Latest / The Bechdel Cast / Encanto with Jessica Flores

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Encanto with Jessica Flores · The Bechdel Cast

• 0:00
  Speaker 1: On the Bell Cast, the questions asked if movies have
• 0:04
  Speaker 1: women in them? Are all their discussions just boyfriends and husbands?
• 0:08
  Speaker 1: Do they have individualism? The patriarchy? Zef invest start changing
• 0:13
  Speaker 1: it with the Bedel Cast. We don't talk about Bruneo
• 0:19
  Speaker 1: because if we did, we wouldn't pass the Bechdel tests.
• 0:24
  Speaker 1: You know. There it is, yeah, that we just don't
• 0:26
  Speaker 1: talk about Bruno because we're feminist, not because we're not.
• 0:31
  Speaker 1: Because our family has this whole thing going on right right,
• 0:34
  Speaker 1: right right, that's actually kind of an incredible hack to
• 0:37
  Speaker 1: to dazzle and impress your friends. When you don't want
• 0:40
  Speaker 1: to talk about a male family member, you're like, oh, well,
• 0:42
  Speaker 1: it's actually just it's kind of a thing. I don't.
• 0:45
  Speaker 1: I don't really talk about men in my family. Meanwhile,
• 0:50
  Speaker 1: my brother is like at the bottom of a well,
• 0:52
  Speaker 1: I'm like, well, I can't. I kind of can't. There's
• 0:54
  Speaker 1: not really much I can do due to the political climate.
• 0:59
  Speaker 1: I cannot escape my brother from this well exactly exactly. God.
• 1:03
  Speaker 1: I kind of love how that song became the wasn't
• 1:08
  Speaker 1: it was like almost a number one hit or so
• 1:10
  Speaker 1: if it came just like a pop song, it was
• 1:11
  Speaker 1: on the radio and stuff. Yeah, yeah, because I heard
• 1:14
  Speaker 1: I heard that song before I saw the movie, and
• 1:17
  Speaker 1: I was like putting that song in context when you've
• 1:19
  Speaker 1: only heard it on the radio and around and at CVS.
• 1:23
  Speaker 1: You're just like, oh, oh, I guess I didn't really
• 1:27
  Speaker 1: listen to why they weren't talking about him. Well, okay, okay,
• 1:33
  Speaker 1: now you know, Now you know, Now I know, and
• 1:35
  Speaker 1: now it's it's been on my mind. I'm so excited
• 1:37
  Speaker 1: to talk about this movie because it bankes me cry
• 1:39
  Speaker 1: so much. Welcome to the Bechtel Cast. We do talk
• 1:42
  Speaker 1: about in conto. We do want to talk about Incanto.
• 1:46
  Speaker 1: Not as good a song. Unfortunately, we can make we
• 1:52
  Speaker 1: can make it a bop. We can make it a
• 1:54
  Speaker 1: smash hit. Yeah. We're famous songwriters, so that will be
• 1:57
  Speaker 1: easy for us. Yeah. Famously, this is the Bechtel Cast,
• 2:02
  Speaker 1: the podcast in which we examine movies through an intersectional
• 2:05
  Speaker 1: feminist lens, using the Bechtel test simply as a jumping
• 2:09
  Speaker 1: off point, which, of course is a media metric created
• 2:13
  Speaker 1: by queer cartoonist Alison Bechtel, sometimes called the Bechtel Wallace Test,
• 2:18
  Speaker 1: originally found in a comic by Alison Bechtel called dikes
• 2:23
  Speaker 1: to watch out for. The whole test was not really
• 2:28
  Speaker 1: conceived as an actual test. It was just written as
• 2:30
  Speaker 1: a joke, but it's now become a test that we
• 2:35
  Speaker 1: did base an entire podcast around. Anyway, there are many
• 2:40
  Speaker 1: versions of it. UM. The one that we have crafted
• 2:43
  Speaker 1: over the years requires that two characters of a marginalized
• 2:48
  Speaker 1: gender have names, they have to speak to each other,
• 2:51
  Speaker 1: and that conversation has to be about something other than
• 2:53
  Speaker 1: a man. So again we don't talk about no, no, not.
• 3:00
  Speaker 1: And ideally the conversation is you know, narratively significant, um,
• 3:05
  Speaker 1: you know, two or more lines of dialogue, etcetera. So
• 3:09
  Speaker 1: that is the Bechdel test. And today we have an
• 3:13
  Speaker 1: incredible movie that has been requested since truly the second
• 3:18
  Speaker 1: it came out, if not the second the trailer came out.
• 3:21
  Speaker 1: It's in Conta, the movie that took over the world.
• 3:25
  Speaker 1: I'm so excited to talk about it. And we have
• 3:28
  Speaker 1: an incredible guest with us today, so let's get her
• 3:30
  Speaker 1: in here. We certainly do. She is a lifestyle content
• 3:33
  Speaker 1: creator and YouTuber. It's Jessica Flores. Hello, welcome, very excited
• 3:40
  Speaker 1: to be on here today. Oh my gosh, we're so
• 3:42
  Speaker 1: excited to have you and to talk about in conto
• 3:45
  Speaker 1: with you. What is your relationship, connection, history, etcetera with Encanto. Sure, So,
• 3:54
  Speaker 1: as a lifestyle creator, I and as a mom, I
• 3:57
  Speaker 1: cover a lot of Disney both as for my in
• 4:00
  Speaker 1: this and in my home. But on top of that,
• 4:03
  Speaker 1: I am a Columbian American and as someone growing up
• 4:07
  Speaker 1: with not that much positive Columbia media media out there.
• 4:12
  Speaker 1: As soon as this film came out, my family, my friends,
• 4:15
  Speaker 1: my community was very excited about it and eager to
• 4:18
  Speaker 1: see what Disney would come up with. And so it's
• 4:21
  Speaker 1: one of the reasons why I covered it from the
• 4:24
  Speaker 1: moment the trailer came out until past that. And over
• 4:29
  Speaker 1: the first few months of the film being out, I
• 4:32
  Speaker 1: created a bunch of videos over it. Uh combined they've
• 4:35
  Speaker 1: gotten over a million views where I discussed cultural reference,
• 4:39
  Speaker 1: historical background, and all of that. So that's my connection,
• 4:45
  Speaker 1: and that's how we originally learned of of your work
• 4:49
  Speaker 1: was through one of the YouTube videos, and it's we're
• 4:52
  Speaker 1: gonna link everything in the description. It's like, your work
• 4:54
  Speaker 1: is so fabulous. I'm glad that Encanto brought us to you.
• 4:58
  Speaker 1: Thank you so much. Course, Jamie. What about your relationship.
• 5:04
  Speaker 1: I was. I was holding out on watching this movie
• 5:07
  Speaker 1: because my niece is too and she's just arriving slowly
• 5:14
  Speaker 1: at a feature length attension. And so I had a
• 5:17
  Speaker 1: pact with my cousin that I would I would wait
• 5:21
  Speaker 1: to watch Incanto until I can watch it with her.
• 5:24
  Speaker 1: And then we decided we wanted to do this episode
• 5:26
  Speaker 1: and I had to break the rules. I'm going to
• 5:30
  Speaker 1: be publicly betraying my niece in but but look in
• 5:35
  Speaker 1: my defense, future Carolina, it was for content, and I
• 5:39
  Speaker 1: would do it again. So the sacrifices we make for content. Yeah,
• 5:45
  Speaker 1: but this is a movie that I truly as as
• 5:47
  Speaker 1: I was watching it. It's gorgeous, it's funny, it's great.
• 5:50
  Speaker 1: I can't wait to talk about it. Um. And I
• 5:52
  Speaker 1: was really surprised for for how short a time this
• 5:55
  Speaker 1: movie has been out, how much I had already like
• 5:57
  Speaker 1: kind of picked up through cultural osmosis because it's just
• 6:00
  Speaker 1: been like everywhere, and um, yeah, I have so many questions,
• 6:07
  Speaker 1: so many things I want to talk about. It made
• 6:08
  Speaker 1: me cry so much, And uh, sorry, Chloe and Carolina.
• 6:14
  Speaker 1: I will still watch it when I come and visit
• 6:17
  Speaker 1: in November. Um. Caitlyn wentz your history within Kanto. I
• 6:22
  Speaker 1: saw it in theaters and at the time I liked
• 6:27
  Speaker 1: it but didn't love it. And I think it was
• 6:29
  Speaker 1: just because I was in a bad mood or And
• 6:32
  Speaker 1: I only say this because when I watched it again
• 6:34
  Speaker 1: to prep for this episode, I fell in love with
• 6:38
  Speaker 1: it in a way that I didn't upon seeing it initially.
• 6:41
  Speaker 1: I don't know, like whatever happened that day When I
• 6:44
  Speaker 1: first saw it, I was like, I was just like, yeah,
• 6:46
  Speaker 1: that was beautiful and good, but I didn't love it.
• 6:48
  Speaker 1: But now I'm just like, what was I thinking? Like,
• 6:50
  Speaker 1: what was wrong with you, Kitlyn? You're just in the trenches?
• 6:54
  Speaker 1: Who knows? It was a different world. I mean, tell
• 6:59
  Speaker 1: me about it. It um So watching it again made
• 7:03
  Speaker 1: me fall in love with it. I've seen it four
• 7:05
  Speaker 1: times just to prep for this episode. I just kept
• 7:08
  Speaker 1: rewatching because I was like, it's so nice and good
• 7:12
  Speaker 1: and I can't wait to discuss it further. So with that,
• 7:18
  Speaker 1: should I get into the recap? Ah, Yeah, let's get
• 7:21
  Speaker 1: into the recap. We have a lot of characters to meet,
• 7:24
  Speaker 1: so we can't be wasting any time. I was, I
• 7:28
  Speaker 1: guess too to interrupt. Immediately, I was just like so
• 7:33
  Speaker 1: it's so hard for any like Edny writer to write
• 7:37
  Speaker 1: in this many characters and have you have a strong
• 7:40
  Speaker 1: feel for who they are. And every time I have.
• 7:43
  Speaker 1: I watched it three times to prepare, two times for
• 7:46
  Speaker 1: scholarly reasons, once because I wasn't I was a little
• 7:49
  Speaker 1: sad and I wanted to feel better, so I watched it.
• 7:51
  Speaker 1: Um but just like how difficult that must have been,
• 7:55
  Speaker 1: and it works so well? Yeah, I can't wait, absolutely
• 7:59
  Speaker 1: and still a little fun fact um. The family Mad
• 8:03
  Speaker 1: Miranda's introduction to the family is the Disney song with
• 8:08
  Speaker 1: the most words ever. Really, I guess I but it's
• 8:12
  Speaker 1: but it's not long, it's just is it just fast?
• 8:15
  Speaker 1: It's really fast. And he puts a lot in there
• 8:17
  Speaker 1: because he's wrapping through it. He's introducing you to the
• 8:19
  Speaker 1: whole family. There's relationships, who are the dad's, how they met,
• 8:23
  Speaker 1: the gifts. All of that is explained in that one song.
• 8:27
  Speaker 1: A lot of exposition. I love a good exposition song.
• 8:30
  Speaker 1: I hate a bad exposition song with like a special
• 8:33
  Speaker 1: hate because it's it's unlike, first of all, what do
• 8:37
  Speaker 1: you think I can't read? And this song sucks? This
• 8:40
  Speaker 1: is the opposite of that it's an amazing exposition song. Yeah,
• 8:44
  Speaker 1: um okay, So here's the recap. We open on a
• 8:48
  Speaker 1: Boila Alma voiced by Maria Cecilio Botero, with her little
• 8:53
  Speaker 1: granddaughter Mitabelle. A Boila is telling her about their family
• 8:57
  Speaker 1: history and showing Mirabelle the candle that holds their miracle.
• 9:02
  Speaker 1: It's also the source of the Madrigal family magic, which
• 9:08
  Speaker 1: came to be when Alma was a young woman. She
• 9:11
  Speaker 1: and her husband Pedro had to flee with their three
• 9:15
  Speaker 1: babies from intruders some violent force. If I'm not mistaken,
• 9:20
  Speaker 1: it's a reference to the Thousand Days War. Pedro is killed,
• 9:25
  Speaker 1: Alma is about to be killed, but the candle she's
• 9:27
  Speaker 1: holding creates a miracle, a secret place to seek refuge,
• 9:32
  Speaker 1: from which a magical house, Casita, rises up and the
• 9:36
  Speaker 1: house well because he just kind of a character the story,
• 9:42
  Speaker 1: much like New York in every boring movie and every
• 9:46
  Speaker 1: rom com. Yes, Casita is definitely one of the characters.
• 9:50
  Speaker 1: It seems to be kind of like alive and anthropomorphic.
• 9:54
  Speaker 1: The candle also blesses almost three children with a magical power,
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  Speaker 1: so when they reach a certain age, the children open
• 10:03
  Speaker 1: a door in Casita and it gives them their special gift,
• 10:06
  Speaker 1: and the door also leads them to their new bedroom.
• 10:10
  Speaker 1: And then when those three children grow up and have
• 10:13
  Speaker 1: kids of their own, those kids are also blessed with
• 10:16
  Speaker 1: a magical gift, so it gets passed down throughout the generations.
• 10:20
  Speaker 1: And now it's Mirabelle's time to receive her gift. But
• 10:24
  Speaker 1: we flash forward to Mirabell as a teenager voiced by
• 10:28
  Speaker 1: Stephanie Beatrice, and we meet the entire Madrigal family and
• 10:33
  Speaker 1: learn about all of their magical gifts in this exposition
• 10:36
  Speaker 1: song that we were just talking about where Metabelle's tia
• 10:41
  Speaker 1: Peppa her mood affects the weather. TiO Bruno, we don't
• 10:45
  Speaker 1: talk about Bruno sing it I cannot sing um Bruno
• 10:52
  Speaker 1: though he left and kind of estranged himself from the family,
• 10:57
  Speaker 1: but before he did that, he seemed to be able
• 10:59
  Speaker 1: to see into the future, but he was seeing some
• 11:02
  Speaker 1: weird stuff. And also he's voiced by John Leguizamo. Mirabelle's mother, Julieta,
• 11:10
  Speaker 1: cures people with her food. Metabelle's cousin Dolores, can hear
• 11:15
  Speaker 1: the quietest sounds. Cousin Camillo can shape shift. Meta Bell's
• 11:20
  Speaker 1: sister Isabella is beautiful and perfect and creates beautiful flowers.
• 11:25
  Speaker 1: Her sister Luisa is very physically strong. And then the
• 11:30
  Speaker 1: kids in the village keep asking Metall what her special
• 11:32
  Speaker 1: gift is and it's revealed that she was not given
• 11:37
  Speaker 1: a gift, which she's like, I'm okay with this, but
• 11:42
  Speaker 1: no one really takes her seriously, especially her aboila so um.
• 11:48
  Speaker 1: Today is the day that Metabelle's cousin, Antonio is to
• 11:53
  Speaker 1: receive his special gift. It's time for the ceremony. The
• 11:57
  Speaker 1: family and community gather around little Antonio opens his door.
• 12:02
  Speaker 1: We also see a flashback of Metabelle as a child
• 12:05
  Speaker 1: trying to open her door, but it disappears back to Antonio.
• 12:10
  Speaker 1: His door works and his gift is being able to
• 12:13
  Speaker 1: communicate with animals. I love Antonio so much. Thinking cute.
• 12:20
  Speaker 1: It's really cute. It knocks me out, and and I
• 12:25
  Speaker 1: love that he's kind of um, I'm probably to date myself,
• 12:30
  Speaker 1: but um, he's kind of the second coming of Eliza Thornberry,
• 12:34
  Speaker 1: kind of the Uh did anyone watch to the Wild
• 12:38
  Speaker 1: Thornberry Is? It was a cartoon on Nickelodeon about a
• 12:43
  Speaker 1: little girl who could talk to animals. And was constantly
• 12:46
  Speaker 1: saving the entire world by like having a quick chat
• 12:50
  Speaker 1: with a with a snake. Fun. So Antonio has uh
• 12:55
  Speaker 1: talking to animal vibes, which is the superpower I would
• 12:58
  Speaker 1: want my cultural friends for this power is Eddie Murphy
• 13:03
  Speaker 1: Dr Doolittle. Okay, look, so everyone has their version of
• 13:10
  Speaker 1: and they're all very high brow. Of course Antonio is
• 13:16
  Speaker 1: the best of them all, bell because he's the truly
• 13:18
  Speaker 1: the cutest character I've ever seen in my entire life. Wow,
• 13:21
  Speaker 1: it's sickening. Okay, So he gets his gift and everyone celebrates,
• 13:27
  Speaker 1: but Mirabelle is feeling especially inadequate. She sings a song
• 13:32
  Speaker 1: about how she's waiting on a miracle and just then
• 13:36
  Speaker 1: the house Casita starts to crack and break in the
• 13:40
  Speaker 1: candle light flickers. Something's very wrong, but Mutable is the
• 13:45
  Speaker 1: only one who sees this, and then everything returns to
• 13:47
  Speaker 1: normal and aboila. Alma doesn't believe her, or seems not to,
• 13:52
  Speaker 1: but then Mutable overhears a boila sort of like praying.
