Speaker 2: sensation or even the perception of an emotion like really
• 42:18
  Speaker 2: only colors the experience I think more than anything. Like
• 42:22
  Speaker 2: but like we can anyway, Well that's a different conversation.
• 42:25
  Speaker 2: But yeah, it's an interesting it's an interesting kind of
• 42:27
  Speaker 2: perspective on it. Now, as with the last movie, the
• 42:29
  Speaker 2: idea that the emotions exist in discrete one of the time
• 42:32
  Speaker 2: states does not accurately or adequately describe how emotions really work.
• 42:35
  Speaker 2: Our emotions happen in response to experiences we have. They
• 42:38
  Speaker 2: are a reflection of the context in which we find
• 42:40
  Speaker 2: ourselves and are guided by how people around us react
• 42:43
  Speaker 2: and how they're specifically their reactions, and how we are
• 42:45
  Speaker 2: shaped by experiences and the outcomes of those experiences. We
• 42:49
  Speaker 2: can't even really reliably label the emotions we feel because
• 42:52
  Speaker 2: no one can identify how we feel and then guide
• 42:55
  Speaker 2: us to learning about how to label them. We learn
• 42:59
  Speaker 2: to label them based on context, so context is all
• 43:01
  Speaker 2: we have to determine what they are and even then
• 43:04
  Speaker 2: labeling them is making an arbitrary decision about what to
• 43:07
  Speaker 2: include and not include, and that those things included represent
• 43:10
  Speaker 2: a meaningful and distinct part of our experience. Simply put,
• 43:14
  Speaker 2: emotions are very complex and very difficult to label discreetly,
• 43:18
  Speaker 2: if at all.
• 43:19
  Speaker 1: Yeah, yeah, and yeah. The whole point of that is, like,
• 43:23
  Speaker 1: if someone was experiencing emotion, how would you know what
• 43:25
  Speaker 1: emotion that is right the first time they experience it? Like,
• 43:29
  Speaker 1: who is telling them, Oh, what you're feeling right now
• 43:31
  Speaker 1: is sad, What you're feeling right now is disappointment. What
• 43:34
  Speaker 1: you're feeling right now is frustration. Like, right, you don't
• 43:37
  Speaker 1: know what they're feeling. What you have is like the
• 43:40
  Speaker 1: look on their face and the context of the experience
• 43:42
  Speaker 1: they're in. And so you tell them that thing you're
• 43:44
  Speaker 1: feeling right now is sad. That might be very different
• 43:47
  Speaker 1: from the thing that you feel when you identify as
• 43:49
  Speaker 1: feeling sad. Yeah, but that's kind of all we have.
• 43:51
  Speaker 1: And not to say that that's a criticism about us, necessarily,
• 43:54
  Speaker 1: but just a point that, like the fact that we
• 43:57
  Speaker 1: can't even reliably label an emotion because we have no
• 44:01
  Speaker 1: idea how what emotion I'm feeling that relates to someone
• 44:05
  Speaker 1: else is like the name doesn't mean anything from me
• 44:08
  Speaker 1: to you. It means something to me, because like I
• 44:11
  Speaker 1: can classify them for myself, but what I feel that
• 44:14
  Speaker 1: is anxiety is probably very different from what you feel
• 44:17
  Speaker 1: as anxiety, right, And so like how would how would
• 44:20
  Speaker 1: I be able to tell you that what you're feeling
• 44:22
  Speaker 1: is anxiety, because like, I'm never gonna have that experience.
• 44:26
  Speaker 1: All we have is the context, and that's useful, Like
• 44:28
  Speaker 1: we can use the context. I'm not again, I'm not
• 44:30
  Speaker 1: saying it's bad. I'm just saying, like we cannot pretend
• 44:33
  Speaker 1: that these are discrete things because we can't even identify
• 44:36
  Speaker 1: what the things are right and understandably. And so it's
• 44:40
  Speaker 1: just making sure we're clear on the exercise that our
• 44:42
  Speaker 1: emotions are this dynamic, fluid, ongoing experience that we have,
• 44:50
  Speaker 1: and that they're very nuanced and they're very unique and
• 44:53
  Speaker 1: they don't have discrete boxes that we can label them
• 44:56
  Speaker 1: as belonging to any particular category with any sort of
• 45:00
  Speaker 1: of integrity. That being said, useful to have those names,
• 45:03
  Speaker 1: perfectly legitimate to want to be able to communicate how
• 45:06
  Speaker 1: you're feeling to other people using language that you both understand, right,
• 45:09
  Speaker 1: and if we're going to try and explain how behavior works,
• 45:12
  Speaker 1: that's just not going to be useful language for doing that.
• 45:14
  Speaker 1: It's useful for communicating your experience, not and useful for
• 45:17
  Speaker 1: understanding why people do what they do.
• 45:19
  Speaker 2: Right, nailed it?
• 45:20
  Speaker 1: Okay, Yeah, I felt like, you know, just as you
• 45:22
  Speaker 1: were talking through it was like, I just want to
• 45:24
  Speaker 1: say it again because I felt like maybe the way
• 45:26
  Speaker 1: that I wrote it the first time didn't explain it
• 45:28
  Speaker 1: as clearly as I hoped that it would. Sure, not
• 45:31
  Speaker 1: that your delivery was bad, just that I felt like
• 45:33
  Speaker 1: my writing could have been better.
• 45:34
  Speaker 2: And no, it's all good, Okay, that's why we're here together.
• 45:37
  Speaker 2: You know.
• 45:38
  Speaker 1: Indeed, I could probably improve upon the writing of these
• 45:41
  Speaker 1: ads though, Okay, we're back. We've been sort of I
• 45:52
  Speaker 1: guess criticizing aspects of the film, the choices that were made,
• 45:56
  Speaker 1: and not necessarily that just criticizing I guess the literal
• 46:01
  Speaker 1: interpretation someone might try and make of the way this
• 46:03
  Speaker 1: is depicted. Does that make sense?
• 46:05
  Speaker 2: Yeah, yeah, yeah, that makes sense.