• 13:57
  Speaker 1: She's worried about the miracle and the magic and that
• 14:00
  Speaker 1: it is dying. So Mirabelle resolves to save the miracle.
• 14:06
  Speaker 1: She starts by trying to figure out what is happening
• 14:09
  Speaker 1: to the magic, So she goes to cousin Dolores, who
• 14:13
  Speaker 1: again can hear very well, to see if Dolores has
• 14:17
  Speaker 1: overheard anything. Did you guys see that Dolores might get
• 14:22
  Speaker 1: some sort of like spinoff series? No, I heard, I did,
• 14:27
  Speaker 1: nothing confirmed, but I would watch the hell out of that.
• 14:30
  Speaker 1: There are definitely a lot of people who would love
• 14:33
  Speaker 1: a Disney Plus series to continue the story of the
• 14:36
  Speaker 1: family members. Do do a series for every character, right, like,
• 14:40
  Speaker 1: I'll sign on for the next ten years of watching Ship.
• 14:44
  Speaker 1: Sure every every m cuth character is having their own
• 14:48
  Speaker 1: spin off? Why not Encanto? And they're mostly boring? Yeah? Okay,
• 14:55
  Speaker 1: So Dolores directs her to Mirabelle's sister Luisa voy by
• 15:00
  Speaker 1: Jessica Daro, who seems to know something but pretends like
• 15:04
  Speaker 1: she doesn't. But then she sings a song about how
• 15:07
  Speaker 1: much pressure she's under to be strong and to carry
• 15:11
  Speaker 1: so many burdens, how she attaches all of her self
• 15:14
  Speaker 1: worth to whether or not she can stay strong, and
• 15:17
  Speaker 1: then Luisa reveals that while mirabel was seeing the cracks
• 15:22
  Speaker 1: on the house, Luisa felt weak, as if the magic
• 15:26
  Speaker 1: was deteriorating. And also one time she overheard the parents
• 15:32
  Speaker 1: talking about how Teo Bruno had a vision about this,
• 15:35
  Speaker 1: but no one really knows what the vision was, uh,
• 15:39
  Speaker 1: and then he left. So if Mirabel is looking for answers,
• 15:42
  Speaker 1: she should go to Bruno's tower and try to find
• 15:45
  Speaker 1: the vision. So she does. She sneaks into Bruno's room
• 15:49
  Speaker 1: and eventually finds the vision, which kind of like physically
• 15:53
  Speaker 1: manifested on a piece of green glass. It's broken into
• 15:58
  Speaker 1: a bunch of shards, so she pieces a few of
• 16:00
  Speaker 1: the shards together, and the image she sees is of herself,
• 16:08
  Speaker 1: so she grabs the pieces. She goes back to her room,
• 16:12
  Speaker 1: where she crosses paths with her Tia Pepper and Teo
• 16:15
  Speaker 1: Felix and tries to ask them about Bruno. And then
• 16:19
  Speaker 1: we get the we don't talk about Bruno's song The
• 16:21
  Speaker 1: Bop of the Century takes off another exposition song. Yes, yeah,
• 16:27
  Speaker 1: but again another exposition Bob Male and Miranda. You know,
• 16:31
  Speaker 1: people have their opinions, but the man knows what he's doing.
• 16:33
  Speaker 1: I think they all made the billboard top one hundred,
• 16:37
  Speaker 1: and I think Bruno did get to number one. Oh
• 16:40
  Speaker 1: my god, I'm not surprised. That's the best. Um. I
• 16:44
  Speaker 1: know that it's a very popular song and I really
• 16:46
  Speaker 1: like it, But my favorite song of the movie is
• 16:48
  Speaker 1: Surface Pressure. That is the bop of the movie. I
• 16:53
  Speaker 1: think I was the only person in the theater. Probably not,
• 16:56
  Speaker 1: but I wet when I heard that song because I
• 16:59
  Speaker 1: could relate to that character so much as a first
• 17:03
  Speaker 1: generation American, and I definitely saw it around TikTok. A
• 17:07
  Speaker 1: lot of people resonated with her character and that song. Yeah,
• 17:10
  Speaker 1: I'm so excited to talk about it more. Yeah, that
• 17:12
  Speaker 1: felt like that should have been the bop. If there
• 17:15
  Speaker 1: was justice in the world, that would have been the
• 17:18
  Speaker 1: number one. Yeah. Um. So this is when we get
• 17:22
  Speaker 1: the we don't talk about Bruno song, where we learn
• 17:25
  Speaker 1: that Bruno had all these visions of the future. A
• 17:28
  Speaker 1: lot of them were like ominous and kind of negative,
• 17:32
  Speaker 1: so people thought that he made bad things happen, so
• 17:35
  Speaker 1: he left. Then Mirabell puts all the rest of the
• 17:39
  Speaker 1: shards of the vision together, and the images of her
• 17:43
  Speaker 1: standing in front of the broken house, which she interprets
• 17:47
  Speaker 1: as she is the reason Casita is cracking and the
• 17:50
  Speaker 1: magic is fading, which Dolores discovers because she can hear everything,
• 17:57
  Speaker 1: and she's also a big gossip, so word spread. That
• 18:01
  Speaker 1: shot of her is so funny, were it like it's like,
• 18:06
  Speaker 1: I know, I'm going to disagree with that. Yeah, I
• 18:10
  Speaker 1: disagree that she's a gossip. See, it hadn't been established.
• 18:14
  Speaker 1: If she had heard all these things, she could have
• 18:17
  Speaker 1: used it to her advantage as a gossip to like
• 18:20
  Speaker 1: expose other things and and help herself in a situation.
• 18:25
  Speaker 1: I think that what drove her to actually say something
• 18:28
  Speaker 1: was the danger that was bringing to the family. And
• 18:30
  Speaker 1: it has been instilled in every single member of this
• 18:32
  Speaker 1: family that their powers, their family are the most important thing,
• 18:36
  Speaker 1: the most precious thing, above everything else, and I think
• 18:38
  Speaker 1: that's what drove her to share that, as opposed to
• 18:41
  Speaker 1: sharing other things that she may have overheard. That makes
• 18:44
  Speaker 1: sense because she hadn't been established as a gossip prior
• 18:48
  Speaker 1: to that, and I was I wasn't totally clear why
• 18:51
  Speaker 1: they were certain she would tell everyone this, But that
• 18:55
  Speaker 1: explanation makes a lot of sense. So just my opinion,
• 18:58
  Speaker 1: I'm sure a lot of people would agree, but that
• 19:02
  Speaker 1: I like it. But you're right, she doesn't have a
• 19:04
  Speaker 1: history of that, and then this would have been like
• 19:06
  Speaker 1: so much of this could have been information she had
• 19:08
  Speaker 1: like long before any of this right true. So Dolores
• 19:13
  Speaker 1: discovers this, so she tells Camillo, who tells his dad,
• 19:17
  Speaker 1: who tells Tia Peppa. This is all happening at Isabella's
• 19:22
  Speaker 1: engagement party because this guy, Mariano Gusman, is about to
• 19:27
  Speaker 1: propose to Isabella. But everything falls apart during this dinner.
• 19:32
  Speaker 1: People are freaking out and everyone blames it on Metabelle.
• 19:36
  Speaker 1: But then Mirabelle discovers a secret passage in the house
• 19:41
  Speaker 1: and she finds TiO Bruno, who has been living in
• 19:44
  Speaker 1: a secret room in like the walls of the house
• 19:47
  Speaker 1: this whole time, Phantom of the Opera style, except without
• 19:52
  Speaker 1: the scary stuff, like if the Phantom of the Opera
• 19:55
  Speaker 1: was really chill and funny and just had a bunch
• 19:59
  Speaker 1: of yeah yeah, yeah, yeah yeah. So he felt like
• 20:04
  Speaker 1: his gift was hurting the family, but he loves his family,
• 20:06
  Speaker 1: so he didn't want to actually leave. Meta Bell tries
• 20:09
  Speaker 1: to get clarity on the vision, and Bruno tells her
• 20:13
  Speaker 1: that he saw the magic fading, the house breaking, and
• 20:16
  Speaker 1: he saw Mitabelle, but the vision was different depending on
• 20:20
  Speaker 1: how you looked at it. Sometimes the house looks broken
• 20:23
  Speaker 1: sometimes not either way. Bruno knew that his family would
• 20:27
  Speaker 1: assume the worst if they saw it, so he destroyed
• 20:30
  Speaker 1: the vision and went into hiding to protect Metabelle. So
• 20:35
  Speaker 1: she's like, well, Bruno, since this vision is so unclear,
• 20:39
  Speaker 1: have another vision, and so he does. His ritual has
• 20:44
  Speaker 1: another vision. At first it seems like it's the same
• 20:47
  Speaker 1: one as before, but then they noticed something different, a butterfly,
• 20:51
  Speaker 1: and then they see the candle burning brighter, and it's
• 20:54
  Speaker 1: because Metabelle embraces hugs her sister Isabella. So now meta
• 21:01
  Speaker 1: Bell has to go to Isabella to try to make
• 21:04
  Speaker 1: amends with her, to like save the magic. So Metabell
• 21:08
  Speaker 1: goes to Isabella tries to embrace her. Easta Bell is like,
• 21:12
  Speaker 1: I hate you. But then instead of like making one
• 21:16
  Speaker 1: of her perfect flowers that she always creates, she makes
• 21:18
  Speaker 1: a cactus and she she loves this. She's like, oh,
• 21:21
  Speaker 1: I made something new and different and it's not perfect,
• 21:24
  Speaker 1: And she sings a song about how she's also been
• 21:27
  Speaker 1: under so much pressure to be perfect and she just
• 21:29
  Speaker 1: wants to be able to express herself the way that
• 21:32
  Speaker 1: she wants to, which we'll get back to because it
• 21:35
  Speaker 1: is the song of the summer winter and sprain. I
• 21:40
  Speaker 1: feel maybe every song is the best song ever made.
• 21:44
  Speaker 1: But yes so, And because Metabell kind of helped her
• 21:48
  Speaker 1: with this like discovery of her expression, she is really
• 21:53
  Speaker 1: grateful to Mirabell. So they hug. And even though it's
• 21:58
  Speaker 1: clear that Mirabelle is in the vision because she's the
• 22:01
  Speaker 1: one who is going to save the miracle, that has
• 22:04
  Speaker 1: become clear, Aboila still thinks Mirabell is ruining everything and
• 22:09
  Speaker 1: hurting the family, and Mirabelle is like, no, Aboila, You're
• 22:13
  Speaker 1: the one who's hurting the family. And then the house
• 22:16
  Speaker 1: fully breaks and crumbles to the ground. The encanto is broken,
• 22:21
  Speaker 1: everyone's powers are gone, and their house is in ruins,
• 22:24
  Speaker 1: looking like we're at the end of the second act.
• 22:27
  Speaker 1: It's almost like it's the second act low point. Things
• 22:31
  Speaker 1: can't get much whereas can they? And then and then
• 22:35
  Speaker 1: so in all the confusion, Mirabell sneaks off and a
• 22:38
  Speaker 1: boila Alma finds her at the river where Alma was
• 22:42
  Speaker 1: first given the miracle all those years ago. We flash
• 22:45
  Speaker 1: back to Alma and Pedro meeting, falling in love, starting
• 22:49
  Speaker 1: their family, fleeing to find safety, and again we see
• 22:54
  Speaker 1: the miracle saving Alma. She raises her babies on her
• 22:57
  Speaker 1: own and all admits to Mirabelle that she had lost
• 23:04
  Speaker 1: sight of who the miracle was for. It's for her family,
• 23:08
  Speaker 1: and she realizes that the miracle isn't the magic, it's
• 23:13
  Speaker 1: her family. Her family is the miracle. So she apologizes
• 23:17
  Speaker 1: to Mirabelle and realizes that the magic was broken because
• 23:21
  Speaker 1: of her, and Mirabelle was like, yeah, but we only
• 23:25
  Speaker 1: have a family in the first place because of you.
• 23:27
  Speaker 1: A boil, and so they have this tender reconciliation and
• 23:31
  Speaker 1: then Bruno shows up and Alma also apologizes to him.
• 23:35
  Speaker 1: So beautiful between the whole third act is just like
• 23:39
  Speaker 1: cry Cry Cry. The new ones. By the way, that's
• 23:43
  Speaker 1: that's the biggest miracle to have a Colombian mother apologized
• 23:46
  Speaker 1: to her kids. That's the biggest miracle in the Felon
• 23:52
  Speaker 1: the True and contem Then they all returned to the
• 23:58
  Speaker 1: rubble of their house and with the help of the community,
• 24:02
  Speaker 1: they rebuild Casita. The family gives Mutabell a door knob.
• 24:07
  Speaker 1: We are all cry cry, crying, and when Mutable puts
• 24:11
  Speaker 1: the door knob into place, Casita comes back to life.
• 24:15
  Speaker 1: Everyone gets their gift back and the whole family and
• 24:19
  Speaker 1: community rejoices, and that's the end of the movie. Let's
• 24:25
  Speaker 1: take a quick break and we will come back to discuss,
• 24:36
  Speaker 1: and we're back. Can I say I wish okay this
• 24:40
  Speaker 1: is I'll start with just an off the cuff, a
• 24:42
  Speaker 1: little observation. I really loved how this movie took care
• 24:48
  Speaker 1: for characters to apologize to each other who were owed apologies,
• 24:53
  Speaker 1: and not to stand up for a male character right away.
• 24:57
  Speaker 1: I feel like Bruno is owed a bit harder if
• 24:59
  Speaker 1: an a apology. He was gone for a long time,
• 25:02
  Speaker 1: and like his mother did apologize to him and his
• 25:06
  Speaker 1: sisters were thrilled to see him. But I was like, guys,
• 25:08
  Speaker 1: he's been gone for what fifteen years? And everyone's like
• 25:13
  Speaker 1: probably whoops. And I was like, like I mentioned, that
• 25:17
  Speaker 1: was a lot. That was that apology. That was a lot.
• 25:21
  Speaker 1: A lot of Colombian children around the world were like, ah,
• 25:25
  Speaker 1: I wish you know, I'll take that. I would have
• 25:28
  Speaker 1: shaken up. You're good, I'm good, Like yeah, looked in
• 25:33
  Speaker 1: the walls for ten years but got the apology. All good. Okay,
• 25:39
  Speaker 1: where do we want to start? Yeah, Jessica, is there
• 25:42
  Speaker 1: anywhere you'd you'd like to start. We've got so much
• 25:45
  Speaker 1: to discuss. Oh my gosh, there is so much discuss
• 25:49
  Speaker 1: I think the biggest conversation that I think that I um.
• 25:55
  Speaker 1: I got a lot of comments about the film, and
• 25:59
  Speaker 1: a lot of the things were brought up is the
• 26:02
  Speaker 1: trauma that our families, Columbian families specifically, but so many
• 26:06
  Speaker 1: families around the world, the trauma that's passed down because
• 26:10
  Speaker 1: of displacement and because of violence. I think it was
• 26:14
  Speaker 1: it was so unexpected for me to see this. I
• 26:16
  Speaker 1: knew this film would be about Columbia and they would
• 26:19
  Speaker 1: put Columbian cultural and maybe a little historical, but the
• 26:23
  Speaker 1: fact that we cover, uh, the Hundred Days War, that's
• 26:26
  Speaker 1: basically what started this whole thing. To talk about that,
• 26:30
  Speaker 1: but then the trauma that you see passed down through generations,
• 26:33
  Speaker 1: I think it's such an important thing to discuss, to
• 26:36
  Speaker 1: look at and to talk through. I certainly saw it
• 26:40
  Speaker 1: in my family. I mentioned that in one of my
• 26:42
  Speaker 1: YouTube videos that although you know that happened in the
• 26:46
  Speaker 1: late eight hundreds, early nineteen hundreds, we still talk about
• 26:50
  Speaker 1: it in my family because it moved our families around.
• 26:54
  Speaker 1: So I have where we all grew up in one
• 26:56
  Speaker 1: village one town. Now we have family and this part
• 26:59
  Speaker 1: of the country, and we a family in that part
• 27:00
  Speaker 1: of the country. And I think it's certainly relevant to
• 27:03
  Speaker 1: a lot of what's happening today because there's a lot
• 27:05
  Speaker 1: of displacement due to due to violence and due too
• 27:07
  Speaker 1: many other things. So I thought it was ingenious really
• 27:12
  Speaker 1: to have that be the kickoff of this story. Yeah,
• 27:16
  Speaker 1: I was not expecting that because so many Disney movies
• 27:21
  Speaker 1: are just they're rooted in fairy tales, which like might
• 27:25
  Speaker 1: have some like vague historical references or context, but it's
• 27:30
  Speaker 1: based on mostly fiction, whereas this movie is like, yeah,
• 27:34
  Speaker 1: pulling from you know, historical events and really specific context
• 27:40
  Speaker 1: that informs so much of the movie, so much of
• 27:42
  Speaker 1: the family dynamics and generational trauma. And it was unexpected
• 27:49
  Speaker 1: but like really compelling and moving. Yeah it felt. Um.