• 46:07
  Speaker 1: So another thing I felt like I didn't love the
• 46:10
  Speaker 1: way this is sort of depicted in the film, is
• 46:13
  Speaker 1: she kind of just suddenly gets over things, or she
• 46:16
  Speaker 1: like flips emotions on a dime, because it's like it
• 46:20
  Speaker 1: does never feel like it's earned, Like it just kind
• 46:22
  Speaker 1: of happens. It would be more realistic to have something
• 46:24
  Speaker 1: happen in the context for her that leads to an
• 46:27
  Speaker 1: epiphany or an opportunity to shift in or some kind
• 46:31
  Speaker 1: of shift in her circumstances that leads to an opportunity
• 46:34
  Speaker 1: to produce a change in her behavior that corresponds to
• 46:37
  Speaker 1: that grand revelation instead of like, because the crux of
• 46:42
  Speaker 1: the movie is focused on the emotions inside of her,
• 46:45
  Speaker 1: they have a lot of control, and so she'll be
• 46:48
  Speaker 1: feeling something and then all of a sudden, she's feeling
• 46:50
  Speaker 1: something else, And I'm like, what would have actually had
• 46:54
  Speaker 1: resulted in that change, Because I'm like, all of our
• 46:57
  Speaker 1: emotions are mapping on to our context as we're going
• 47:00
  Speaker 1: in some capacity. Whether or not someone else would agree
• 47:02
  Speaker 1: with that, it doesn't matter. The fact is they're mapping
• 47:04
  Speaker 1: onto our context as it's happening. And her emotions are
• 47:06
  Speaker 1: just happening regardless of context. Even the moment where she's
• 47:10
  Speaker 1: in the box and she's like having a panic attack
• 47:13
  Speaker 1: and then she just kind of recovers from it. A
• 47:15
  Speaker 1: lot of people don't just recover from it. Like that's
• 47:17
  Speaker 1: one of the problems with anxiety is like it can
• 47:20
  Speaker 1: be so debilitated in it. It takes a while, Yeah,
• 47:23
  Speaker 1: and it takes it out of you, like it's exhausting
• 47:26
  Speaker 1: and it's and it's overwhelming, and it can like you
• 47:29
  Speaker 1: don't just kind of be like, ah, I feel better now,
• 47:32
  Speaker 1: Like it takes more than that. And not that I
• 47:34
  Speaker 1: necessarily wanted them to do that, but just understanding that
• 47:38
  Speaker 1: that it felt sometimes like those changes weren't really earned
• 47:43
  Speaker 1: because the situation facilitated it. They just kind of happened.
• 47:48
  Speaker 1: And again, I'm being a little bit nitpicky for the
• 47:50
  Speaker 1: sake of being nitpicky, because I want to identify like
• 47:55
  Speaker 1: my thoughts on how we would depict those things. And again,
• 47:58
  Speaker 1: I think the movie's brilliant, love how it's well done.
• 48:00
  Speaker 1: Just want to make sure it's clear that, like, as
• 48:03
  Speaker 1: they're showing some of those things, her emotions just kind
• 48:05
  Speaker 1: of happen spontaneously for the sake of the depicting what's
• 48:08
  Speaker 1: going on with the characters, the homunculi in her mind,
• 48:12
  Speaker 1: and that's just, yeah, that's not actually how emotions work right.
• 48:16
  Speaker 2: Well, I was thinking, like it would probably be cool
• 48:18
  Speaker 2: to do It would have been cool to do something
• 48:19
  Speaker 2: like like a almost like a seismograph. Seismograph, is that
• 48:24
  Speaker 2: what it is? Sure? Yeah? I mean for an earthquake, Yeah, yeah, yeah,
• 48:27
  Speaker 2: or like EQ levels like for sound, where like there's
• 48:30
  Speaker 2: a certain point where it's like once it hits it,
• 48:32
  Speaker 2: like you know, like they kind of monitor those EQ
• 48:34
  Speaker 2: levels and like once it's above a certain level, there's alerts,
• 48:37
  Speaker 2: but like it has to slow down, almost like a gauge.
• 48:39
  Speaker 2: Like I could see something like that, Like I like
• 48:41
  Speaker 2: some depiction along those lines where they can kind of
• 48:44
  Speaker 2: monitor when a panic attack is about to happen and
• 48:47
  Speaker 2: then like have that kind of like you know as
• 48:49
  Speaker 2: slow it's gonna be a slow dive or something like that.
• 48:51
  Speaker 2: But there's a way to do that that I think
• 48:52
  Speaker 2: will be really cool. Yeah.
• 48:54
  Speaker 1: And I mean if it had been the case that
• 48:56
  Speaker 1: like a friend showed up and offered like a moment
• 49:01
  Speaker 1: to like hey, let's like it's let's just everything aside,
• 49:04
  Speaker 1: let's just breathe for a second, like that would feel
• 49:06
  Speaker 1: like a very earned moment for her to like get
• 49:09
  Speaker 1: control over that. Like when people are going to make
• 49:13
  Speaker 1: the fastest recovery out of anxiety is probably going to
• 49:16
  Speaker 1: be because they have support from other people, right, because
• 49:20
  Speaker 1: they've got some great support system. Otherwise they're kind of
• 49:23
  Speaker 1: going to wallow in it for like a minute. It's
• 49:26
  Speaker 1: really hard. And like, again, not that I wanted to
• 49:28
  Speaker 1: see her wallow in it for a minute, but I
• 49:29
  Speaker 1: feel like if they had her friends show up first
• 49:31
  Speaker 1: to help her make that recovery, that would have felt
• 49:34
  Speaker 1: like that transition was earned.
• 49:36
  Speaker 2: Yeah, yeah, exactly.
• 49:38
  Speaker 1: And I also think, like now I don't know, I
• 49:40
  Speaker 1: we're almost getting to the point where like we're describing
• 49:42
  Speaker 1: the things about the metaphor that work really well because
• 49:46
  Speaker 1: the man just how anxiety it drives so many poor
• 49:52
  Speaker 1: choices and rightley, yeah, but like it also I'm kind
• 49:55
  Speaker 1: of like I do, I do understand that that is Yep,
• 50:00
  Speaker 1: that actually is kind of a really effective way. Honestly,
• 50:03
  Speaker 1: their choice to have like the main conflict driver being
• 50:08
  Speaker 1: anxiety as the motion was extremely clever on their part.
• 50:13
  Speaker 2: Yeah, I mean, not only clever, but like also so
• 50:16
  Speaker 2: relevant especially for that age ye for like I mean
• 50:21
  Speaker 2: in situation, because that situation, like yeah, I mean, because
• 50:25
  Speaker 2: you know, at the end of the day, like so
• 50:27
  Speaker 2: many adults with anxiety have. I think a dearth of
• 50:31
  Speaker 2: experience is to pull from that make it a little
• 50:33
  Speaker 2: bit easier to manage to kind of keep anxiety from
• 50:36
  Speaker 2: running those spirals. Like not that it always works, but
• 50:38
  Speaker 2: at the very least you've got more sources to pull from.
• 50:41
  Speaker 2: But a thirteen year old who is stressed about getting
• 50:44
  Speaker 2: into an Elie hockey team, stressed about losing her friends,
• 50:47
  Speaker 2: stressed about all these things going on, like it makes
• 50:50
  Speaker 2: sense that like everything is a cascading decision that makes
• 50:53
  Speaker 2: things worse and worse and worse as you go, Like
• 50:55
  Speaker 2: that absolutely makes perfect sense. And why and then the
• 50:58
  Speaker 2: feelings of anxiety that are related to that, Like you know,
• 51:01
  Speaker 2: in the movie, the depiction is that anxiety makes a
• 51:03
  Speaker 2: decision and then now Riley feels a certain way about it,
• 51:06
  Speaker 2: but like, you know, the reality is like Riley might
• 51:09
  Speaker 2: make a decision and then go oh no, you know,
• 51:12
  Speaker 2: or like she might have the verbal behavior that does
• 51:13
  Speaker 2: go if I do this, then this happens, and then
• 51:16
  Speaker 2: makes a decision and then it just you know, it's
• 51:18
  Speaker 2: like it's like a chicken and egg situation almost very
• 51:20
  Speaker 2: much so, but it's such a great depiction of like
• 51:22
  Speaker 2: how that can snowball and how it can turn into
• 51:25
  Speaker 2: something that's a real mess, real quick.
• 51:27
  Speaker 1: All right, I think we've effectively segued into the metaphor
• 51:31
  Speaker 1: that works really well about this, Like we've illustrated some
• 51:34
  Speaker 1: of our criticisms here. I think some of our criticisms
• 51:36
  Speaker 1: from last time stand and this time as well. But
• 51:38
  Speaker 1: we're already sort of getting into gushing about the things
• 51:41
  Speaker 1: that work really well.
• 51:41
  Speaker 2: So because we love the movie.
• 51:43
  Speaker 1: We love this movie, all right, So I actually do
• 51:46
  Speaker 1: want to start with it because I think we need
• 51:47
  Speaker 1: to get to the point that you're making here, and
• 51:49
  Speaker 1: there's some very important things about anxiety we need to
• 51:52
  Speaker 1: talk about. But one of my favorite things that they
• 51:55
  Speaker 1: did in this movie was that depiction of the sense
• 51:57
  Speaker 1: of self metaphor that they did. And so we talk
• 52:01
  Speaker 1: a little bit on this show about acceptance and commitment
• 52:03
  Speaker 1: training or acceptance and commitment therapy, and this is actually
• 52:07
  Speaker 1: directly inside of that philosophy and like that is founded
• 52:13
  Speaker 1: in behavior science. And they call these kind of statements
• 52:16
  Speaker 1: self as content and the idea of self as content statements.
• 52:20
  Speaker 1: These are like fixed labels or identities we have about
• 52:23
  Speaker 1: ourselves that we get stuck to as being very rigidly
• 52:27
  Speaker 1: this is who I am. And the part where they
• 52:29
  Speaker 1: allow the many different statements to exist at once could
• 52:32
  Speaker 1: kind of be interpreted as the alternative version inside of
• 52:36
  Speaker 1: ACT acceptance and commitment training, which is self as context
• 52:40
  Speaker 1: instead of self as content, And and that is sort
• 52:44
  Speaker 1: of an opportunity to observe and accept your own narrative.
• 52:47
  Speaker 1: It is being able to just say this is how
• 52:49
  Speaker 1: I am talking about myself. That doesn't mean it's literally true. Yeah,
• 52:53
  Speaker 1: you could sort of losely interpret it. But I love
• 52:55
  Speaker 1: that depiction of like her beliefs are kind of value
• 52:58
  Speaker 1: statements in a way, And that whole piece that's like
• 53:02
  Speaker 1: a narrative about herself is like one of the most
• 53:06
  Speaker 1: amazingly beautiful metaphors that actually really really well describes our
• 53:12
  Speaker 1: language and how that language drives our behaviors in different ways.
• 53:17
  Speaker 1: Just so beautifully done.
• 53:19
  Speaker 2: Yeah. I mean the minute that I saw that, I went, oh,
• 53:22
  Speaker 2: this is act. I didn't even like it wasn't like
• 53:26
  Speaker 2: a I wonder if this is the act, Like it
• 53:28
  Speaker 2: wasn't even like definitively I went, no, this is act.
• 53:31
  Speaker 2: That's act. The nailed it gart like nailed it, which
• 53:34
  Speaker 2: I yeah, I agree. That was one of my favorite
• 53:36
  Speaker 2: parts to it. It was cool too, And I think
• 53:39
  Speaker 2: just from a personal standpoint as somebody who studies and
• 53:43
  Speaker 2: like has been to these act workshops and like done
• 53:45
  Speaker 2: act in my practice and stuff, like, it's cool to go,
• 53:49
  Speaker 2: yeah they got that party and like to see it
• 53:51
  Speaker 2: so definitive, like yeah, of course, like the emotion being
• 53:55
  Speaker 2: the thing, like yeah, that's a different conversation, but like, yeah,
• 53:58
  Speaker 2: I think that just the the statement and the self,
• 54:01
  Speaker 2: the sense of self and all that stuff was like, yeah,
• 54:05
  Speaker 2: I immediately went that's act. Like it didn't even like
• 54:08
  Speaker 2: have to think about it, which is great.
• 54:09
  Speaker 1: It is so good. Yeah, and to me, technically precise
• 54:11
  Speaker 1: I said, it drives behavior. Technically, what it does is
• 54:14
  Speaker 1: it alters the way that our contexts motivate and yes,
• 54:19
  Speaker 1: function for our behavior. Our value statements can't drive behavior
• 54:22
  Speaker 1: because they are behavior, but they just just being very
• 54:25
  Speaker 1: technically precise there, but yes, yeah, that is it is
• 54:28
  Speaker 1: so firmly rooted inside of that that I was like,
• 54:30
  Speaker 1: that was extremely extremely well done.
• 54:33
  Speaker 2: Yeah. And another piece that I think they did really
• 54:35
  Speaker 2: well is that every piece of the way they set
• 54:37
  Speaker 2: it up to describe anxiety's behavior is a very amusing
• 54:40
  Speaker 2: and a great description of anxiety behavior. Anxiety is specifically
• 54:44
  Speaker 2: running the show and pushing out other emotions. Anxiety is
• 54:48
  Speaker 2: imagining every worst case scenario. And it's not because I
• 54:53
  Speaker 2: think that one thing that I think is really important
• 54:55
  Speaker 2: is that you know, you might assume that the central
• 54:59
  Speaker 2: conflicts makes anxiety the villain, and that's not at all
• 55:02
  Speaker 2: the case. It was never malicious because emotions are not malicious.