• 27:53
  Speaker 1: I feel like there are a handful of Disney movies
• 27:55
  Speaker 1: that begin with like a traumatic event as like I
• 28:00
  Speaker 1: don't know why I'm thinking of the beginning of The
• 28:02
  Speaker 1: Hunchback of Notre doc but I am, but like something terrible,
• 28:06
  Speaker 1: A family member is lost, people are separated, but what
• 28:09
  Speaker 1: never happens and what I love what this movie does
• 28:12
  Speaker 1: with such thoughtfulness and specificity to my knowledge, is that
• 28:17
  Speaker 1: it brings that theme back where normally it's just like
• 28:21
  Speaker 1: inciting incidents someone does and that's kind of all you get,
• 28:25
  Speaker 1: but bringing it back and rooting it in history, and
• 28:27
  Speaker 1: then also like taking the the care to I'm just
• 28:32
  Speaker 1: starting to think if I've ever seen a kids movie
• 28:34
  Speaker 1: that takes time to do this that like shows that, yes,
• 28:39
  Speaker 1: Mirabel's grandmother has been careless with people's feelings and like
• 28:45
  Speaker 1: should be called out for that, but mirabel and as
• 28:49
  Speaker 1: part of growing up, needs to understand the context of
• 28:53
  Speaker 1: where that pain comes from instead of just because I
• 28:56
  Speaker 1: thought it would have been so easy to do. We've
• 28:58
  Speaker 1: been I feel like we've been talking about this on
• 29:00
  Speaker 1: the show a lot, just kind of girl boss character
• 29:03
  Speaker 1: decisions that are very rooted in the individual of like
• 29:07
  Speaker 1: screw you, mom, I'm gonna be a dancer, or like
• 29:12
  Speaker 1: you know that thing where it's like the older generation's
• 29:17
  Speaker 1: pain and experiences are just cast off as like you're old,
• 29:21
  Speaker 1: you don't get it. And like this movie is so
• 29:24
  Speaker 1: nuanced where it's like we are rooting for Mirabelle when
• 29:27
  Speaker 1: she stands up for herself because that is something she
• 29:29
  Speaker 1: hasn't been able to do so far, but also she
• 29:34
  Speaker 1: is open to hearing what her family's history is and
• 29:38
  Speaker 1: like work on it together. And I just there's I
• 29:41
  Speaker 1: I can't think of a lot of movies that do
• 29:43
  Speaker 1: that with such care. It's beautiful. Oh absolutely, And I'm
• 29:47
  Speaker 1: going to come out and say it, I am in
• 29:51
  Speaker 1: Abilla almost stand. I love her character. I love her
• 29:55
  Speaker 1: so much, and I think a big reason is because
• 29:58
  Speaker 1: I have an Abilla alm My family, and in order
• 30:02
  Speaker 1: for me to fully love someone, I have to understand
• 30:05
  Speaker 1: the context. I have to understand where they came from,
• 30:07
  Speaker 1: what happened to them, what trauma they've lived through that
• 30:11
  Speaker 1: has made them that way, that makes them maybe a
• 30:13
  Speaker 1: little bit colder, maybe a little bitter, maybe a little
• 30:17
  Speaker 1: more stern. But seeing especially, I just love the way
• 30:20
  Speaker 1: that you see, you know, in quote unquote what happened
• 30:24
  Speaker 1: in the beginning of the film, but then you really
• 30:26
  Speaker 1: see it through her eyes what happened, and the difference
• 30:29
  Speaker 1: between the trauma that you see when she's finally opening
• 30:33
  Speaker 1: up and explaining it or showing us what really happened
• 30:37
  Speaker 1: and how violent it was and how vicious. I also
• 30:40
  Speaker 1: appreciate that the directors have been very open with communicating
• 30:44
  Speaker 1: with fans, especially Jared Bush. He is constantly answering questions
• 30:49
  Speaker 1: on Twitter. And it's through these tweets that I got
• 30:52
  Speaker 1: confirmation from Jared that like, listen to this. Okay, this
• 30:58
  Speaker 1: this story when she gives birth right, that's exactly one
• 31:02
  Speaker 1: year after the war broke out. So she gives birth
• 31:05
  Speaker 1: through three kids, they flee their town, she hikes a
• 31:09
  Speaker 1: Columbian mountain, her husband is killed in front of her eyes,
• 31:14
  Speaker 1: and she's given a miracle and then becomes the facto
• 31:17
  Speaker 1: leader of this entire community on the same day the
• 31:22
  Speaker 1: same time. Wow. So, like, I don't care how much
• 31:25
  Speaker 1: yoga you do and meditation, how zen you are, that
• 31:29
  Speaker 1: is going to mess you up. Yeah, And so I
• 31:32
  Speaker 1: appreciated that story so much more and you can understand her,
• 31:36
  Speaker 1: and I hope it helps people understand her more when
• 31:39
  Speaker 1: you realize all of that happened to this one person
• 31:42
  Speaker 1: and why she holds onto her family and the miracle,
• 31:45
  Speaker 1: which she thinks is the protection that violence is still
• 31:49
  Speaker 1: out there, that violence lasted in Columbia for a very
• 31:52
  Speaker 1: long time, and other types of hardships happened in that country,
• 31:56
  Speaker 1: and that's all just that's just across that mountain. So
• 32:00
  Speaker 1: you have to understand all of that to understand why
• 32:03
  Speaker 1: she holds on so tightly to her family and why
• 32:06
  Speaker 1: she is the way that she is. Right because a
• 32:08
  Speaker 1: boiler almost the whole thing is protecting her family, protecting
• 32:11
  Speaker 1: the home that saved her from being killed and allowed
• 32:15
  Speaker 1: her to raise a family in this you know, safe haven.
• 32:20
  Speaker 1: So no wonder she has such a strong investment in
• 32:23
  Speaker 1: the thing that protected her from this violence, and you know,
• 32:28
  Speaker 1: and extends it to her whole community too. I love
• 32:31
  Speaker 1: that it's not just her immediate family who's protected, it's
• 32:34
  Speaker 1: this entire community that she's kind of the the unofficial
• 32:39
  Speaker 1: leader of and it's like she's their protector. And I
• 32:43
  Speaker 1: feel like it's at first and even as a viewer
• 32:46
  Speaker 1: because I was so like the best um because I'm
• 32:51
  Speaker 1: four years old when the first time I watch a movie,
• 32:54
  Speaker 1: But like the how you know, if you don't have
• 32:57
  Speaker 1: the context for who she is, that incredible pressure is
• 33:01
  Speaker 1: like easy to overlook, which is true of a lot
• 33:06
  Speaker 1: of like matriarchs in particular. And I also loved how
• 33:11
  Speaker 1: the middle generation, the parents or I guess Mirabell's parents
• 33:15
  Speaker 1: and aunts and uncles like where they fell and where
• 33:18
  Speaker 1: normally I feel like in Disney movies it's like parents
• 33:22
  Speaker 1: and children, and this the parents are kind of middle
• 33:25
  Speaker 1: people in a way in like mediating this a bit
• 33:29
  Speaker 1: on the sidelines, Yeah, which I thought, I mean, I
• 33:33
  Speaker 1: wouldn't outside of Teo Bruno. I feel like, you know,
• 33:36
  Speaker 1: he's the most prominent. But I liked how those characters
• 33:40
  Speaker 1: were often sort of used as a way of bridging
• 33:44
  Speaker 1: where Abela was coming from from versus Mirabelle's frustrations. And
• 33:49
  Speaker 1: it just works to to kind of return to the
• 33:55
  Speaker 1: generational trauma that informs this story. So a friend of
• 34:01
  Speaker 1: the show, Jose Maria Luna, also did a video essay
• 34:06
  Speaker 1: on this movie and he talked he spoke a lot
• 34:09
  Speaker 1: about about what we see on screen regarding Colombian culture
• 34:14
  Speaker 1: and you know, the representation of Columbia in this movie,
• 34:17
  Speaker 1: and it's and he explained that it's not just the
• 34:20
  Speaker 1: the food, the geography, the architecture, the plant and animal life,
• 34:25
  Speaker 1: the art, clothing, music, characters, gestures and expressions, which he
• 34:31
  Speaker 1: felt was all very authentic. The thing that screamed Colombian
• 34:34
  Speaker 1: the most was what you were talking about, Jessica, as
• 34:36
  Speaker 1: far as the themes of like dealing with trauma, trying
• 34:40
  Speaker 1: to heal a broken community, because it's a country with
• 34:44
  Speaker 1: a very complicated history fraught with violence, and that violence
• 34:48
  Speaker 1: was mostly a result of colonization, ethnic cleansing, extremist political movements,
• 34:56
  Speaker 1: killing and violently displacing people. So it's this again history
• 35:00
  Speaker 1: fraught with violence that affects every person from Columbia or
• 35:06
  Speaker 1: every person with family from Colombia. So that is like
• 35:10
  Speaker 1: really what made this movie feel Colombian to people who
• 35:14
  Speaker 1: would recognize that because like I, you know, prior to
• 35:19
  Speaker 1: seeing this movie or researching for this episode, I the
• 35:23
  Speaker 1: only things I knew about Columbia were what you tend
• 35:26
  Speaker 1: to see in media, which is like drug cartels and like,
• 35:31
  Speaker 1: and obviously knew that was like blown out of proportion
• 35:34
  Speaker 1: and that you can't trust most media to represent, especially
• 35:38
  Speaker 1: American media, to represent like a South American country responsibly
• 35:42
  Speaker 1: anything authentically. Yeah, so there was a lot that I
• 35:47
  Speaker 1: didn't totally know about Colombian history, and upon again, like
• 35:51
  Speaker 1: researching for this episode, I learned a lot more. But
• 35:55
  Speaker 1: um and I now have an even greater appreciation for
• 35:59
  Speaker 1: the story for incorporating all this historical and cultural context
• 36:05
  Speaker 1: so meaningfully in a way that because you can like,
• 36:09
  Speaker 1: and we'll talk about this, but like the directors of
• 36:11
  Speaker 1: the movie, it's It's three People, Jared Bush Byron Howard,
• 36:16
  Speaker 1: and it was co directed by Shari's Castro Smith, um,
• 36:20
  Speaker 1: who I think was brought on a bit after the fact.
• 36:23
  Speaker 1: And we'll talk about that. But um, I was like,
• 36:26
  Speaker 1: are these two white guy Americans? Like how do you know?
• 36:32
  Speaker 1: Which is the case for almost every Disney animated movie,
• 36:35
  Speaker 1: because that was we had this same discussion six six
• 36:38
  Speaker 1: years ago when Moanna came out. We're just like why
• 36:42
  Speaker 1: why and and and for I mean, well, well, we'll
• 36:46
  Speaker 1: talk about the production and it seems like everyone tried
• 36:50
  Speaker 1: to but it's just like, but why but why two
• 36:53
  Speaker 1: white guys? I mean, we know why, but right right,
• 36:56
  Speaker 1: you don't expect that a movie directed I too white
• 37:00
  Speaker 1: guys are going to really fully incorporate all of the
• 37:05
  Speaker 1: historical and cultural context as well as they seem to
• 37:08
  Speaker 1: have done. But they seem too so um, but you're
• 37:12
  Speaker 1: but you're absolutely right. You know, growing up, when I
• 37:15
  Speaker 1: would tell people that I was Columbian, what can I
• 37:19
  Speaker 1: show them that says, Hey, here's where my family is
• 37:22
  Speaker 1: from I didn't have anything. I didn't have anything because
• 37:24
  Speaker 1: everything that was out there was drug cartels, and even
• 37:29
  Speaker 1: to this day, what is out there, it's still the
• 37:32
  Speaker 1: same kind of violence, drug cartels. You know, a guy
• 37:35
  Speaker 1: who's been dead for like thirty years, Like that's all
• 37:38
  Speaker 1: that is ever represented in media. And so I think
• 37:40
  Speaker 1: that's one of the reasons why I certainly watched this
• 37:42
  Speaker 1: film feeling like a four year old, because I was
• 37:44
  Speaker 1: so excited that I have finally something that I can
• 37:47
  Speaker 1: share and say, like, this is where we come from.
• 37:49
  Speaker 1: Look at all these you know, beautiful plants and animals,
• 37:53
  Speaker 1: and look at the food and listen to the music,
• 37:55
  Speaker 1: and this is where your family is from. And it
• 37:59
  Speaker 1: feels like it represents the people of Columbia in a
• 38:05
  Speaker 1: way the most media doesn't. Where you have, you know,
• 38:07
  Speaker 1: you see a multi generational Latin X family, You have
• 38:11
  Speaker 1: indigenous representation, You have Afro latin X representation in Felix
• 38:17
  Speaker 1: and his kids are mixed Afro Indigenous characters, and the
• 38:22
  Speaker 1: movie seems appropriately cast as well, where like Afro Ladina
• 38:26
  Speaker 1: characters are being voiced by Afro Latina actors. For example,
• 38:31
  Speaker 1: you have representation of different body types, especially with the
• 38:34
  Speaker 1: female characters. This is something we talk about all the time,
• 38:37
  Speaker 1: where like an animation, male characters tend to be you know,
• 38:41
  Speaker 1: animated any which way, like a huge variety of body
• 38:45
  Speaker 1: shapes and sizes, whereas the women tend to be you know,
• 38:49
  Speaker 1: like Barbie esque, uh in their design and animation sexy Ghost,
• 38:55
  Speaker 1: Sexy Ghost and Ghostbusters. Why this is most notable with Lisa.
• 39:00
  Speaker 1: But you have different body types represented on screen in
• 39:03
  Speaker 1: the female characters, while also like not defining any character
• 39:08
  Speaker 1: by their body type or like you get. Obviously, Louisa's
• 39:12
  Speaker 1: strength is a huge element of her character, but that
• 39:15
  Speaker 1: is not what defines her. What defines her is um
• 39:18
  Speaker 1: the Bob of the movie, and you know her her
• 39:21
  Speaker 1: struggle to hold everything together. And yeah, I um, I
• 39:26
  Speaker 1: think we talked about this one we were prepping for this,
• 39:29
  Speaker 1: but I really loved learning about the production of this
• 39:33
  Speaker 1: movie and how this movie forced new technology in order
• 39:39
  Speaker 1: to better represent a wider particularly with hair. This is
• 39:44
  Speaker 1: I heard, the first movie that is inclusive of every
• 39:48
  Speaker 1: hair texture, which the technology because animation, as we've discussed
• 39:53
  Speaker 1: many times, is so centered on white protagonists, as is
• 39:57
  Speaker 1: most media, still that the technology literally did not exist
• 40:02
  Speaker 1: to animate every hair texture. And so one of the
• 40:06
  Speaker 1: I mean, of the many incredible legacies of this movie
• 40:09
  Speaker 1: that technology now exists. It started I guess the it
• 40:14
  Speaker 1: was the whole thing, but it like started back with Tangled,
• 40:17
  Speaker 1: the hair movie. Uh, and then in Moana they had
• 40:22
  Speaker 1: to develop technology that allowed them to authentically animate just
• 40:27
  Speaker 1: darker hair in general because it's such a blonde, you know,
• 40:32
  Speaker 1: white princess centric franchise at Disney. And then in Conto
• 40:37
  Speaker 1: they continued to push the technology even further. So now um,
• 40:41
  Speaker 1: the studio and animators everywhere have a very easy, accessible
• 40:45
  Speaker 1: tool that will allow them to animate every hair texture,
• 40:48
  Speaker 1: which is huge and as an animation nerd, I was
• 40:53
  Speaker 1: very excited to see that. I love it. Yeah, beautiful. Um.
• 40:58
  Speaker 1: Another thinging the and this has been pointed out before
• 41:03
  Speaker 1: and by you, Jessica in in one of your videos
• 41:06
  Speaker 1: about Incanto, but another thing that uh makes this movie
• 41:10
  Speaker 1: feel especially Colombian is um so magical realism um is
• 41:15
  Speaker 1: something that is very prominent in Colombian fiction literature, just
• 41:19
  Speaker 1: like storytelling that takes place among family and and friends,
• 41:24
  Speaker 1: stories that get passed down and most notably the work
• 41:28
  Speaker 1: of Gabrielle Garcia Marquez, who of course wrote A hundred
• 41:32
  Speaker 1: Years of Solitude, and it seems as though the movie
• 41:36
  Speaker 1: in Kanto was loosely inspired by that novel UM. A
• 41:41
  Speaker 1: lot of like narrative liberties were taken, but there's there
• 41:44
  Speaker 1: are different parallels that you can clearly draw that exists
• 41:47
  Speaker 1: across both works UM as far as like different characters
• 41:52
  Speaker 1: being similar in UM the movie in the book UM
• 41:55
  Speaker 1: yellow butterflies being a motif in both, there's like interjet
• 42:00
  Speaker 1: narrational tension and trauma. There's all these like kind of
• 42:02
  Speaker 1: common elements across both this movie and the book one
• 42:07
  Speaker 1: hundred Years of Solitude. So I just wanted to point
• 42:09
  Speaker 1: that out. Yeah, absolutely, And that's one of the first
• 42:12
  Speaker 1: things that I wanted to cover in my videos because
• 42:15
  Speaker 1: I feel like it can be a difficult film to
• 42:18
  Speaker 1: understand if you don't understand that aspect of the inspiration
• 42:23
  Speaker 1: behind and Khanto and Khanto is not magical realism, but
• 42:27
  Speaker 1: it is inspired by magical realism because magical realism is
• 42:31
  Speaker 1: so important in the Colombian, you know world. So we
• 42:36
  Speaker 1: see elements of things that were specifically written by the
• 42:41
  Speaker 1: butterflies and the different generations of family A hundred years
• 42:46
  Speaker 1: of Solitude. Actually, originally this story was going to go
• 42:49
  Speaker 1: through a hundred years of one family and Kanto was yes.