• 55:05
  Speaker 2: They are visitors that do these things right. And I
• 55:08
  Speaker 2: thought that that was such a great depiction of going
• 55:11
  Speaker 2: This is not necessarily anxiety's fault, but this is what happens,
• 55:15
  Speaker 2: and this is how anxiety works to solve a problem
• 55:18
  Speaker 2: in the in the space of like looking out for
• 55:21
  Speaker 2: the organism, right, like anxiety is looking out for Riley,
• 55:24
  Speaker 2: but just it going about it in a way that's
• 55:27
  Speaker 2: just not working.
• 55:28
  Speaker 1: Yeah. And she says frequently and multiple times, like I'm
• 55:31
  Speaker 1: doing this to help Riley, I'm doing this to help you.
• 55:33
  Speaker 2: I just want to help. Yeah. I got so that
• 55:38
  Speaker 2: when she says that I was just trying to help,
• 55:40
  Speaker 2: I went oh, because I was.
• 55:43
  Speaker 1: Like, that's it, that's exactly it.
• 55:44
  Speaker 2: It's not me that's just trying to help. Oh man,
• 55:48
  Speaker 2: that was perfect. They've nailed it.
• 55:50
  Speaker 1: Yeah, and like and she says, like, I know this
• 55:52
  Speaker 1: looks rough now, but this is for the this is
• 55:55
  Speaker 1: for the greater good. This is for the future, like
• 55:58
  Speaker 1: you will think maybe because this will make things better,
• 56:00
  Speaker 1: and like that is anxiety sort of ethos is like
• 56:02
  Speaker 1: worrying about the future and meaning that like that means
• 56:06
  Speaker 1: I make decisions to do these things that do look
• 56:09
  Speaker 1: a little rough, but like, trust me, it's all gonna work.
• 56:11
  Speaker 1: The ends justify the means. And I'm like, yep, that
• 56:14
  Speaker 1: sounds exactly like the language of anxiety. That is, that
• 56:17
  Speaker 1: is the language that anxiety speaks. Yeah, is like I
• 56:21
  Speaker 1: am here to help by tearing things down.
• 56:26
  Speaker 2: I'm here. I'm going to make you think of the
• 56:27
  Speaker 2: worst possible scenario to try to avoid them, and then
• 56:30
  Speaker 2: you're gonna end up slipping up here and there because
• 56:32
  Speaker 2: there's no way you can avoid all of them, you know.
• 56:34
  Speaker 1: And I actually think like we kind of skipped over this,
• 56:36
  Speaker 1: which is unfortunate because at the very end they do
• 56:38
  Speaker 1: show once again all the emotions working together, Like anxiety
• 56:43
  Speaker 1: does show up and say like, remember, we have this thing.
• 56:45
  Speaker 1: We have to study for so that we can get
• 56:46
  Speaker 1: a good grade, so that we can do this thing.
• 56:48
  Speaker 1: And I'm like, yeah, like anxiety, anxiety, Yeah, that is
• 56:52
  Speaker 1: an instructive emotion that we all feel. That's like that
• 56:55
  Speaker 1: little bit of worry that makes sure that we stay
• 56:57
  Speaker 1: on top of our stuff and motivates us to not
• 57:00
  Speaker 1: get to lasadaisical with things, and so like there is
• 57:05
  Speaker 1: like a healthy version of this that they do show
• 57:07
  Speaker 1: at the end of the movie that is once again
• 57:09
  Speaker 1: the sort of how do these emotions sort of learned?
• 57:12
  Speaker 1: And I think again metaphorically depicting like regulation, like how
• 57:15
  Speaker 1: do I use my language to engage health in a
• 57:19
  Speaker 1: healthy way with these situations?
• 57:21
  Speaker 2: Yeah, yeah, absolutely, there's.
• 57:23
  Speaker 1: Another metaphor in here that I think that like just
• 57:26
  Speaker 1: the overall metaphor in this movie about gaining these these
• 57:30
  Speaker 1: new emotions. And they talk about this like there were
• 57:32
  Speaker 1: there were new or more complex Riley needs us now
• 57:36
  Speaker 1: is is the way they sort of describe themselves. But yeah,
• 57:39
  Speaker 1: showing this like these more complex emotions with more nuance
• 57:42
  Speaker 1: that have varying degrees of experience, it does capture, I think, well,
• 57:45
  Speaker 1: the like development of humans that start with things that
• 57:48
  Speaker 1: are like they are kind of simple, like to kids,
• 57:51
  Speaker 1: a lot of things are black and white. It's like
• 57:53
  Speaker 1: as they start to gain language, they start to gain rules,
• 57:56
  Speaker 1: and rules start out very rigid. There's like this rule,
• 57:59
  Speaker 1: mean things are always this. Yeah, and then they start
• 58:03
  Speaker 1: to get more complex and they start to have fuzzier
• 58:05
  Speaker 1: boundaries and they and they break up a little bit.
• 58:08
  Speaker 1: And so just the metaphor of like introducing more complex
• 58:11
  Speaker 1: and more variety into the into the emotional range of
• 58:16
  Speaker 1: her repertoire is like metaphorically a cool way to show
• 58:20
  Speaker 1: the transition into like early adulthood as a teenager.
• 58:24
  Speaker 2: Yeah, and I think there's something so they kind of
• 58:28
  Speaker 2: do this in the first one where you know, the
• 58:30
  Speaker 2: first the first emotion that shows up is joy and
• 58:33
  Speaker 2: then like like it wasn't that they were all there
• 58:35
  Speaker 2: to begin with, right, it was very very early on
• 58:39
  Speaker 2: joy was there, and then like they would start to
• 58:41
  Speaker 2: slowly as Riley got older would add so like it
• 58:44
  Speaker 2: fits in the in the in the kind of the
• 58:46
  Speaker 2: universe of like as they age they will gain more emotions.
• 58:49
  Speaker 2: I'm excited to see if they do a third one,
• 58:51
  Speaker 2: like where they where those folks go, because they've kind
• 58:54
  Speaker 2: of showed like the parents' emotions and it's always the
• 58:56
  Speaker 2: five Yeah, So i'd be curious about what they do
• 58:58
  Speaker 2: with that, Like maybe they they have the our own
• 59:00
  Speaker 2: space where like, you know, they've got their own center,
• 59:03
  Speaker 2: you know, like their own control center or something like,
• 59:05
  Speaker 2: i'd be curious about that.
• 59:06
  Speaker 1: Yeah, they did make they gave at some point during
• 59:09
  Speaker 1: the end credits or something, or maybe at the end
• 59:10
  Speaker 1: of the movie, both parents got like a little introduction
• 59:13
  Speaker 1: of anxiety. Only they show up and the other emotions
• 59:17
  Speaker 1: are like, oh, hey, thanks for coming around. Go back
• 59:19
  Speaker 1: to where you were hiding now yeah yeah yeah, Like
• 59:24
  Speaker 1: in the dad says, they just like, let's put the
• 59:26
  Speaker 1: game back on, basically ignore yeah yeah yeah yeah. There's
• 59:31
  Speaker 1: sort of the metaphor in here. Again. This is the
• 59:35
  Speaker 1: part that I felt like wasn't really earned, but like
• 59:37
  Speaker 1: the metaphor just generally of like finding acceptance within ourselves.
• 59:41
  Speaker 1: A lot of the characters have this arc of the
• 59:45
  Speaker 1: learning to accept one another, learning to accept how things are,
• 59:50
  Speaker 1: learning to let go a little bit. And so this
• 59:54
  Speaker 1: move away from rigidity toward acceptance is another cool thing
• 59:58
  Speaker 1: that's like, it's not an explo us at moment, it's
• 1:00:01
  Speaker 1: just the overall arc of the story that demonstrates this
• 1:00:05
  Speaker 1: is another really cool, well depicted aspect of the story.
• 1:00:09
  Speaker 2: Yeah, and I think to the metaphor that shows like
• 1:00:12
  Speaker 2: learning from experience, I least say, the emotions have like
• 1:00:14
  Speaker 2: made a mistake and then they've learned from it. I
• 1:00:17
  Speaker 2: think it's really nice because I think that that does
• 1:00:19
  Speaker 2: frequently translate into learning for Riley, Like once the emotions
• 1:00:22
  Speaker 2: have kind of figured their out, then like Riley is
• 1:00:25
  Speaker 2: usually pretty okay, like and there's there's that's kind of
• 1:00:28
  Speaker 2: a fun thing to see, like and then I mean
• 1:00:30
  Speaker 2: it's a it's a thread to pull certainly, but that
• 1:00:33
  Speaker 2: does it does translate in that way, which is nice.
• 1:00:35
  Speaker 1: Yeah, And they still didn't really show like the whole
• 1:00:38
  Speaker 1: like motivation and like outcomes for an experience that guide
• 1:00:44
  Speaker 1: future behavior because of what you learned from that, but
• 1:00:47
  Speaker 1: they kind of do that vicariously through the depiction of
• 1:00:52
  Speaker 1: how her emotions gained those learning opportunities and arcs. Yeah,
• 1:00:55
  Speaker 1: so this still kind of works.
• 1:00:58
  Speaker 2: Yeah, I think so. I mean, and either way, it's
• 1:01:00
  Speaker 2: a great movie. It's it's a lot of fun and
• 1:01:01
  Speaker 2: I really, I really truly loved it and went, yep,
• 1:01:05
  Speaker 2: this is this is good this feels right. It feels
• 1:01:07
  Speaker 2: like I said, I feel seen. I feel like this
• 1:01:09
  Speaker 2: captures a captures a certain emotion that is like, very
• 1:01:13
  Speaker 2: difficult to describe to people. Sometimes. If if somebody were like,
• 1:01:16
  Speaker 2: what's anxiety like, I'd be like, go watch Inside Out too,
• 1:01:18
  Speaker 2: I promise you that'll that'll tell you. That'll tell you
• 1:01:21
  Speaker 2: what it's like.
• 1:01:22
  Speaker 1: That is a ringing endorsement too, because there's there's little
• 1:01:25
  Speaker 1: in the first movie that I would if someone was like,
• 1:01:27
  Speaker 1: how does any aspect of any emotion or psychology work?
• 1:01:30
  Speaker 1: What I say, go watch Inside Out? But I actually
• 1:01:33
  Speaker 1: think you're right that with Inside Out, to the way
• 1:01:35
  Speaker 1: they did they depicted anxiety was so spot on that
• 1:01:40
  Speaker 1: I was like, that metaphor is perfect. That's the one
• 1:01:44
  Speaker 1: that's it.
• 1:01:44
  Speaker 2: Go watch that and you will. You will understand Right
• 1:01:47
  Speaker 2: after this sad.
• 1:01:55
  Speaker 1: All right, we're back. We're wrapping this up here. I think,
• 1:01:57
  Speaker 1: you know, we're running a little long, but you know,
• 1:02:01
  Speaker 1: and I think we've said mostly what there is to
• 1:02:02
  Speaker 1: say about I mean, are there any other parts of
• 1:02:04
  Speaker 1: the metaphor that you felt like really stood out? This
• 1:02:06
  Speaker 1: one was definitely more pun heavy with the stream of consciousness,
• 1:02:09
  Speaker 1: the sarcasm and the brain storm, like there was a
• 1:02:12
  Speaker 1: lot of puns in here.
• 1:02:14
  Speaker 2: Yeah, No, I don't think there's anything else to add.
• 1:02:17
  Speaker 2: I mean I think I think one of the things
• 1:02:19
  Speaker 2: that that gets off and talked about is anxiety, is
• 1:02:22
  Speaker 2: like the feature of anxiety. I do like the deep
• 1:02:25
  Speaker 2: dark secret gag that's in there. I think that's a
• 1:02:28
  Speaker 2: lot of fun.
• 1:02:29
  Speaker 1: Oh we didn't talk about at the and the post credits,
• 1:02:32
  Speaker 1: like the very last thing after all the credits, Joy
• 1:02:34
  Speaker 1: shows up and the big hulking dark secret. She's able
• 1:02:38
  Speaker 1: to draw him out and is like, so, what is
• 1:02:40
  Speaker 1: the dark secret? And he's like, I burned a hole
• 1:02:42
  Speaker 1: in the rug and she's like that's it, and like
• 1:02:45
  Speaker 1: it sort of implies that like he could maybe come
• 1:02:47
  Speaker 1: out and not be a big dark secret. But then
• 1:02:49
  Speaker 1: she's like, I thought it was the time that we
• 1:02:50
  Speaker 1: peede in the pool. And then he's like that runs
• 1:02:53
  Speaker 1: back in the behind him.