• 42:54
  Speaker 1: And so anyone who wants to go more in depth
• 42:56
  Speaker 1: into this, I really encourage you to look at um
• 42:59
  Speaker 1: the book uh oh, I forget the name now, but
• 43:03
  Speaker 1: it's it's a book about the making of the film.
• 43:06
  Speaker 1: Do you see some of the original characters animated and
• 43:09
  Speaker 1: how they combine certain characters together too, so that it's
• 43:12
  Speaker 1: just these three generations. But it was going to go
• 43:15
  Speaker 1: originally over a hundred years. Um. But I think one
• 43:19
  Speaker 1: of the important things that when people were telling me
• 43:23
  Speaker 1: that they didn't understand it or they didn't get it,
• 43:26
  Speaker 1: or it's it's mainly because in magical realism, things are
• 43:31
  Speaker 1: magical and that's just the way that they are. There's
• 43:33
  Speaker 1: no real explanation behind it. It's just this person has
• 43:37
  Speaker 1: lived a thousand years and okay, and so we just
• 43:40
  Speaker 1: it's just accepted. And I think there's elements of that
• 43:43
  Speaker 1: in Incanto, like the house is alive and you don't
• 43:46
  Speaker 1: need to know why or who it is. The house
• 43:49
  Speaker 1: is just alive and it interacts with the family members. Um.
• 43:52
  Speaker 1: So once you grasp that explanation, I feel like it's
• 43:55
  Speaker 1: more becomes a little more comfortable to accept the story
• 43:59
  Speaker 1: a little bit. And that does feel it feels like
• 44:02
  Speaker 1: that fits in very cleanly with like the Disney tradition,
• 44:06
  Speaker 1: but in a very culturally specific way. I loved the
• 44:10
  Speaker 1: way that the house is animated is so cool. The
• 44:13
  Speaker 1: book is called the Art of Incanto. It just came
• 44:15
  Speaker 1: to me. It's not some complicated title. It's called the
• 44:18
  Speaker 1: Art of Incanto. The I'm adding I want Kanto stuff. Yeah,
• 44:23
  Speaker 1: I wanted to um and and I learned about this
• 44:26
  Speaker 1: in part again, Jessica, from your series of videos about Encanto,
• 44:30
  Speaker 1: about the process of how because anytime a movie like
• 44:35
  Speaker 1: Encanto that is directed by two white guys and ends
• 44:38
  Speaker 1: up being good, you're like, Okay, let's let's follow this.
• 44:42
  Speaker 1: How did this happen? Um? Because it's never because two
• 44:46
  Speaker 1: white guys were automatically like, I'm so committed to doing
• 44:51
  Speaker 1: you know. So, UM, I wanted to talk about the
• 44:54
  Speaker 1: development process of this movie a little bit before we
• 44:57
  Speaker 1: jump into the character Yer's proper. So these are the
• 45:03
  Speaker 1: guys I believe that co directed um copaganda masterpiece Zootopia
• 45:11
  Speaker 1: eclipsed only by Pop Patrol as UM this developing generations
• 45:17
  Speaker 1: defining copaganda, But it sounds like um Incanto went through
• 45:23
  Speaker 1: quite a few different versions before it arrived at this
• 45:28
  Speaker 1: like you're saying, Jessica the three generation Colombian story lin Man,
• 45:33
  Speaker 1: while Miranda was brought on very early, and it sounds
• 45:38
  Speaker 1: like was the one to push for not just a
• 45:42
  Speaker 1: full blown musical, but also for a full cast of
• 45:46
  Speaker 1: the family, which I feel like is very unusual for
• 45:49
  Speaker 1: a Disney movie to have so many um main characters.
• 45:53
  Speaker 1: And then they also as production continued, I think realized
• 45:57
  Speaker 1: even though I'm like, how did you not realize on
• 45:58
  Speaker 1: the first day? But whatever, uh that they needed to
• 46:02
  Speaker 1: do quite a bit of consulting work and and so
• 46:06
  Speaker 1: I wanted to talk about uh that a little bit
• 46:09
  Speaker 1: and how they put together what was it called the
• 46:12
  Speaker 1: the Colombian Cultural trust Trusts. Yeah, so I think, like
• 46:17
  Speaker 1: a lot of movies, there was a lot, quite a
• 46:20
  Speaker 1: bit of research done, But in terms of how many
• 46:24
  Speaker 1: people were paid to consult on this movie, it sounds
• 46:27
  Speaker 1: like it really shows where they had a um what's
• 46:31
  Speaker 1: the word for flower person a botany consulting, Yes, to
• 46:37
  Speaker 1: make sure that Isabel's storyline was not just beautiful Disney Girl.
• 46:43
  Speaker 1: It was authentically Colombian and all the flowers that were
• 46:46
  Speaker 1: being shown, and they brought in Teri's Castro Smith, who
• 46:52
  Speaker 1: I also wanted to talk. So she is I believe
• 46:55
  Speaker 1: Cuban American. Yes, she's not Colombian, but did have kind
• 47:00
  Speaker 1: of a huge Her career is kind of fascinating. I
• 47:03
  Speaker 1: had not learned very much about her before, but she
• 47:06
  Speaker 1: like started as an she was like an actor player, right,
• 47:09
  Speaker 1: and then um sort of pivoted to being a full
• 47:13
  Speaker 1: time writer and this was sort of her huge break. Um.
• 47:17
  Speaker 1: So they did bring in a Latina woman writer, but
• 47:22
  Speaker 1: she wasn't there from the very beginning, right. But and
• 47:25
  Speaker 1: specifically because she writes about magical realism, where she incorporates
• 47:28
  Speaker 1: magical realism in her works, that's why they decided to
• 47:32
  Speaker 1: work with her. Yeah. So what I from what I
• 47:36
  Speaker 1: read and understand is that Jared Bush and Byron Howard
• 47:40
  Speaker 1: were like, Hmmm, we're going to write the first Latin
• 47:43
  Speaker 1: a Disney animated musical. What do we do? Like they
• 47:47
  Speaker 1: weren't sure what the story should be or what country
• 47:50
  Speaker 1: to set it in, but they were collaborators with two filmmakers,
• 47:55
  Speaker 1: One Rendon and Natalie Osma, who are both Colombian, and
• 47:59
  Speaker 1: they were like, well, why don't you go to Columbia.
• 48:02
  Speaker 1: So Jared Byron, Juan, Natalie, and Lynn Manuel Miranda went
• 48:08
  Speaker 1: to Columbia, did some research, started to conceive the story.
• 48:11
  Speaker 1: From there, One and Natalie were then kind of brought
• 48:15
  Speaker 1: on as consultants for the film, and then Charis who
• 48:19
  Speaker 1: started out as a co writer. Nine months into I'm
• 48:23
  Speaker 1: not sure if it was like the development or production
• 48:26
  Speaker 1: or exactly what stage, but at some point Jared Bush
• 48:29
  Speaker 1: was like, hey, Scheriz, why don't you co direct this
• 48:32
  Speaker 1: with us? Which felt like a similar trajectory as Um.
• 48:36
  Speaker 1: We talked about this for Coco, where director Lee Unkridge,
• 48:40
  Speaker 1: who is like, you know, legacy Pixar white Man director,
• 48:45
  Speaker 1: was like, I'm gonna make Coco. And then um Adrian Molina,
• 48:50
  Speaker 1: who started out as I think a conceptual artist or
• 48:55
  Speaker 1: or um not a writer or co director on the movie,
• 48:58
  Speaker 1: but he eventually became the those things because he just
• 49:02
  Speaker 1: had so much insight about Mexican culture and family dynamics
• 49:06
  Speaker 1: and things like that that Leonor kind of realized, oh,
• 49:09
  Speaker 1: I'm maybe a little out of my depth here. Let
• 49:11
  Speaker 1: me bring on a collaborator to like I would always
• 49:15
  Speaker 1: take them two years to be like, perhaps I'm out
• 49:17
  Speaker 1: of my depth, Like and I'm very glad that, you know,
• 49:22
  Speaker 1: Jared bush Is is enthusiastic and wants to interact with fans,
• 49:26
  Speaker 1: and he seems like a lovely person. I just like,
• 49:28
  Speaker 1: I'm very ready for this era of like two white
• 49:32
  Speaker 1: directors realized two years into production that maybe they're not
• 49:36
  Speaker 1: the appropriate director, and then they bring in a co director.
• 49:40
  Speaker 1: And I feel like, I I hope that we are
• 49:43
  Speaker 1: sort of exiting that era with I mean, we we
• 49:46
  Speaker 1: just covered Turning Red, which was completely Domy. She's you know,
• 49:52
  Speaker 1: a lot of her life experience and commenting on her
• 49:54
  Speaker 1: own culture, and like, it just feels like we need
• 49:57
  Speaker 1: to get to a point where that is the standard
• 50:00
  Speaker 1: because she co wrote and directed that movie rather than
• 50:03
  Speaker 1: like being brought on a year or two later. If anything,
• 50:06
  Speaker 1: it'll save them money, to save them money not having
• 50:09
  Speaker 1: to pay all those consultants. It'll save time because like
• 50:14
  Speaker 1: the movie doesn't need to be in development hell for
• 50:18
  Speaker 1: three years if you just bring on people who like
• 50:20
  Speaker 1: if if people who already know what they're talking about
• 50:23
  Speaker 1: are the people to conceive and write these stories and
• 50:26
  Speaker 1: then direct them like it saves time and money and
• 50:29
  Speaker 1: everything and everything will be a development hell forever. But
• 50:33
  Speaker 1: it does seem like it will save a lot of
• 50:34
  Speaker 1: time and money to not have to like hire people
• 50:37
  Speaker 1: to explain the movie that the guys are directed to
• 50:40
  Speaker 1: the guys directing it, who probably also cost a shipload
• 50:44
  Speaker 1: of money because they directed the animal capaganda movie, so
• 50:49
  Speaker 1: probably cost a lot to hire. Right again, all due respect, uh,
• 50:56
  Speaker 1: but yeah, it it seems like a very round about
• 51:00
  Speaker 1: Hollywood way to uphold a system that is costing the
• 51:03
  Speaker 1: money time and you would get I mean, this movie
• 51:06
  Speaker 1: is absolutely incredible, but if you know, if if you
• 51:09
  Speaker 1: had just had a Colombian animation director from the beginning,
• 51:14
  Speaker 1: how much easier and and maybe even better with the
• 51:18
  Speaker 1: final product. B But it does seem I mean, I
• 51:21
  Speaker 1: will not to hand it to a multi bajillion dollar corporation,
• 51:27
  Speaker 1: but it does seem like there is a concerted effort
• 51:30
  Speaker 1: going on within that company to make sure that there
• 51:34
  Speaker 1: are non white and non male filmmakers that are being
• 51:37
  Speaker 1: actively mentored to take on because to take on projects
• 51:41
  Speaker 1: of this size. But I just I'm like, Okay, let's
• 51:44
  Speaker 1: get to the era where it's like we don't need
• 51:47
  Speaker 1: this like Middleman, legacy, white guy director. Yes, But the
• 51:52
  Speaker 1: question I always come back to is, yeah, Disney is
• 51:56
  Speaker 1: putting in an effort to be more inclusive in their
• 51:59
  Speaker 1: storytelling and the people they hire to tell stories. But
• 52:05
  Speaker 1: is it only because that's a hot and profitable thing
• 52:09
  Speaker 1: right now and this company just wants to turn a profit.
• 52:14
  Speaker 1: And yes, of course, I mean yes, I mean for sure,
• 52:17
  Speaker 1: maybe it's partly a company that does have a very
• 52:20
  Speaker 1: nasty history of racism, anti Semitism, all kinds of really
• 52:26
  Speaker 1: nasty things that they put into their movies targeted at
• 52:31
  Speaker 1: children and families. Maybe they are like, oh, we should
• 52:34
  Speaker 1: course correct this. But is it course correcting for the
• 52:38
  Speaker 1: right reasons? You know, I think there's individuals within that
• 52:41
  Speaker 1: company that certainly feel that way and have a vested
• 52:44
  Speaker 1: artistic interest in doing that. But yeah, I know, like
• 52:47
  Speaker 1: I'm not, no one's going to argue like Disney famously
• 52:50
  Speaker 1: anti capitalist, like they they want money. I think what
• 52:54
  Speaker 1: is important is, because that is always going to be
• 52:58
  Speaker 1: the situation with Knee, is them being able to realize that.
• 53:03
  Speaker 1: I mean, in Conto, it was gigantically stupendously successful, and
• 53:09
  Speaker 1: as was Mowanna, as was Coco, and it's like these
• 53:12
  Speaker 1: there's a huge demand for stories that do not center
• 53:16
  Speaker 1: around the same you know, four white French people or
• 53:19
  Speaker 1: whatever that they've been making movies about for five hundred years. So,
• 53:24
  Speaker 1: you know, because they're freaky scary capitalists, I want them
• 53:28
  Speaker 1: to put that capital in the hands of the right people,
• 53:31
  Speaker 1: in the right directors of stuff, for sure. I mean,
• 53:35
  Speaker 1: how many times are we going to say Latinos are
• 53:37
  Speaker 1: in Like when Jennifer Lopez and Ricky Marcot Valley Latinos
• 53:41
  Speaker 1: it's the new thing. Guess yeah, guess what, Maybe we
• 53:45
  Speaker 1: might be in always and so let's let's just keep going.
• 53:49
  Speaker 1: Maybe it's a long term thing, which is like why
• 53:52
  Speaker 1: it's so important to have people like I mean, as
• 53:56
  Speaker 1: incredibly important as it was to have the consulting team
• 53:58
  Speaker 1: built out for this off you to work the way
• 54:00
  Speaker 1: it did. It's like, we need more Latino people in
• 54:04
  Speaker 1: like leadership roles so that you can't just be like, actually,
• 54:07
  Speaker 1: this moment is over and we're gonna have these two
• 54:10
  Speaker 1: white guys go back to animal capaganda because it does
• 54:13
  Speaker 1: feel like that by by keeping these sorts of patterns
• 54:17
  Speaker 1: and systems in place, Disney's giving themselves, the freedom to
• 54:21
  Speaker 1: opt in and out of UM giving a ship about
• 54:25
  Speaker 1: not the same for white French people. Right, let's take
• 54:30
  Speaker 1: another quick break and then come back for more discussion.
• 54:41
  Speaker 1: But yeah, that that reminded me. I was telling a friend,
• 54:43
  Speaker 1: I'm like, listen, I love Limanda as much as anybody.
• 54:47
  Speaker 1: He's a genius. That's just like a fact. But he can't.
• 54:51
  Speaker 1: He can't write everything. We can't. Someone else's doing the
• 54:55
  Speaker 1: Cuban thing, the Colombian thing, like he can't do it
• 54:58
  Speaker 1: for everybody, so record. Yeah. One of the one of
• 55:02
  Speaker 1: the few criticisms I saw around this movie was um,
• 55:06
  Speaker 1: and I mean I I just genuinely don't have the
• 55:10
  Speaker 1: scope of knowledge to know, but that some of the
• 55:14
  Speaker 1: songs like they wanted people wanted more authentic Colombian music
• 55:18
  Speaker 1: worked into the soundtrack than was there, which again I'm
• 55:23
  Speaker 1: not familiar enough with music native to Columbia to know.
• 55:26
  Speaker 1: But I was curious of your thoughts on that, Jessica, Sure,
• 55:29
  Speaker 1: I do have thoughts on that. Um, I think that, listen,
• 55:35
  Speaker 1: it's a Disney musical. It's not going to be like,
• 55:38
  Speaker 1: I don't know, I don't even know what to compare
• 55:40
  Speaker 1: it to, where like everything like it's not like, um,
• 55:43
  Speaker 1: like when there's a musical and it's all like Abba
• 55:47
  Speaker 1: songs or it's all Beatles songs. You know that, like
• 55:49
  Speaker 1: that's not going to happen. And I think I think
• 55:52
  Speaker 1: lin Monel Miranda did do a really great job in this.