• 1:02:56
  Speaker 2: Yeah. Yeah, yeah, that's that's a fun that is a
• 1:02:58
  Speaker 2: fun depiction. And I just think, like I think the overall,
• 1:03:03
  Speaker 2: you know, I really enjoyed. I think the one thing
• 1:03:05
  Speaker 2: that doesn't get talked about enough is the character design. Yeah,
• 1:03:08
  Speaker 2: Like I think that the characters that design is so
• 1:03:10
  Speaker 2: because you know, Pixar are so particular about things, like
• 1:03:13
  Speaker 2: you know that that was certainly designed a certain way. Yeah,
• 1:03:16
  Speaker 2: and I think that they did such a great job
• 1:03:17
  Speaker 2: with those. You know, I hadn't really thought about it
• 1:03:19
  Speaker 2: until this next the second walk through, but like I went, oh, yeah, no,
• 1:03:23
  Speaker 2: they really spend time thinking about what they should look like.
• 1:03:26
  Speaker 1: They put so much thought into things like that, And
• 1:03:29
  Speaker 1: sometimes there are things that are like briefly on the screen,
• 1:03:32
  Speaker 1: like you barely see them, And sometimes there are things
• 1:03:33
  Speaker 1: that they never draw your attention to, but are like
• 1:03:37
  Speaker 1: really important, thoughtful decisions that they made, yeah along the way,
• 1:03:42
  Speaker 1: like yeah, just as you said, designing how their characters look,
• 1:03:45
  Speaker 1: how things are depicted. I'm sure there's a bunch of
• 1:03:47
  Speaker 1: Easter eggs in there. I actually know for one of them.
• 1:03:52
  Speaker 1: There was a memory in the first movie that was
• 1:03:54
  Speaker 1: like a scene from I think Monsters Inc. Yes, that
• 1:03:59
  Speaker 1: I think is maybe meant to show that maybe one
• 1:04:01
  Speaker 1: of the monsters showed up and scared her at some
• 1:04:02
  Speaker 1: point when she was a little girl.
• 1:04:04
  Speaker 2: Yeah, yeah, yeah, anyway.
• 1:04:06
  Speaker 1: Like they put so much thought into it and it's
• 1:04:08
  Speaker 1: just extremely extremely well done.
• 1:04:10
  Speaker 2: Yeah, agreed, go watch it. Super recommend Yeah.
• 1:04:13
  Speaker 1: Absolutely. Speaking of recommend I think we're time for us
• 1:04:17
  Speaker 1: to recommend or get to the sort of wrap up
• 1:04:20
  Speaker 1: here which entails some recommendations, or that you have any
• 1:04:23
  Speaker 1: closing thoughts before we do that.
• 1:04:24
  Speaker 2: No, I think that covers it for now.
• 1:04:26
  Speaker 1: Okay, I'm going to get through the credits and then
• 1:04:27
  Speaker 1: want to recommend some things. The credits are important, the
• 1:04:29
  Speaker 1: recommendations are fun. That's why you stick around for them.
• 1:04:32
  Speaker 1: So I'm going to try and go quick. Thank you
• 1:04:33
  Speaker 1: to my team of people without whom I cannot make
• 1:04:35
  Speaker 1: this podcast writing in fact checking from Shane and myself.
• 1:04:37
  Speaker 1: Thank you for the doing the homework assignment and recording
• 1:04:40
  Speaker 1: with me today.
• 1:04:41
  Speaker 2: Shane. Yeah, no, this was great. This is such a
• 1:04:43
  Speaker 2: good time, so I can't wait to do more.
• 1:04:45
  Speaker 1: Yes. Our social media coordinator is Emma Wilson, and the
• 1:04:48
  Speaker 1: person who cuts out all of the mistakes that we
• 1:04:50
  Speaker 1: make and instead you hear a flawless episode or something
• 1:04:55
  Speaker 1: as close to it as one can get given the
• 1:04:57
  Speaker 1: amount of mistakes that we make, is justin a lot
• 1:05:00
  Speaker 1: of Prempeh To describe what he does the best, Well, every.
• 1:05:03
  Speaker 2: We're just gonna add a title every time we get
• 1:05:04
  Speaker 2: into and every time we introduce.
• 1:05:06
  Speaker 1: Themselves, Superhuman executive producer, Mega awesome dude, justin love it.
• 1:05:13
  Speaker 1: If you'd like to support the show, you can do
• 1:05:15
  Speaker 1: this by leaving us a rating and a review that
• 1:05:17
  Speaker 1: helps other people find us. You can also tell a
• 1:05:19
  Speaker 1: friend like wherever you listen and then subscribe to make
• 1:05:21
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• 1:05:23
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• 1:05:25
  Speaker 1: and subscribe some more and share with friends some more
• 1:05:27
  Speaker 1: and do all the things. But if you like to
• 1:05:29
  Speaker 1: support us financially, you can get some bonus stuff. You
• 1:05:31
  Speaker 1: get early episodes, ad free content, and I will read
• 1:05:34
  Speaker 1: your name on the list from the list of names
• 1:05:36
  Speaker 1: of people who support us over on Patreon. So to
• 1:05:39
  Speaker 1: do that, head over to patreon dot com slash WWDWWD
• 1:05:43
  Speaker 1: podcast and at the end of every full length episode,
• 1:05:46
  Speaker 1: I will say thank you too. Mike, m Meghan, Mike T, Justin,
• 1:05:49
  Speaker 1: Kim Brad, Stephanie, Brian, Ashley, Kiara and Charlie. You all
• 1:05:54
  Speaker 1: just so wonderful and we really really appreciate you.
• 1:05:56
  Speaker 2: Yeah, you're the best. That's the emotion that we would
• 1:05:59
  Speaker 2: have is love, which.
• 1:06:00
  Speaker 1: It is love? Why is it loving? And there's like
• 1:06:03
  Speaker 1: so much such a powerful emotion that's like dominating.
• 1:06:07
  Speaker 2: Maybe that's the next one. Maybe that's the next movie,
• 1:06:10
  Speaker 2: like you know, like now that you know they introduced
• 1:06:12
  Speaker 2: the boy and and there's all that, Like that would
• 1:06:15
  Speaker 2: be really like that. Oh man, that's the next movie
• 1:06:18
  Speaker 2: is first Love.
• 1:06:19
  Speaker 1: First Love and maybe some impulse control.
• 1:06:22
  Speaker 2: Oh my god, that's yeah. Yeah, there's the impulse Control
• 1:06:26
  Speaker 2: center and it's like and that's going haywire, you know.
• 1:06:29
  Speaker 1: Yeah, like inhibitions are gone.
• 1:06:35
  Speaker 2: Discuss shows up every time there's a kiss, you know.
• 1:06:37
  Speaker 1: Yeah, yeah, right, like I like him, but his breath.
• 1:06:43
  Speaker 2: Yeah, it's gonna be so good.
• 1:06:44
  Speaker 1: If you'd like to tell us things that we missed,
• 1:06:46
  Speaker 1: if you would like to add some comments to what
• 1:06:48
  Speaker 1: we said, if you'd like to write to us about
• 1:06:50
  Speaker 1: anything whatsoever, you can email us directly INFOWWDWWD podcast dot com.
• 1:06:54
  Speaker 1: You can also reach us on the social media platforms,
• 1:06:56
  Speaker 1: and we do look forward to hearing from you. So
• 1:06:59
  Speaker 1: do that thing, and we love it. Man, I speaking
• 1:07:01
  Speaker 1: of what, I don't even remember the last time I
• 1:07:02
  Speaker 1: checked my email. I need to do that soon. Okay.
• 1:07:04
  Speaker 1: I think that's what we have to say before we
• 1:07:06
  Speaker 1: recommend some things. Am I missing anything or anything you'd
• 1:07:09
  Speaker 1: like to add?
• 1:07:09
  Speaker 2: No, I think it covers it.
• 1:07:10
  Speaker 1: All right, let's do it to it.
• 1:07:11
  Speaker 2: Yay, recommendations.
• 1:07:21
  Speaker 1: I'm recommending a board game expansion change. You know what
• 1:07:25
  Speaker 1: a board game expansion is.
• 1:07:26
  Speaker 2: It is an addition to a board game that exists,
• 1:07:30
  Speaker 2: So it is additional content. It's like DLC.
• 1:07:32
  Speaker 1: That is exactly, that's exactly, very good. Okay, good. I
• 1:07:35
  Speaker 1: wasn't sure how clear. Like if I say that, if
• 1:07:37
  Speaker 1: everyone knows what it means, all right. One of my
• 1:07:40
  Speaker 1: favorite games, this might be my favorite. It's up there.
• 1:07:43
  Speaker 1: I don't know, but it's one of my favorite games.
• 1:07:44
  Speaker 1: Is called wing Span. Even non hobby gamers may have
• 1:07:48
  Speaker 1: heard of it at this point. It is very very popular.
• 1:07:51
  Speaker 1: It's it's a card game about collecting bird cards. It's
• 1:07:55
  Speaker 1: extremely extremely good. Like I said, it's one of my favorites.
• 1:07:58
  Speaker 1: And there are many expands for it, and the most
• 1:08:01
  Speaker 1: recent one that just came out in January of twenty
• 1:08:04
  Speaker 1: twenty six is the America's Expansion, and it is so
• 1:08:09
  Speaker 1: so good. This might be my favorite of the expansions,
• 1:08:12
  Speaker 1: which is really saying something because I think all of
• 1:08:14
  Speaker 1: them are required. If you're gonna play with it. You
• 1:08:17
  Speaker 1: just need to play with those expansions because they're that good. Yeah,
• 1:08:20
  Speaker 1: this one really takes the cake. It introduces these little
• 1:08:23
  Speaker 1: tiny hummingbirds, which are like smaller cards, and there's a
• 1:08:27
  Speaker 1: hummingbird garden and every turn you take, the humming birds
• 1:08:30
  Speaker 1: will go either to your board from the garden or
• 1:08:32
  Speaker 1: from your board back to the garden, and they just
• 1:08:34
  Speaker 1: flit around very fast doing things. It's very fun and
• 1:08:38
  Speaker 1: they're actually like it looks complicated, but they're fairly straightforward.
• 1:08:41
  Speaker 1: You just have to remember to do it. You just
• 1:08:43
  Speaker 1: move the humming bird back to the border to your board, yeah,
• 1:08:45
  Speaker 1: wherever it is, and then they add a whole bunch
• 1:08:47
  Speaker 1: more birds. Like if you have all the expansions and
• 1:08:50
  Speaker 1: all the fan packs, there's like over five hundred cards
• 1:08:52
  Speaker 1: in this Like it is an alarming number of cards,
• 1:08:55
  Speaker 1: and they're all different. Every single one of them is
• 1:08:57
  Speaker 1: a different card, so it's a lot, but it is
• 1:09:00
  Speaker 1: such a good game. So anyway, I'm recommending the America's
• 1:09:04
  Speaker 1: expansion for Wingspan. If you have wingspan, you don't need
• 1:09:07
  Speaker 1: to have the other expansions to play with this one,
• 1:09:09
  Speaker 1: but I do recommend them, particular the the Oceana expansion,
• 1:09:13
  Speaker 1: which adds a nectar resource, which they do use in
• 1:09:17
  Speaker 1: this one. You can technically still play without it, but
• 1:09:20
  Speaker 1: that's the thing that they added. So yeah, that's what
• 1:09:22
  Speaker 1: I'm that's unrecommending.
• 1:09:23
  Speaker 2: I love it. I love it like I love something
• 1:09:26
  Speaker 2: that makes a game's replayability even better.
• 1:09:29
  Speaker 1: Oh me too.
• 1:09:30
  Speaker 2: That's like a cool things. Like you know, it's like,
• 1:09:33
  Speaker 2: you know, you play a game and you love a game,
• 1:09:34
  Speaker 2: and you play it because you love it, but like
• 1:09:36
  Speaker 2: how great is it to like continue to get like
• 1:09:38
  Speaker 2: an evolution of it. That's that's so much fun.
• 1:09:40
  Speaker 1: Yeah, absolutely, all right.
• 1:09:43
  Speaker 2: I'm going to recommend a movie that I saw. I
• 1:09:46
  Speaker 2: have not read the book. It's based on a book. Yeah,
• 1:09:48
  Speaker 2: and I'm gonna recommend a movie because I thought that
• 1:09:51
  Speaker 2: it was a very powerful story. So this is a
• 1:09:55
  Speaker 2: movie called The Help. It's stars v Ella Davis, Emma Stone, Bright,
• 1:10:00
  Speaker 2: Dallas Howard, Octavia Spencer, Jessica Chastain. So it's about some
• 1:10:04
  Speaker 2: folks in Alabama before Civil rights movement, before segregation was lifted,
• 1:10:09
  Speaker 2: and it was like a white community that would hire
• 1:10:12
  Speaker 2: black maids and black supports and call them the help
• 1:10:15
  Speaker 2: and they would work in the homes and they would
• 1:10:17
  Speaker 2: take it. And so the story starts off with Viola
• 1:10:19
  Speaker 2: Davis talking about how she raised nineteen kids that weren't
• 1:10:22
  Speaker 2: her own and like the power of that story and
• 1:10:26
  Speaker 2: and there is I will say, this is a little
• 1:10:28
  Speaker 2: bit of a there's a little bit of like a
• 1:10:30
  Speaker 2: white savior kind of flavor to this because Emmastone comes
• 1:10:33
  Speaker 2: in and she's going to tell the story of all
• 1:10:35
  Speaker 2: the help and the maids and do all that and
• 1:10:37
  Speaker 2: write a book about it. There is a little bit
• 1:10:39
  Speaker 2: of that, but it's I think it's like not the
• 1:10:41
  Speaker 2: central feature of the story. And I think either way,
• 1:10:44
  Speaker 2: it's not based on a true story, but it's based
• 1:10:46
  Speaker 2: on stories that people have kind of heard through the
• 1:10:48
  Speaker 2: grape bund and like the author who had wrote the
• 1:10:50
  Speaker 2: book about her nanny and her the folks that were
• 1:10:53
  Speaker 2: taking care of her. And I think that what this does.