• 55:54
  Speaker 1: He did a lot of research and so what he's
• 55:56
  Speaker 1: been what he said in interviews, is that he took
• 55:59
  Speaker 1: not only music that was born in Colombia, but that
• 56:02
  Speaker 1: that is popular in Colombia, that it is in the
• 56:04
  Speaker 1: Colombian world. So for example, like um, surface Pressure, it's
• 56:10
  Speaker 1: it's uh, it's like a reggaeton song. Reggaeton wasn't born
• 56:14
  Speaker 1: in Colombia, but it's definitely something that's heard all over Colombia.
• 56:18
  Speaker 1: Isabel song is based on Rocuan Espanio from the nineties,
• 56:22
  Speaker 1: which was huge in Columbia. There's a lot of Rocan
• 56:25
  Speaker 1: Espanio bands from Columbia, so that was a way for
• 56:28
  Speaker 1: him to incorporate Colombian style music and um the song
• 56:33
  Speaker 1: by Carlos Bibs. I was shocked when I found out
• 56:36
  Speaker 1: that Linn Ramira wrote that song. I could have sworn
• 56:39
  Speaker 1: that that was just another Carlos Via song. If I
• 56:40
  Speaker 1: would have heard it on the radio. I was like, Okay,
• 56:42
  Speaker 1: I guess he must be out with a new album.
• 56:43
  Speaker 1: Is that the No, that's some Columbia right, Okay, yes, yes?
• 56:50
  Speaker 1: So um, so he clearly had You have to be
• 56:54
  Speaker 1: a fan, he said he was a fan of Carlos Vibas.
• 56:56
  Speaker 1: You have to have known that music in order to
• 56:58
  Speaker 1: write a song in his style that goes so well
• 57:02
  Speaker 1: with him. So um, there were even those songs that
• 57:06
  Speaker 1: don't sound Colombian. There there is a Colombian element to it,
• 57:10
  Speaker 1: but the part where you really get Columbian sound is
• 57:13
  Speaker 1: through the score and U Jermaine Franco, the person who
• 57:17
  Speaker 1: did the score, did an excellent job. I mean she
• 57:20
  Speaker 1: brought an instruments that were made in Colombia in Joco.
• 57:24
  Speaker 1: They had an Afro Colombian chorus sing background on it.
• 57:29
  Speaker 1: So there definitely was elements. I think just people were
• 57:33
  Speaker 1: expecting like all all like Gumbias or all those and
• 57:38
  Speaker 1: we're maybe surprised by that. But I as you know,
• 57:41
  Speaker 1: someone who who like who saw, um, what's the evil?
• 57:47
  Speaker 1: Like I knew like it's not going to be all
• 57:49
  Speaker 1: like Cuban styles to songs throughout the whole thing because
• 57:51
  Speaker 1: that personally, I could see that being boring to someone else.
• 57:54
  Speaker 1: If you're not from that culture, you may not have
• 57:56
  Speaker 1: the appreciation of hearing those songs over and over or
• 57:59
  Speaker 1: that style of music over and over again. So I
• 58:01
  Speaker 1: think they did a really good job with making the
• 58:03
  Speaker 1: score very traditional Colombian from all over Columbia, and then
• 58:08
  Speaker 1: having the main musical numbers that Liman went met on
• 58:12
  Speaker 1: the road be Colombian inspired or based on Columbia music
• 58:17
  Speaker 1: that was popular throughout the years. Thank you, Yeah, I was,
• 58:20
  Speaker 1: I was curious and and Limo ran the man can
• 58:25
  Speaker 1: ride an earworm. Holy also shout out to the Titanic
• 58:32
  Speaker 1: reference in surfers Pressure. Caitlyn and I are number one
• 58:36
  Speaker 1: Titanic fans. Jessica, there's you see a very Titanic looking
• 58:43
  Speaker 1: ship was approaching an iceberg, and then there's the lyric
• 58:48
  Speaker 1: the ship doesn't serve hasn't heard how big the iceberg is,
• 58:53
  Speaker 1: and then you see I think it's three donkeys playing
• 58:56
  Speaker 1: like a string quartet on the deck of the ship.
• 59:00
  Speaker 1: That really did it for me. Oh my gosh. Yeah,
• 59:02
  Speaker 1: I was like, they did this for me and Jamie.
• 59:05
  Speaker 1: I'm pretty sure. Yeah. Embarrassing, how I was like, okaylen
• 59:08
  Speaker 1: saw that exciting for us. I can't wait to talk
• 59:12
  Speaker 1: about I guess that's all I have to say about it,
• 59:15
  Speaker 1: but yes, I did notice just a shout out. Let's well, actually,
• 59:20
  Speaker 1: before we move into the characters, Jessica, is there anything
• 59:23
  Speaker 1: else you wanted to touch on or discuss about the
• 59:25
  Speaker 1: way that Colombian culture is represented within the movie with
• 59:29
  Speaker 1: any sort of specificity. I didn't want to move out
• 59:32
  Speaker 1: of that too fast. Sure, and to continue the discussion
• 59:36
  Speaker 1: about having, you know, white directors at the forefront of
• 59:39
  Speaker 1: a movie that is not about their culture. I will
• 59:43
  Speaker 1: say that I personally feel like they did a really
• 59:45
  Speaker 1: good job. They were respectful about it, They knew what
• 59:49
  Speaker 1: the burden was, and that they went out and did
• 59:53
  Speaker 1: a lot of research because you can see it throughout
• 59:55
  Speaker 1: the film. I think most of the people that I
• 59:57
  Speaker 1: spoke to, I would say, more than of the comment
• 1:00:01
  Speaker 1: that I got from people who were Colombian or Colombian
• 1:00:04
  Speaker 1: descendants said that they saw their family reflected in there.
• 1:00:08
  Speaker 1: They saw their homes um, they saw even like gestures, um,
• 1:00:14
  Speaker 1: even the choreography, which the first time I saw it,
• 1:00:16
  Speaker 1: I personally, I will speak for myself don't think about
• 1:00:20
  Speaker 1: how that comes together. But um, they brought on a
• 1:00:25
  Speaker 1: Colombian choreographer who's actually from my neighborhood, Jackson Heights. Jackson
• 1:00:28
  Speaker 1: Heights has a rich Colombian population, John Leguiz almost from
• 1:00:33
  Speaker 1: Jackson Heights, and so they hired Jamal Sims. He's the choreographer,
• 1:00:38
  Speaker 1: but he bought on Kaye Martinez. And that's why those
• 1:00:42
  Speaker 1: movements where you see the way that they you know,
• 1:00:45
  Speaker 1: wave around their skirt the bodad like, that's truly Colombian.
• 1:00:49
  Speaker 1: That's how we dance, the little the gestures of pointing
• 1:00:52
  Speaker 1: to stuff with your lips, like, that's how you know
• 1:00:55
  Speaker 1: when you get into those details, like do know that
• 1:00:57
  Speaker 1: they did the work? Yeah? Yeah, I was reading about
• 1:01:02
  Speaker 1: the choreography process because it's also just something I don't
• 1:01:05
  Speaker 1: think about when it comes to animation at all because
• 1:01:07
  Speaker 1: you're like, oh, yeah, so one had to do it, um,
• 1:01:10
  Speaker 1: And it seems like they were. The choreographers were like
• 1:01:14
  Speaker 1: involved in production, like way earlier than an animation choreographer
• 1:01:18
  Speaker 1: normally would be just to make sure that like the
• 1:01:21
  Speaker 1: like you're saying, like the emotions were authentic and also
• 1:01:25
  Speaker 1: just like beautifully animated and it just and one of
• 1:01:30
  Speaker 1: my favorite Columbian moments, and I talked about it in
• 1:01:32
  Speaker 1: my video, is when meet but his father catches her
• 1:01:37
  Speaker 1: with the vision and the lords sees them. He says, miracles.
• 1:01:42
  Speaker 1: Do you guys know what that means? Oh? Is it?
• 1:01:44
  Speaker 1: Because he was just trying to say it's the way
• 1:01:47
  Speaker 1: that like English speaking people will say like sugar instead
• 1:01:50
  Speaker 1: of ship. It's like him saying rite exactly exactly, and
• 1:01:55
  Speaker 1: that is like I do that like that, We we
• 1:01:58
  Speaker 1: do that. So it was you you you were hanging
• 1:02:02
  Speaker 1: around with some colum means. I know you were. It's
• 1:02:05
  Speaker 1: very funny, I know. I was like, I think I
• 1:02:08
  Speaker 1: get this joke. Thanks two years of duelingo Spanish and
• 1:02:13
  Speaker 1: shout out to my two Spanish tutors who I know
• 1:02:15
  Speaker 1: listen to the podcast, Mercedes and Adriana. Yeah. Shall we
• 1:02:19
  Speaker 1: get into the characters that story? Baby, There's so many
• 1:02:25
  Speaker 1: good characters to discuss. Um, shall we start with Mirabelle.
• 1:02:29
  Speaker 1: Let's do it, especially because so much of the movie
• 1:02:35
  Speaker 1: and the story centers around female characters and their relationships
• 1:02:39
  Speaker 1: with each other. Also was not totally expecting that to
• 1:02:42
  Speaker 1: be such a like cornerstone of the narrative. But yeah,
• 1:02:47
  Speaker 1: there's there's a lot so meta. Bell's whole thing is
• 1:02:52
  Speaker 1: she is the one like non magic family member or
• 1:02:58
  Speaker 1: at least of like the Madrials. You know, obviously her
• 1:03:01
  Speaker 1: father and Teo Felix don't have magical powers because they
• 1:03:05
  Speaker 1: married into the family, but she was expected to have
• 1:03:08
  Speaker 1: a gift and she doesn't get one and then continues
• 1:03:12
  Speaker 1: to deal with the aftermath of that throughout her life.
• 1:03:17
  Speaker 1: I think she's a teenager. I think it's maybe like
• 1:03:20
  Speaker 1: a decade after she um she was supposed to get
• 1:03:22
  Speaker 1: her gift. She's and so you know, she's had like
• 1:03:27
  Speaker 1: kind of a decade of like the community and like
• 1:03:30
  Speaker 1: certain members of her family not taking her fully seriously.
• 1:03:34
  Speaker 1: Relationships with her sisters have developed over the years in
• 1:03:38
  Speaker 1: an interesting ways that will discuss, and her a Boila
• 1:03:43
  Speaker 1: is like kind of the main perpetrator of this. I
• 1:03:47
  Speaker 1: think kind of like repressed inadequacy that she feels where
• 1:03:51
  Speaker 1: she tries so hard to impress her family, she tries
• 1:03:53
  Speaker 1: so hard to impress her a Boila, and her A
• 1:03:57
  Speaker 1: Boila is just like maybe you should just kind of
• 1:04:00
  Speaker 1: stay out of the way and like probably secretly feel
• 1:04:03
  Speaker 1: bitter that you don't have a gift and but don't
• 1:04:06
  Speaker 1: like project that like keep that, keep that repressed please
• 1:04:10
  Speaker 1: is like sort of the vibes I really like. I mean,
• 1:04:13
  Speaker 1: it's it's just like such a just a character you
• 1:04:15
  Speaker 1: don't see very often of like a character who is
• 1:04:18
  Speaker 1: being asked to make herself small and be okay with it,
• 1:04:22
  Speaker 1: and like kind of the toll that that takes on
• 1:04:24
  Speaker 1: her over time, and like people pleaser representation is a strong,
• 1:04:31
  Speaker 1: strong and mirror yes um and to have a whole
• 1:04:34
  Speaker 1: song dedicated to like her whole I like, I want song.
• 1:04:38
  Speaker 1: It's like I want to be seen as valuable to
• 1:04:43
  Speaker 1: my family and to my community, and I want to
• 1:04:45
  Speaker 1: like feel good about myself and like it seems like
• 1:04:48
  Speaker 1: a lot of where her self esteem and where her
• 1:04:51
  Speaker 1: like sense of value comes from is feeling valued by
• 1:04:54
  Speaker 1: her community. And that is sort of a trend for
• 1:04:57
  Speaker 1: the whole family. That's also something that comes up with
• 1:04:59
  Speaker 1: Louise Suck quite a bit. It's like she needs to
• 1:05:01
  Speaker 1: feel like she is being a productive addition to the
• 1:05:05
  Speaker 1: family and to the community. And it's like breaks your
• 1:05:08
  Speaker 1: heart from the very beginning, because Mirabel is extremely valuable
• 1:05:12
  Speaker 1: to her family and her community. We see her doing
• 1:05:14
  Speaker 1: all kinds of ship. She is beloved by the whole community,
• 1:05:18
  Speaker 1: but it's but it's also very easy to see why
• 1:05:21
  Speaker 1: she can't see that right away. And yeah, I just
• 1:05:26
  Speaker 1: love her. Yeah, I really really enjoyed that scene of
• 1:05:29
  Speaker 1: when the guy gives her the gift because she doesn't
• 1:05:31
  Speaker 1: have any gifts, you know, but not special special That
• 1:05:35
  Speaker 1: happens so much in our cultural They will point out
• 1:05:38
  Speaker 1: your deficiencies in a loving way, though it's like it's
• 1:05:42
  Speaker 1: totally fine, like no, I'm dying inside, but okay, right,
• 1:05:46
  Speaker 1: And then you hear Mirabell's song Waiting on a Miracle,
• 1:05:49
  Speaker 1: where she's like, I'm not fine, and I'm like, I
• 1:05:53
  Speaker 1: also repress my emotions, but in a way that is
• 1:05:57
  Speaker 1: more emotionally mature than I was when I was fifteen.
• 1:06:00
  Speaker 1: She does not take that out on other people in
• 1:06:04
  Speaker 1: the way I think that we often see teenage characters do,
• 1:06:07
  Speaker 1: which I don't feel it's like necessarily good or bad.
• 1:06:10
  Speaker 1: It's just different than what I'm used to seeing. Is
• 1:06:13
  Speaker 1: like she I love her relationship with Antonio, where it
• 1:06:17
  Speaker 1: could be so easy for her to see a kid
• 1:06:20
  Speaker 1: that is about to get something that she did not
• 1:06:22
  Speaker 1: get and take that anger out on them or create
• 1:06:26
  Speaker 1: distance between the two of them. But she's so loving
• 1:06:29
  Speaker 1: even though she still has to live in the nursery
• 1:06:31
  Speaker 1: because she never I was like, well, let her out
• 1:06:34
  Speaker 1: of that damn nursery. They build her a room of
• 1:06:38
  Speaker 1: her own. But but I just I love her character
• 1:06:43
  Speaker 1: so much because she is like a fully realized person
• 1:06:46
  Speaker 1: and we know what she feels like, why she feels deficient,
• 1:06:51
  Speaker 1: and also it's very clear that that's not actually true,
• 1:06:55
  Speaker 1: and she still finds like a way to be very
• 1:06:59
  Speaker 1: kind and empathetic towards people who can't extend her the
• 1:07:03
  Speaker 1: same right away, which I think is you know, it's
• 1:07:06
  Speaker 1: it's beautiful and it's also a burden all its own.
• 1:07:10
  Speaker 1: In the movie actually explores that, because she does get
• 1:07:12
  Speaker 1: her moment of being like a boil of fuck you
• 1:07:15
  Speaker 1: like right, But then again, we also understand why a
• 1:07:19
  Speaker 1: Boila is the way that she is because she's dealing
• 1:07:23
  Speaker 1: with trauma that is so hard to deal with and
• 1:07:27
  Speaker 1: and Mirabelle has the empathy and the capacity to like
• 1:07:30
  Speaker 1: want to know and understand. I just she's a great
• 1:07:33
  Speaker 1: she's a great characters, and I like that they're both
• 1:07:37
  Speaker 1: the only Marias that don't have power like that, you're
• 1:07:40
  Speaker 1: they're kind of like setting up like these are the matriarchs.
• 1:07:43
  Speaker 1: Then this is the next one in line that you
• 1:07:45
  Speaker 1: need someone who doesn't have power two guide the ship
• 1:07:50
  Speaker 1: of the family guard the Titanic. Well not well, Yeah,
• 1:07:57
  Speaker 1: that famously did not end very well. Ship that doesn't
• 1:08:00
  Speaker 1: think right, Yeah I did. I like the elements of
• 1:08:04
  Speaker 1: um that's always like a family story that I think
• 1:08:07
  Speaker 1: it's like compelling to watch of an older generation looking
• 1:08:11
  Speaker 1: at someone of the younger generation of being like I
• 1:08:14
  Speaker 1: am in this picture and I don't like it kind
• 1:08:16
  Speaker 1: of thing where it does seem like there is so
• 1:08:20
  Speaker 1: much of a Boila in Mirabelle that she she can't
• 1:08:24
  Speaker 1: know because she didn't know her Abela when she was younger,
• 1:08:27
  Speaker 1: and being able to connect on those points and see
• 1:08:30
  Speaker 1: their similarities and how I don't know, I feel like
• 1:08:34
  Speaker 1: it's a you know, sometime sometimes someone in your family
• 1:08:38
  Speaker 1: sees themselves in you and sees that as a threat
• 1:08:42
  Speaker 1: or like a deficiency because of how they feel about themselves.
• 1:08:46
  Speaker 1: And just so many, so many layers. We got a
• 1:08:49
  Speaker 1: Shrek style onions. Okay, I was wondering when Shrek is
• 1:08:54
  Speaker 1: gonna come up? Yeah, I find that relationship between Mirabelle
• 1:08:59
  Speaker 1: and a Bola just like rich and complex, and the
• 1:09:06
  Speaker 1: more the story unfolds, the more you understand where both
• 1:09:08
  Speaker 1: characters are coming from. And again, because like as we discussed,
• 1:09:13
  Speaker 1: Alma was violently displaced from her home, she lost her husband,
• 1:09:18
  Speaker 1: was made the leader of this community in a single day,
• 1:09:22
  Speaker 1: and then and then over the course of the next
• 1:09:24
  Speaker 1: many years, had to raise three babies as a widowed mother,
• 1:09:29
  Speaker 1: living in constant fear that it could happen all over again,
• 1:09:32
  Speaker 1: because it very well could because of what was going
• 1:09:36
  Speaker 1: on in Columbia at the time. And this is trauma
• 1:09:40
  Speaker 1: that you can't help but like pass down to the
• 1:09:43
  Speaker 1: next generations. And because a Boola is so concerned with
• 1:09:49
  Speaker 1: losing this like safe haven, she is so hyper concentrated
• 1:09:54
  Speaker 1: on like keeping the magic and like making sure it's
• 1:09:57
  Speaker 1: it's there, and and so anyone who doesn't really have
• 1:10:01
  Speaker 1: magic to contribute, she kind of feels like it's sort
• 1:10:03
  Speaker 1: of in the way. So she feels like Mirabell doesn't.
• 1:10:05
  Speaker 1: There's not much she can really do, which obviously weighs
• 1:10:08
  Speaker 1: on Mirabelle, and she does so much, but then like
• 1:10:12
  Speaker 1: she knows she has worth, like she's like I can
• 1:10:15
  Speaker 1: help out, And so that's why she like sets out
• 1:10:18
  Speaker 1: to like save the miracle, prove herself. You know, she's
• 1:10:21
  Speaker 1: trying to live up to her family's expectations, which is
• 1:10:23
  Speaker 1: like such a relatable thing for so many people. It's like,
• 1:10:25
  Speaker 1: you know, like the pressure. And then these expectations and
• 1:10:30
  Speaker 1: pressures are something that um Isabella and Luisa also feel,
• 1:10:35
  Speaker 1: which they sing about beautifully in their songs. But so
• 1:10:39
  Speaker 1: it's these three sisters all feeling the pressure and burden
• 1:10:42
  Speaker 1: of these expectations and dealing with past trauma, and everyone's
• 1:10:46
  Speaker 1: sort of bottling up their emotions. Everyone feels so much
• 1:10:49
  Speaker 1: pressure to like be perfect and live up to these
• 1:10:52
  Speaker 1: unrealistic expectations. It's just like, ah, there's so much right
• 1:10:57
  Speaker 1: and continue to be worthy of the miracle because you don't, yeah,
• 1:11:00
  Speaker 1: when that's going away. So that's another added pressure that
• 1:11:04
  Speaker 1: will admas in and what she instills in her children.
• 1:11:07
  Speaker 1: It's like, I don't know why I got this miracle.
• 1:11:09
  Speaker 1: I don't know when it's going away, So we need
• 1:11:11
  Speaker 1: to make sure that we are deserving of it exactly exactly.
• 1:11:15
  Speaker 1: And then, like as we've discussed endlessly on the podcast
• 1:11:19
  Speaker 1: at this point earlier Disney movies didn't have mother daughter
• 1:11:24
  Speaker 1: or like daughter grandmother relationship, like any type of like
• 1:11:28
  Speaker 1: mother figure and daughter relationships. And in this movie, you know,
• 1:11:32
  Speaker 1: centers on the relationship between a young female character and
• 1:11:36
  Speaker 1: the matriarch of the family, which it's a refreshing change
• 1:11:40
  Speaker 1: of pace when it comes to Disney movies. And I
• 1:11:43
  Speaker 1: would say it's just an interesting dynamic that doesn't get
• 1:11:45
  Speaker 1: explored enough in movies in general, So that that relationship
• 1:11:50
  Speaker 1: is like at the crux of the movie is really cool.
• 1:11:54
  Speaker 1: I really Yeah. The last thing I had about Mirabell's
• 1:11:58
  Speaker 1: relationship with a Boila is just there's there's so many
• 1:12:01
  Speaker 1: similar The more I watched the movie, the more you're like, oh,
• 1:12:04
  Speaker 1: these two are so similar. Like one of Aboila and
• 1:12:09
  Speaker 1: Mirabelle's huge similarities is compartmentalizing in the moment and then
• 1:12:15
  Speaker 1: privately expressing their frustration and emotion, which Mirabel doesn't even
• 1:12:19
  Speaker 1: seem to really realize Aboila is doing until she overhears
• 1:12:24
  Speaker 1: a Boila talking about how because a Boila has to,
• 1:12:29
  Speaker 1: Mirabel realizes over the course of the movie put up
• 1:12:32
  Speaker 1: such a strong front of like everything is fine, which
• 1:12:35
  Speaker 1: is exactly what mirabel does that you know, she seems
• 1:12:39
  Speaker 1: to think that her Aboila does not realize that something
• 1:12:42
  Speaker 1: is incredibly wrong, and it isn't until she overhears her
• 1:12:45
  Speaker 1: a boiler that she's like, oh, a Boila does know,
• 1:12:48
  Speaker 1: but she just can't acknowledge it because it's just it's
• 1:12:52
  Speaker 1: too much, and acknowledging it makes it real and if
• 1:12:55
  Speaker 1: it's real, the magic will go away and right yeah,
• 1:12:58
  Speaker 1: which is like such a team in throughout the entire family,
• 1:13:02
  Speaker 1: but I think particularly with the women in this family,
• 1:13:04
  Speaker 1: because it also kind of popped for me with certainly
• 1:13:08
  Speaker 1: with mirabel sisters, but also with Tia Peppa, whose whole
• 1:13:12
  Speaker 1: power is she controls the weather, which is like visually
• 1:13:17
  Speaker 1: so fun, but also like there are like all of
• 1:13:20
  Speaker 1: these moments and I feel like we've seen other characters
• 1:13:24
  Speaker 1: I'm trying to think of the movie that's like rattling
• 1:13:27
  Speaker 1: around in the back of my head, but controlling the
• 1:13:29
  Speaker 1: weather as sort of a way of like you have
• 1:13:32
  Speaker 1: to control your emotions or it will affect your whole
• 1:13:36
  Speaker 1: community in a negative way, and just yet another way
• 1:13:40
  Speaker 1: to sort of use the story and the imagery to
• 1:13:43
  Speaker 1: show how controlled the emotions have to be in order
• 1:13:47
  Speaker 1: to or that's how they operate, at least at the
• 1:13:49
  Speaker 1: beginning of the movie, to uphold this miracle um and
• 1:13:53
  Speaker 1: like the sacrifices that come with it. What I will say,
• 1:13:56
  Speaker 1: what I really enjoyed about it. But yes, that's all
• 1:14:00
  Speaker 1: really true. But it was surprising to me and even
• 1:14:04
  Speaker 1: shocking too. I think I was watching it with my
• 1:14:06
  Speaker 1: aunt that she talks back to with that like, what
• 1:14:11
  Speaker 1: do you want for me? You're lucky? It's not you
• 1:14:13
  Speaker 1: know this. I remember watching her with my aunt and
• 1:14:15
  Speaker 1: my a went and I was like, yeah, because we
• 1:14:17
  Speaker 1: don't do that. We don't do that. So even though
• 1:14:20
  Speaker 1: she yes, she needs to control her emotions obviously, but
• 1:14:24
  Speaker 1: the fact that she talks back, you know, there's some
• 1:14:27
  Speaker 1: strong women in this film. Yeah, she definitely gets And
• 1:14:30
  Speaker 1: also it's like I liked I don't know, I'm like
• 1:14:32
  Speaker 1: and I feel like sometimes we hand it to male
• 1:14:35
  Speaker 1: characters for the bare minimum, But I just liked how
• 1:14:38
  Speaker 1: much Felix loved her and like didn't give a ship
• 1:14:41
  Speaker 1: that Like there was a hurricane on their their wedding
• 1:14:44
  Speaker 1: and he was like, yeah, I guess that that's what's
• 1:14:46
  Speaker 1: being married, Like what being with you was just like
• 1:14:48
  Speaker 1: and I just I loved. You don't get a lot
• 1:14:51
  Speaker 1: of their relationship mostly and we don't talk about Bruno.
• 1:14:55
  Speaker 1: I feel like this is the most time you get
• 1:14:56
  Speaker 1: to spend with them. But I just thought their relationship
• 1:14:59
  Speaker 1: was very sweet and they were so and also taller
• 1:15:03
  Speaker 1: wife representation. We love to see it. She is taller
• 1:15:06
  Speaker 1: than her husband. Yes, yeah, yeah. Can we talk about
• 1:15:12
  Speaker 1: Metabel's relationship relationships with her sisters starting with um, let's
• 1:15:17
  Speaker 1: start with Isabella where they don't get along. It feels
• 1:15:22
  Speaker 1: to me like a you know, familiar sibling rivalry where
• 1:15:27
  Speaker 1: Isabella kind of echoes, they're Aboila's feelings that Mirabel is
• 1:15:31
  Speaker 1: kind of in the way. And then Mutabelle seems to
• 1:15:35
  Speaker 1: sort of resent Isabella for being so perfect, and she
• 1:15:39
  Speaker 1: thinks that Isabella is selfish and entitled. But we learned
• 1:15:43
  Speaker 1: that Isabella feels this pressure to please her family, like
• 1:15:46
  Speaker 1: she was going to marry that guy, Mariano and have
• 1:15:49
  Speaker 1: babies with him even though she didn't want to. But
• 1:15:52
  Speaker 1: that's what a Boila wanted. She wants to keep the
• 1:15:54
  Speaker 1: family miracle, going into pass the magic down generation after generation,
• 1:15:58
  Speaker 1: so she was gonna basically the sacrifice for the family.
• 1:16:03
  Speaker 1: And then she sings her song, which you know me
• 1:16:06
  Speaker 1: about helps inspire this shift in her character where she
• 1:16:11
  Speaker 1: starts um making cactuses and you know, prickly sharp plans
• 1:16:16
  Speaker 1: instead of these beautiful flowers that I mean cactus is
• 1:16:20
  Speaker 1: also beautiful, but like things have shifted, and she's singing
• 1:16:23
  Speaker 1: about how she wants to express herself more authentically than
• 1:16:28
  Speaker 1: Mirabel realizes that she misunderstood Isabella for her entire life,
• 1:16:33
  Speaker 1: basically that she was like bottling up so much and
• 1:16:35
  Speaker 1: and putting on this kind of facade of perfection when
• 1:16:40
  Speaker 1: she actually wanted to be way more chaotic maybe or
• 1:16:45
  Speaker 1: just like make her own decisions. And and that that
• 1:16:49
  Speaker 1: that the sisters are able to again just like operating
• 1:16:52
  Speaker 1: on a way higher maturity level than I was at fifteen,
• 1:16:55
  Speaker 1: able to identify like, oh, we are reacting to this
• 1:16:58
  Speaker 1: pressure put up on us very differently. And I mean
• 1:17:02
  Speaker 1: it is like a really for for Mirabel has to
• 1:17:05
  Speaker 1: be a traumatic thing to be constantly told you know,
• 1:17:08
  Speaker 1: your sister is fundamentally better than you because of how
• 1:17:13
  Speaker 1: she looks and because of how she is, and and
• 1:17:17
  Speaker 1: that is abs I mean, I is mirrable. She the youngest,
• 1:17:21
  Speaker 1: or she the middle child, she she has middle child
• 1:17:24
  Speaker 1: energy to me, but understood her as she's the youngest.
• 1:17:27
  Speaker 1: She's the youngest, she's the youngest of the three. Um,
• 1:17:30
  Speaker 1: but just to be told like that, yeah, that your
• 1:17:33
  Speaker 1: older sibling is just fundamentally better than you. And of course,
• 1:17:36
  Speaker 1: because you're like teenagers, the older sibling is going to
• 1:17:40
  Speaker 1: be like, yeah, and I'm better than you. And I
• 1:17:43
  Speaker 1: was sort of I wasn't sure at the beginning what
• 1:17:45
  Speaker 1: direction they were going to take Isabel in because there
• 1:17:49
  Speaker 1: was like a direction I saw going that I would
• 1:17:52
  Speaker 1: not have liked as much as what happens, which is like,
• 1:17:56
  Speaker 1: I don't know, like Disney has like this I think
• 1:17:59
  Speaker 1: tendency and more recent years to like want to like
• 1:18:01
  Speaker 1: comment on its past work. And so Isabel is a
• 1:18:06
  Speaker 1: character that we would have, you know, like the the beautiful,
• 1:18:10
  Speaker 1: like chosen one stereotype. Um is a character that is
• 1:18:14
  Speaker 1: like very often glorified in Disney movies. And and so
• 1:18:17
  Speaker 1: I was sort of wondering, like, is she just being
• 1:18:19
  Speaker 1: presented as the villain, because this is who Disney would
• 1:18:23
  Speaker 1: normally consider the hero, But it goes way deeper than that,
• 1:18:26
  Speaker 1: and it's like, I just love this movie does so
• 1:18:29
  Speaker 1: much in such a short amount of time to develop, like, well,
• 1:18:34
  Speaker 1: what would that feel like to have that pressure put
• 1:18:36
  Speaker 1: on you? And how how would you be? I mean,
• 1:18:38
  Speaker 1: she's compartmentalizing all sorts of ship as well because of
• 1:18:43
  Speaker 1: the pressure being put on her and the fact that
• 1:18:45
  Speaker 1: she and her younger sister can meet each other in
• 1:18:48
  Speaker 1: the middle and be able to see and and respect
• 1:18:51
  Speaker 1: that and want something different for themselves. I just it's
• 1:18:54
  Speaker 1: great totally. And then similarly with Mirabelle's other sister, Luisa,
• 1:19:00
  Speaker 1: she is under this intense pressure or feels intense pressure
• 1:19:05
  Speaker 1: to basically do everything for the family and the whole community,
• 1:19:09
  Speaker 1: anything that will require physical strength. She's like, I have
• 1:19:12
  Speaker 1: to do it. Everyone's relying on me. I have to
• 1:19:15
  Speaker 1: do it. And she sings in her song about how
• 1:19:18
  Speaker 1: she places so much of her self worth, if not
• 1:19:20
  Speaker 1: all of her self worth, on whether she can be
• 1:19:24
  Speaker 1: of service to people and help people, and that she
• 1:19:27
  Speaker 1: carries such a large burden and never has a chance
• 1:19:31
  Speaker 1: to like take a break and have and like relax,
• 1:19:35
  Speaker 1: and she confides in Mirabelle. So both of the sisters
• 1:19:40
  Speaker 1: songs are basically mirrabel showing up and being like anything
• 1:19:45
  Speaker 1: you wanna share any like do you want to talk
• 1:19:48
  Speaker 1: and then they're like, oh my god, thank you, so
• 1:19:50
  Speaker 1: I need to get this off my chest and they
• 1:19:53
  Speaker 1: like have these wonderful either confiding in Mirabelle or a
• 1:19:58
  Speaker 1: reconciliation and and I don't know, I was. I wasn't
• 1:20:01
  Speaker 1: expecting that either. To have you know, complicated relationships between
• 1:20:06
  Speaker 1: sisters again another thing that you don't see in in
• 1:20:10
  Speaker 1: Disney movies, especially in most media in general. But then uh,
• 1:20:14
  Speaker 1: to have those relationships change over the course of the story.
• 1:20:18
  Speaker 1: And for like the way that mirabel is to allow
• 1:20:23
  Speaker 1: her sisters to kind of grow and evolve as people
• 1:20:27
  Speaker 1: because they like, I don't know, Merbell just like helps
• 1:20:31
  Speaker 1: people look inward and communicate and express her special gift. Yeah, funny,
• 1:20:37
  Speaker 1: funnily not that she doesn't share her own things, what
• 1:20:40
  Speaker 1: she's feeling internally, but she's amazing at getting other people
• 1:20:44
  Speaker 1: to finally let out what they've needed to let out.
• 1:20:47
  Speaker 1: And you know, you said you weren't expecting that. I was.