• 1:10:57
  Speaker 2: First of all, it's a great movie. It's a great story.
• 1:10:59
  Speaker 2: Bryce Dallas how is an incredible villain in this, Like
• 1:11:01
  Speaker 2: you can't help but hate her in it, which is
• 1:11:03
  Speaker 2: hard because I love her and everything. Yeah, but I
• 1:11:06
  Speaker 2: think that there's something really powerful about telling the story
• 1:11:09
  Speaker 2: and like looking into what this was actually like I
• 1:11:12
  Speaker 2: think that there are I think it's important to tell
• 1:11:14
  Speaker 2: these types of stories to be able to go back
• 1:11:17
  Speaker 2: and look at historically what this was like within our
• 1:11:19
  Speaker 2: family's lifetimes. So you know, this was based in the
• 1:11:22
  Speaker 2: fifties and early sixties and so like, oh okay, yeah,
• 1:11:27
  Speaker 2: it's I mean, this wasn't like a historical like you know,
• 1:11:29
  Speaker 2: this is like this was while they were talking about
• 1:11:32
  Speaker 2: civil rights movement, like during JFK's assassination. No, no, no, no,
• 1:11:36
  Speaker 2: this is like modern times. Like this is so really
• 1:11:39
  Speaker 2: powerful storytelling. I think, really great, really good story and
• 1:11:43
  Speaker 2: I think more than anything, it should evoke you doing
• 1:11:46
  Speaker 2: more research on these experiences with people and like and
• 1:11:50
  Speaker 2: hear more real life experiences from folks that we're really
• 1:11:53
  Speaker 2: struggling with this type of stuff.
• 1:11:55
  Speaker 1: Yeah, yeah, I have not seen this. I've not read
• 1:11:57
  Speaker 1: the book. It's been on my list for just ever.
• 1:11:59
  Speaker 1: Do you know, it happened to know where it might
• 1:12:00
  Speaker 1: be like available for people to watch if they wanted
• 1:12:02
  Speaker 1: to stream it or something.
• 1:12:04
  Speaker 2: I think that it's on Disney Plus right now.
• 1:12:06
  Speaker 1: Okay, I'm looking and I it looks like it might be. Yeah.
• 1:12:10
  Speaker 1: So I think if you have either one or both,
• 1:12:12
  Speaker 1: you should be able to find it there.
• 1:12:14
  Speaker 2: Yeah, yeah, yeah, exactly.
• 1:12:15
  Speaker 1: Awesome. Well, that's actually I think you are helping to
• 1:12:18
  Speaker 1: push it closer to the top of the queue of
• 1:12:20
  Speaker 1: things I'd like to watch because I and I have
• 1:12:22
  Speaker 1: heard it has a bit of the white savior thing.
• 1:12:23
  Speaker 1: I heard that was a criticism of The Green Book
• 1:12:25
  Speaker 1: as well, which I didn't see. Yeah, but you know, nevertheless,
• 1:12:28
  Speaker 1: I think I'm interested to check it out. I hope
• 1:12:30
  Speaker 1: it's not terrible. I mean, you've ever recommended.
• 1:12:33
  Speaker 2: I think the central I think the central part of
• 1:12:34
  Speaker 2: the story. Yeah, the central part of the story is
• 1:12:36
  Speaker 2: really powerful, and I think that it does come from
• 1:12:38
  Speaker 2: a lot of truths, but I do think that they're
• 1:12:40
  Speaker 2: like and I think Emma Stone is great in it too. Like,
• 1:12:42
  Speaker 2: I think that there is that piece, there's a little
• 1:12:44
  Speaker 2: bit of that white saviorism in it, which I think
• 1:12:45
  Speaker 2: is important to recognize it. You can recognize that, and
• 1:12:47
  Speaker 2: it's fine. But like otherwise, I think it's I think
• 1:12:49
  Speaker 2: it's a great story, and I think it opens your
• 1:12:51
  Speaker 2: eyes to like some of the struggles that people might have,
• 1:12:54
  Speaker 2: even if it's a milder a milder version.
• 1:12:57
  Speaker 1: Okay, all right, well we we just recommend did inside
• 1:13:00
  Speaker 1: Out and Inside Out too, and the help. So we
• 1:13:03
  Speaker 1: got your movie playlist for a few days. That's it,
• 1:13:07
  Speaker 1: or more, depending on how long it takes listeners to
• 1:13:09
  Speaker 1: watch movies. But and then recommending the board game expansion,
• 1:13:15
  Speaker 1: the America's expansion for Wingspan. If you have wingspan, if
• 1:13:18
  Speaker 1: you don't go out and get it and then get
• 1:13:19
  Speaker 1: this expansion with it. Yeah, I think this we have
• 1:13:21
  Speaker 1: to say about this, and we've ran a bit long,
• 1:13:23
  Speaker 1: so I think we should try and wrap this up.
• 1:13:24
  Speaker 1: Is there anything you'd like to add or anything that
• 1:13:25
  Speaker 1: I'm missing before we say our goodbyes?
• 1:13:27
  Speaker 2: Nope, not today. Go watch some movies.
• 1:13:29
  Speaker 1: Yeah, go watch some movies. Thank you all for listening.
• 1:13:31
  Speaker 1: This is Abraham, but this is Shane. We're out.
• 1:13:34
  Speaker 2: So yeah, you've been listening to Why we Do what
• 1:13:37
  Speaker 2: we do. You can learn more about this and other
• 1:13:39
  Speaker 2: episodes by going to WWD WWD.
• 1:13:43
  Speaker 1: Podcast dot com.
• 1:13:44
  Speaker 2: Thanks for listening, and we hope you have an awesome day.