• 1:20:51
  Speaker 1: I certainly was not expecting it. When I'm sitting in
• 1:20:53
  Speaker 1: that theater, like, okay, let's see how they represent Colombia
• 1:20:56
  Speaker 1: and talk about areas and the coffee. And then there's
• 1:20:59
  Speaker 1: this character who just like spoke to me and like
• 1:21:03
  Speaker 1: said everything that I've been feeling forever, being like the
• 1:21:07
  Speaker 1: older responsible child, where you you're you're in the accountant,
• 1:21:12
  Speaker 1: you're the lawyer, you're you're looking at I think that's
• 1:21:15
  Speaker 1: why it resonates with so many people, like I saw
• 1:21:17
  Speaker 1: on TikTok, a lot of like older kids, a lot
• 1:21:20
  Speaker 1: of first generation Americans or like they have all these responsibilities,
• 1:21:24
  Speaker 1: all these pressure on them to do certain things, and
• 1:21:28
  Speaker 1: that I mean, I was under my mask. I was
• 1:21:31
  Speaker 1: just I lost it when I heard that song. It
• 1:21:34
  Speaker 1: was incredible. Luisa song, Yeah, Luisa song. And actually Linnomidana
• 1:21:39
  Speaker 1: said that he had his older sister in mind when
• 1:21:42
  Speaker 1: he wrote it because she he saw how much under
• 1:21:46
  Speaker 1: pressure their parents, how much pressure the parents put on
• 1:21:49
  Speaker 1: his older sister, and so that that inspired that character.
• 1:21:55
  Speaker 1: That that song is the hint of the movie. And
• 1:21:58
  Speaker 1: I again, I was very curious what they were going
• 1:22:02
  Speaker 1: to do with Luis's character. And I mean, I guess
• 1:22:05
  Speaker 1: the only this is like a very very small grip,
• 1:22:08
  Speaker 1: but like the in the song, because it's a Disney
• 1:22:10
  Speaker 1: story and like the storytelling sometimes has to be pretty
• 1:22:14
  Speaker 1: I get. I don't know, but they kept kind of
• 1:22:16
  Speaker 1: referring to Isabel and Luisa as beauty and braun and
• 1:22:21
  Speaker 1: there are, and then sometimes I'm just like, but but
• 1:22:24
  Speaker 1: Luisa is beautiful. Like I wish that there was that
• 1:22:27
  Speaker 1: was at least acknowledged, even in like, because I do
• 1:22:30
  Speaker 1: appreciate that Luisa's power is concentrated in her body in
• 1:22:35
  Speaker 1: a lot of ways where it's like she has super strength.
• 1:22:38
  Speaker 1: And then I would say, on top of that, she
• 1:22:41
  Speaker 1: has a really strong drive to help other people, because
• 1:22:45
  Speaker 1: outside of that, what is super strengthful if you're not
• 1:22:48
  Speaker 1: like using it to help other people seems to be
• 1:22:50
  Speaker 1: kind of her ethos um. And I was really happy
• 1:22:54
  Speaker 1: to see that, Like there was a lot of female
• 1:22:56
  Speaker 1: bodybuilders or just like physically strong women, We're really really
• 1:23:01
  Speaker 1: happy to have a character like Louisa be celebrated and
• 1:23:05
  Speaker 1: complicated and and have all these different facets to her because,
• 1:23:09
  Speaker 1: like I mean, this is like the history of animation
• 1:23:12
  Speaker 1: and American entertainment in general, Like there's twenty years ago,
• 1:23:17
  Speaker 1: I feel like Louisa would have been treated very differently
• 1:23:20
  Speaker 1: based on her body type. And so the fact that
• 1:23:23
  Speaker 1: this movie, I mean again, it's like cheering someone on
• 1:23:26
  Speaker 1: for giving you pebbles but like the fact that she
• 1:23:30
  Speaker 1: is strong and that that is celebrated by the movie
• 1:23:34
  Speaker 1: and it's not the only thing we know about her,
• 1:23:37
  Speaker 1: which I feel like would have been even a movie
• 1:23:40
  Speaker 1: ten years ago, um would have like made either a
• 1:23:43
  Speaker 1: joke of that or like had that be the only
• 1:23:46
  Speaker 1: thing we would know about Luisa. And I like that
• 1:23:49
  Speaker 1: the movie, you know, is concentrated on like, well, her
• 1:23:53
  Speaker 1: real thing is this incredible pressure that she's under and
• 1:23:57
  Speaker 1: how that has affected her, and how that causes her
• 1:24:00
  Speaker 1: to like, you know, sort of want to ignore what's
• 1:24:03
  Speaker 1: right in front of her, because if the house is
• 1:24:06
  Speaker 1: falling apart, then what is her purpose? So yeah, she's Yeah.
• 1:24:12
  Speaker 1: And then just with these fleshed out female characters and
• 1:24:16
  Speaker 1: the flesh out relationships between them. Also, we haven't really
• 1:24:20
  Speaker 1: talked that much yet about Meta Bell's mom, Julietta. She
• 1:24:24
  Speaker 1: doesn't get that much screen time, but I really like
• 1:24:27
  Speaker 1: her character and her relationship with Meta Belle. You know,
• 1:24:30
  Speaker 1: she's very supportive. She seems to be more tuned into
• 1:24:34
  Speaker 1: what Meta Bell is feeling. She's just like a very
• 1:24:36
  Speaker 1: supportive parent, and I appreciate that their relationship feels a
• 1:24:41
  Speaker 1: lot different from the relationship between Meta Bell and a
• 1:24:45
  Speaker 1: Boila and feels different from Meta Bell's relationship with her sisters.
• 1:24:50
  Speaker 1: So it just adds to the wide variety of relationship
• 1:24:55
  Speaker 1: dynamics within the family. All this to say, this movie
• 1:25:00
  Speaker 1: has such rich relationships between the women in the family,
• 1:25:04
  Speaker 1: which present these really relatable and meaningful themes and messages
• 1:25:12
  Speaker 1: that are in the movie, like knowing your value and
• 1:25:15
  Speaker 1: your worth and loving yourself and not comparing yourself to others.
• 1:25:19
  Speaker 1: It's things like, you know, the pressure that we put
• 1:25:22
  Speaker 1: on ourselves and that we put on others, and how
• 1:25:24
  Speaker 1: that affects individuals, how it affects families. Um, a lesson
• 1:25:30
  Speaker 1: in not to make assumptions about people and their lives
• 1:25:34
  Speaker 1: and what they're feeling and what they're going through, which
• 1:25:36
  Speaker 1: is something that like Mirabel does to begin with, especially
• 1:25:39
  Speaker 1: with Isabella, but then she's like, oh my gosh, I
• 1:25:41
  Speaker 1: made assumptions and I shouldn't have done that. Um, it's
• 1:25:44
  Speaker 1: a lesson in the negative consequences of repressing your feelings
• 1:25:49
  Speaker 1: and your pain. It's uh, you know. Again, it explores
• 1:25:53
  Speaker 1: intergenerational trauma and how that affects a family, but it's
• 1:25:57
  Speaker 1: also about like family joy and community working together and
• 1:26:02
  Speaker 1: helping each other out and everyone having a valuable part
• 1:26:08
  Speaker 1: in a community, whether or not you have a special
• 1:26:12
  Speaker 1: magical gift. And all these themes are at the core
• 1:26:16
  Speaker 1: of this movie and it's just beautiful and it makes
• 1:26:19
  Speaker 1: me cry so so much. The last thing I had
• 1:26:24
  Speaker 1: about the sisters and I, Jessica, you may have pointed
• 1:26:27
  Speaker 1: this out in a video on trying to I've taken
• 1:26:30
  Speaker 1: in so much incanto content at this point, so I
• 1:26:33
  Speaker 1: hope I correct. Is um just a small detail that
• 1:26:36
  Speaker 1: I honestly didn't even register for me the first time
• 1:26:38
  Speaker 1: I watched it, But I was like, oh, yeah, the
• 1:26:41
  Speaker 1: fact that um Isabel is celebrated in her community as
• 1:26:46
  Speaker 1: the most beautiful of them all, whatever, the fairest of
• 1:26:49
  Speaker 1: them all vibe and has the darkest skin tone of
• 1:26:52
  Speaker 1: the three sisters in animation company that has been so
• 1:26:56
  Speaker 1: notorious for racism and colorism. Definitely Like, I didn't realize
• 1:27:02
  Speaker 1: that at first, but I was like, oh, that is
• 1:27:03
  Speaker 1: actually a really impactful thing. Yeah, I don't think. I
• 1:27:07
  Speaker 1: don't think I brought that up, but I'll take credit
• 1:27:09
  Speaker 1: for it. Sure, yeah, but what idea? But what I do.
• 1:27:15
  Speaker 1: What I do say is how she's clearly shown with
• 1:27:19
  Speaker 1: indigenous features, and there is like no Latin American indigenous
• 1:27:27
  Speaker 1: like good indigenous representation, like going back to in particular Disney,
• 1:27:33
  Speaker 1: like there's no real good Latin American representation in media
• 1:27:38
  Speaker 1: but also in politics and all of that. So so
• 1:27:42
  Speaker 1: many people. That's why it like it really did touch
• 1:27:45
  Speaker 1: a lot of people to see someone like they that
• 1:27:47
  Speaker 1: looks like me, you know, that looks like my aunt,
• 1:27:49
  Speaker 1: you know, my family, women in my family who live
• 1:27:52
  Speaker 1: in Ecuador, Like that's you know that that that person
• 1:27:56
  Speaker 1: looks like me and she's beautiful and and yeah, I wonder, Jamie,
• 1:28:02
  Speaker 1: if you're referring to a quote and a piece I
• 1:28:06
  Speaker 1: found by Vanessa Hiron in Refinery twenty nine, I definitely
• 1:28:12
  Speaker 1: degree that. So it could be critics in TikTok Love
• 1:28:15
  Speaker 1: and Conto, but as a Latin X woman, it means
• 1:28:17
  Speaker 1: a lot more quote from this piece. A lot of
• 1:28:21
  Speaker 1: praise for Incanto has centered on its diversity within the family,
• 1:28:24
  Speaker 1: with a female dominated character lineup, Felix and his children
• 1:28:28
  Speaker 1: being Afro Latin X and Isabella being the perfect beautiful
• 1:28:32
  Speaker 1: young woman while not reflecting whitewashed standards of beauty unquote.
• 1:28:37
  Speaker 1: And and that's the case even within Latin American media,
• 1:28:40
  Speaker 1: Like you don't see a lot of indigenous characters in
• 1:28:43
  Speaker 1: Latin American produce media unless they're like the boat of
• 1:28:46
  Speaker 1: the joke. Well, and I think it's I just like
• 1:28:51
  Speaker 1: took me back to time as a flat circle. But
• 1:28:54
  Speaker 1: Disney had a huge and rightfully so call out in
• 1:29:00
  Speaker 1: one for failing to represent after Latino people in When
• 1:29:05
  Speaker 1: in the Heights came out, and that was obviously a
• 1:29:08
  Speaker 1: project that like Limanuell Miranda, was very close to. I
• 1:29:11
  Speaker 1: sort of forgot that those projects came out so close together,
• 1:29:15
  Speaker 1: and I at the time, Limnuel Miranda released a statement
• 1:29:20
  Speaker 1: um the notes ap apology, which did seem sincere but
• 1:29:24
  Speaker 1: like notes ap apology after the movie was completed and released,
• 1:29:28
  Speaker 1: But that is not an issue that Encanto has, So
• 1:29:30
  Speaker 1: I just thought it was I don't know, I mean,
• 1:29:32
  Speaker 1: it could be for and who knows how many Disney
• 1:29:35
  Speaker 1: related production related reasons that that that these two movies. Um,
• 1:29:40
  Speaker 1: one movie has the issue, one does not have the issue.
• 1:29:42
  Speaker 1: But it did sort of make me appreciate even more
• 1:29:46
  Speaker 1: how Afro Latino people are just a part of this world,
• 1:29:49
  Speaker 1: like no questions asked, because as you can see from
• 1:29:52
  Speaker 1: a movie that came out like two months before that
• 1:29:55
  Speaker 1: is still not a given in UM in big budget movies, right, totally.
• 1:30:01
  Speaker 1: The last thing I wanted to discuss is the magical
• 1:30:04
  Speaker 1: gifts because it felt to me as though for the women, especially,
• 1:30:12
  Speaker 1: some of their gifts felt kind of like stereotypically feminine
• 1:30:17
  Speaker 1: or felt like they kind of leaned into some prescribed
• 1:30:21
  Speaker 1: gender roles for women in a way that it didn't
• 1:30:24
  Speaker 1: feel quite so gendered for the male characters. For example,
• 1:30:29
  Speaker 1: Isabella creating flowers. Flowers are generally associated with femininity. Julietta
• 1:30:37
  Speaker 1: is kind of like the caregiver slash healer, and she
• 1:30:40
  Speaker 1: heals people with cooking and food, another kind of prescribed
• 1:30:45
  Speaker 1: gender role for women to cook and feed her family. Uh. Peppa,
• 1:30:51
  Speaker 1: I would say, like doesn't control the weather. It's more
• 1:30:54
  Speaker 1: that like she has emotions and then the weather around
• 1:30:57
  Speaker 1: her is affected her emotion. Yeah, responsor emotions UM in
• 1:31:02
  Speaker 1: a way that kind of felt like women are so
• 1:31:05
  Speaker 1: emotional and like the weathers having a storm because of it. Uh.
• 1:31:09
  Speaker 1: The two that didn't felt gendered to me where Dolores,
• 1:31:13
  Speaker 1: who can hear super well, and then Luisa was kind
• 1:31:18
  Speaker 1: of the only female characters gift that felt more masculine
• 1:31:21
  Speaker 1: because her gift is to be very physically strong, or
• 1:31:25
  Speaker 1: like what we're conditioned to think should be a masculine gift.
• 1:31:28
  Speaker 1: Exactly right, I see what you're saying, and I feel
• 1:31:31
  Speaker 1: like that is such a across the board, like guys
• 1:31:35
  Speaker 1: always get the fun powers, you know, like it's always right,
• 1:31:38
  Speaker 1: the shape shifting and getting to talk to the animals
• 1:31:42
  Speaker 1: and getting to see the future. Yes, all felt like
• 1:31:46
  Speaker 1: so those are all those are like the three male powers,
• 1:31:50
  Speaker 1: and all of those feel just gender neutral to me.
• 1:31:54
  Speaker 1: So it makes me wonder why the like women's powers
• 1:31:57
  Speaker 1: couldn't also feel more gender neutral. But there also might
• 1:32:01
  Speaker 1: be like a cultural context that informs those powers that
• 1:32:05
  Speaker 1: I'm not fully understanding, but just kind of on the
• 1:32:09
  Speaker 1: surface surface pressure, it felt to me like some of
• 1:32:13
  Speaker 1: those powers felt a bit gendered and a bit kind
• 1:32:16
  Speaker 1: of like stereotypically feminine but curious about other people. And again,
• 1:32:21
  Speaker 1: like to be clear, I'm not saying that feminine things
• 1:32:23
  Speaker 1: are bad or that you know, masculine or gender neutral
• 1:32:26
  Speaker 1: things are good. It's just more that, like, you know,
• 1:32:30
  Speaker 1: why do people have to be put in a box?
• 1:32:32
  Speaker 1: But also it felt like there was enough departure with Louise,
• 1:32:36
  Speaker 1: I don't know, like, yeah, curious about other people's thoughts. Yeah,
• 1:32:39
  Speaker 1: I can see that with La with her thing being
• 1:32:43
  Speaker 1: beauty and flowers, and certainly, you know, creating life in nature,
• 1:32:48
  Speaker 1: that's more of a feminine uh feel to it. But um,
• 1:32:53
  Speaker 1: I don't yet. Certainly Luisa getting strength, that's definitely not
• 1:33:00
  Speaker 1: something that we see typically for a feminine character. And
• 1:33:03
  Speaker 1: even foresight, I feel like I feel like foresight, like
• 1:33:06
  Speaker 1: seeing into the future, might be gender neutral, because you know,
• 1:33:09
  Speaker 1: I agree, you know, when I think psychics, I think
• 1:33:11
  Speaker 1: women sometimes. Oh yeah, that's true. Yeah, like they into
• 1:33:16
  Speaker 1: the whole like intuition sort of thing. Yeah, or like
• 1:33:19
  Speaker 1: you know, the witches looking into the cauldron and seeing something. Yeah.
• 1:33:24
  Speaker 1: I was thinking of X Men because a lot of
• 1:33:27
  Speaker 1: the X Men powers are also powers that and conto
• 1:33:29
  Speaker 1: characters have where where um, oh my gosh, and I'm
• 1:33:34
  Speaker 1: gonna get the names wrong. Storm controls the weather. She's
• 1:33:37
  Speaker 1: a female character. But then you have oh my gosh,
• 1:33:40
  Speaker 1: what's the Blue Lady. I'm so I'm embarrassing myself right now,
• 1:33:43
  Speaker 1: but she's the shape shifter, Miss Rebecca. Roma's name mose
• 1:33:47
  Speaker 1: Mystique is that right? Yeah, I know that I've ever
• 1:33:49
  Speaker 1: seen an X Men movie. Wow, I don't know. I
• 1:33:53
  Speaker 1: didn't interpret that the Men is having traditionally masculine powers.
• 1:33:56
  Speaker 1: I just thought they were like a little cooler like
• 1:33:59
  Speaker 1: that that was more of like women were given. I
• 1:34:03
  Speaker 1: guess I don't know that this and and this didn't
• 1:34:06
  Speaker 1: like super bother me. I think I feel like again,
• 1:34:07
  Speaker 1: like isabel is the one character where you're like, Okay,
• 1:34:10
  Speaker 1: this is a bit much and at first, I mean,
• 1:34:13
  Speaker 1: I I don't know. I mean, with with Mirabelle's mom,
• 1:34:18
  Speaker 1: I think that like defaulting to food is a very
• 1:34:22
  Speaker 1: easy thing to do, but also it's so culturally important.
• 1:34:25
  Speaker 1: But also it wouldn't have lessened the impact for a
• 1:34:28
  Speaker 1: man to be, you know, making traditional Colombian food as well.
• 1:34:31
  Speaker 1: So I could go a lot of ways on that,
• 1:34:35
  Speaker 1: but I just in general, like man, I like Bruno
• 1:34:38
  Speaker 1: can see the few like he has the narratively impactful power,
• 1:34:41
  Speaker 1: like I think that's maybe more aware of, like, Okay,
• 1:34:44
  Speaker 1: being able to like that is the most powerful power
• 1:34:48
  Speaker 1: in the movie. And it's I mean, I guess it
• 1:34:50
  Speaker 1: did ruin his life, So you're milash Fabery. This is
• 1:34:56
  Speaker 1: also something that I didn't even notice on the first watch,
• 1:34:59
  Speaker 1: the like, you know, arguably gendered nature of the gifts,
• 1:35:03
  Speaker 1: the magical powers, but just something that I wanted to
• 1:35:06
  Speaker 1: bring up. But um, yeah, does anyone else have anything
• 1:35:10
  Speaker 1: they'd like to talk about? Um? Well, I wouldn't we
• 1:35:14
  Speaker 1: speaking about characters? UM. I wanted to clarify my Dolores gossip.
• 1:35:21
  Speaker 1: I feel like if she were a gossip, she would
• 1:35:23
  Speaker 1: have used what she overheard from um Mariano's house to
• 1:35:29
  Speaker 1: benefit her true, because she was in love with him
• 1:35:32
  Speaker 1: the whole time, and she at the end of the film,
• 1:35:36
  Speaker 1: she says that she knew that Bruno was in the
• 1:35:38
  Speaker 1: walls the whole time, but she didn't say anything. I
• 1:35:41
  Speaker 1: could feel like she was protecting him and because it
• 1:35:43
  Speaker 1: wasn't affecting the house or the powers in a negative way.
• 1:35:46
  Speaker 1: But as soon as it did, that's when she let
• 1:35:49
  Speaker 1: that information out. I I'm fully on board with this.
• 1:35:53
  Speaker 1: I really love Dolores's character. I hope that too. I
• 1:35:58
  Speaker 1: hope that that Disney plus were is true. Um, but
• 1:36:02
  Speaker 1: that that does bring up something that we didn't hit on,
• 1:36:04
  Speaker 1: because I think that this movie, I mean, anytime whatever,
• 1:36:07
  Speaker 1: another Disney classic is a teenage girl protagonist that we
• 1:36:11
  Speaker 1: need to have fall in love. And then in the
• 1:36:14
  Speaker 1: case when you get around to like Frozen era, it's like, oh,
• 1:36:17
  Speaker 1: they're gonna fall in love, but they're gonna be it's
• 1:36:19
  Speaker 1: gonna be like self aware and like we're gonna we're
• 1:36:22
  Speaker 1: gonna maybe comment on it a little too much to
• 1:36:24
  Speaker 1: the point where maybe it's a little annoying. Um. And
• 1:36:27
  Speaker 1: then in this movie it's like there's no need for
• 1:36:31
  Speaker 1: you're about to have a love interest. One doesn't even
• 1:36:34
  Speaker 1: really get presented because it's like a family story, not
• 1:36:37
  Speaker 1: that you know whatever. You know, fifteen year old have
• 1:36:40
  Speaker 1: crushes and all this stuff, but it's just like it
• 1:36:43
  Speaker 1: would have muddied up the story in an unnecessary way.
• 1:36:46
  Speaker 1: And I like that you do get like side stories
• 1:36:49
  Speaker 1: about relationships between characters, where like we were discussing Isabelle
• 1:36:54
  Speaker 1: was going to be basically married off to a guy
• 1:36:56
  Speaker 1: she didn't love and then extracted herself from the relationship,
• 1:37:00
  Speaker 1: and then Dolores like got you know, I don't know.
• 1:37:04
  Speaker 1: That didn't bug me at all because there was so
• 1:37:07
  Speaker 1: much too because I mean, we've been talking about this
• 1:37:10
  Speaker 1: on this show for years, where it's like a relationship
• 1:37:12
  Speaker 1: being added to a character is mostly frustrating for us
• 1:37:16
  Speaker 1: when like that's the defining thing of their character. It's
• 1:37:20
  Speaker 1: but that isn't who Like, like you were just saying, Jessica,
• 1:37:23
  Speaker 1: there's so much going on with Dolores in the very
• 1:37:25
  Speaker 1: little time we get with her that I was rooting
• 1:37:28
  Speaker 1: for her to get the men of her dreams, like
• 1:37:31
  Speaker 1: because she deserves it. You know, she's she's great, So
• 1:37:35
  Speaker 1: I did. I liked how relationships were, um and it
• 1:37:40
  Speaker 1: is all hetero relationships in this movie, but I thought
• 1:37:44
  Speaker 1: that the way that they were woven in was pretty
• 1:37:47
  Speaker 1: cool and realistic, and and you see like a lot
• 1:37:50
  Speaker 1: of different kinds of relationships to like the Pepa and
• 1:37:55
  Speaker 1: Felix have like a very very sweet relationship that I
• 1:37:59
  Speaker 1: um in jealous of, and then very bells parents also
• 1:38:03
  Speaker 1: have like a different kind of sweet relationship. I also
• 1:38:06
  Speaker 1: just a quick shout out to Wilmar Valderrama, who voices Dad,
• 1:38:14
  Speaker 1: and he kind of fell off my radar after that
• 1:38:17
  Speaker 1: seventies show, but then I saw a recent picture of
• 1:38:20
  Speaker 1: him and I'm like, oh my god, he's the hottest
• 1:38:22
  Speaker 1: man alive that's neither here nor there. He's He's intensely attractive.
• 1:38:29
  Speaker 1: I wanted to say, shout out to a protagonist who
• 1:38:33
  Speaker 1: wears glasses. This should not be noteworthy, but you rarely
• 1:38:38
  Speaker 1: see main characters, especially women. I mean, it shouldn't be
• 1:38:43
  Speaker 1: not worthy that like a person who is wearing glasses,
• 1:38:45
  Speaker 1: because so many people wear glasses but like and have
• 1:38:48
  Speaker 1: it not be like and they are smart, like just
• 1:38:51
  Speaker 1: like the laziest and they need to take them off
• 1:38:53
  Speaker 1: in order to be sexy. But yeah, you just have
• 1:38:56
  Speaker 1: mere Bell wearing glasses and that's just part of her look.
• 1:39:01
  Speaker 1: And and on that note, one final shout out to
• 1:39:04
  Speaker 1: a friend of the cast, Melissa Lozada Oliva, who is
• 1:39:10
  Speaker 1: Colombian American and is a dead ringer from Verabel to
• 1:39:14
  Speaker 1: the point where her family got her Bearabell Dolls to
• 1:39:17
  Speaker 1: piss her off for Christmas because she was so like.
• 1:39:22
  Speaker 1: Melissa was like, I know I was on someone at
• 1:39:25
  Speaker 1: Disney's vision board, Like I know I was because it's
• 1:39:29
  Speaker 1: the side by side went viral. It was the whole thing.
• 1:39:31
  Speaker 1: Um him, Melissa, Yeah, yes, shut up to Melissa, Um
• 1:39:37
  Speaker 1: with that. Does the movie in conto pass the Bechdel test?
• 1:39:42
  Speaker 1: Oh yeah, oh yeah, oh yeah. Between multiple combinations of characters,
• 1:39:48
  Speaker 1: very frequently throughout the film UM, which brings us to
• 1:39:53
  Speaker 1: our media metric, the nipple scale, in which we rate
• 1:39:58
  Speaker 1: the movie on a scale of zero to five nipples
• 1:40:02
  Speaker 1: based on examining the movie through an intersectional feminist lens
• 1:40:07
  Speaker 1: and how how well it does through that lens. I'm
• 1:40:12
  Speaker 1: gonna go four and a half nipples. It's getting a
• 1:40:17
  Speaker 1: pretty high rating for all it does in terms of
• 1:40:22
  Speaker 1: responsibly representing Colombian family and community and culture. That you
• 1:40:29
  Speaker 1: get UM representation of people that you tend not to
• 1:40:35
  Speaker 1: see on screen, as we've discussed UM, indigenous representation, Afro
• 1:40:39
  Speaker 1: Latina representation, representation of glasses, character wearing glasses, strong like
• 1:40:48
  Speaker 1: physically strong women like that is genuinely a huge one. Yeah,
• 1:40:52
  Speaker 1: different hair textures, different skin tones exactly, so much as
• 1:40:55
  Speaker 1: far as representation goes, so much, as far as UM
• 1:40:59
  Speaker 1: female characters and their relationships being thoroughly fleshed out and
• 1:41:03
  Speaker 1: developed and just like compelling and you know, relatable family
• 1:41:08
  Speaker 1: dynamics and just so much. I'm only just taking a
• 1:41:12
  Speaker 1: little bit off for not for the movie itself, but
• 1:41:15
  Speaker 1: for and even though the two White Guide directors did
• 1:41:19
  Speaker 1: the research, they made a terrific movie, it still begs
• 1:41:24
  Speaker 1: the question why weren't Colombian filmmakers the people to make
• 1:41:30
  Speaker 1: a movie about their own lives and culture. Why did
• 1:41:35
  Speaker 1: these white guys feel entitled to be the ones to
• 1:41:39
  Speaker 1: make this movie. UM also shout out to co director
• 1:41:42
  Speaker 1: shari's Castro Smith, who also a co writer and was
• 1:41:46
  Speaker 1: brought on later in the process of the film being
• 1:41:49
  Speaker 1: made as a co director. But um, this is more
• 1:41:53
  Speaker 1: criticism of the Disney Corporation than the movie itself, because again,
• 1:41:58
  Speaker 1: the movie is terrific. I love it. Uh, it makes
• 1:42:00
  Speaker 1: me feel more feelings than I realized I even had.
• 1:42:06
  Speaker 1: And I'll give it four and a half nipples, one
• 1:42:10
  Speaker 1: to mut Abell, one to a Boila Alma, one to
• 1:42:15
  Speaker 1: Luisa went to Isabella, and one half nipple to the
• 1:42:19
  Speaker 1: Titanic reference I'll meet you there at at four and
• 1:42:25
  Speaker 1: a half. I agree that in terms of like I'm
• 1:42:28
  Speaker 1: I think the movie is very well directed, and I
• 1:42:30
  Speaker 1: am glad that Disney did all their research, which again
• 1:42:36
  Speaker 1: it's like should be a standard, but it is not, um,
• 1:42:41
  Speaker 1: which you know, it's kind of only been a thing
• 1:42:43
  Speaker 1: for them for in the last ten years or so.
• 1:42:46
  Speaker 1: In any case, this movie is so beautiful and it
• 1:42:49
  Speaker 1: gives all sorts of representation. And I like, not only
• 1:42:52
  Speaker 1: in a story sense and in an authentic casting sense
• 1:42:56
  Speaker 1: and an authentic research sense, but also literally developing technology,
• 1:43:00
  Speaker 1: more movies like this can more easily exist. I feel like,
• 1:43:03
  Speaker 1: like that is just so huge and the fact that
• 1:43:07
  Speaker 1: a you know, company that has the resources to do
• 1:43:10
  Speaker 1: that actually did it is pretty impressive to me. Um,
• 1:43:15
  Speaker 1: So I'll I'll go what you said, Caitlin, and I
• 1:43:17
  Speaker 1: think it is beautiful. Also, like just for me and
• 1:43:21
  Speaker 1: for you know, a whole generation of kids, this is
• 1:43:23
  Speaker 1: going to be like a primer on Colombian culture and
• 1:43:26
  Speaker 1: will be how they understand Colombian culture versus you know,
• 1:43:30
  Speaker 1: the heaps of kind of disingenuous stuff that we grew
• 1:43:34
  Speaker 1: up with. So I'm absolutely, very very glad that this
• 1:43:36
  Speaker 1: movie exists, and I just think it's going to be
• 1:43:39
  Speaker 1: a new comfort movie for me personally the same. So
• 1:43:44
  Speaker 1: four and a half nipples. I'm going to give one Tamirabelle,
• 1:43:47
  Speaker 1: I give one to Luisa, give one to a Boiler,
• 1:43:50
  Speaker 1: I give one to Dolores, and I'll give my last
• 1:43:53
  Speaker 1: half to Tia Pepper. No offenses about I just ran out,
• 1:43:58
  Speaker 1: how about you, Jessica? Um, I'll just you know, I'm biased.
• 1:44:04
  Speaker 1: I'm giving them five nipples. I just love that film
• 1:44:08
  Speaker 1: so much. There's just so much in there that, you know,
• 1:44:12
  Speaker 1: being Colombian of Columbian descent, having you know, spent my
• 1:44:15
  Speaker 1: summers in Columbia, seeing my family represented in the film,
• 1:44:18
  Speaker 1: seeing the food that I I could almost smell, you know,
• 1:44:22
  Speaker 1: the flowers, seeing my cities, different cities um represented in
• 1:44:27
  Speaker 1: the film. I just I just love it. And again
• 1:44:30
  Speaker 1: you're right on, Jamie, Like, I have so much appreciation
• 1:44:33
  Speaker 1: that now that my daughters can say to their friends, oh,
• 1:44:36
  Speaker 1: my family, you know, my mom's have Colombian and this
• 1:44:39
  Speaker 1: is what my you know, where she her family comes from.
• 1:44:44
  Speaker 1: You know that I can show that to them, um,
• 1:44:46
  Speaker 1: and that they can show that to their friends, which
• 1:44:48
  Speaker 1: is something that I didn't have. UM. So yeah, they're
• 1:44:51
  Speaker 1: getting five. If they had more Colombian representation in the forefront,
• 1:44:56
  Speaker 1: you know when it comes to like directors, writers, music,
• 1:44:59
  Speaker 1: they would have gotten complete six sets. I mean it's
• 1:45:02
  Speaker 1: six h nipples, complete three sets of nipples. But but
• 1:45:08
  Speaker 1: don't get five from me. And I'll split it between
• 1:45:10
  Speaker 1: Lisa and Abula Alma. And they deserve it. They do,
• 1:45:16
  Speaker 1: They do and I hope, I hope that now that
• 1:45:17
  Speaker 1: this I mean, I think Disney has expressed like this
• 1:45:20
  Speaker 1: is a whole franchise forever because it made us a
• 1:45:22
  Speaker 1: lot of money and it sold a lot of backpacks. Honestly,
• 1:45:25
  Speaker 1: like DIF, people like, if you can sell backpacks, your
• 1:45:28
  Speaker 1: set for life. So I do hope and I'm optimistic
• 1:45:31
  Speaker 1: that as this franchise continues, and as there's Disney plus
• 1:45:35
  Speaker 1: shows and sequels or whatever it is, that more Colombian
• 1:45:39
  Speaker 1: filmmakers will be brought in ahead of the institutional white guys.
• 1:45:44
  Speaker 1: So we'll see for sure. Jessica, thank you so much
• 1:45:48
  Speaker 1: for joining us and for having this discussion with us.
• 1:45:51
  Speaker 1: It's been our absolute I'd call it an encanto, you know.
• 1:45:56
  Speaker 1: Thank you so much for having me. This was this
• 1:45:58
  Speaker 1: was great. You don't have to tweet my arm to
• 1:46:00
  Speaker 1: get me to talk about this film. So I'm happy
• 1:46:03
  Speaker 1: to be here. Well, come back and bring another movie
• 1:46:05
  Speaker 1: you love next time. We would love to have you back, definitely.
• 1:46:08
  Speaker 1: Where can people check out your stuff? Follow you online?
• 1:46:13
  Speaker 1: Plug away? Okay, so my blog has domesticated me dot com.
• 1:46:17
  Speaker 1: My YouTube channel is YouTube dot com. Backslash domesticated me
• 1:46:21
  Speaker 1: and you can find me on Instagram at Jessica why
• 1:46:24
  Speaker 1: like yellow Floris f l O r ees awesome, amazing,
• 1:46:29
  Speaker 1: And we'll link you to your in counter videos in
• 1:46:31
  Speaker 1: the description as well. If you haven't watched them, listeners,
• 1:46:34
  Speaker 1: y're missing out. Buddy you with that, you gotta watch
• 1:46:40
  Speaker 1: the videos. Thank you. Thanks. Oh that was good. I
• 1:46:43
  Speaker 1: was like I lost control of the sentence in the middle.
• 1:46:49
  Speaker 1: You can follow us buddies on That's what I'm gonna
• 1:46:53
  Speaker 1: call our listeners from now and hey, buddies, you can
• 1:46:55
  Speaker 1: follow us I take it back at bactel Cast on
• 1:47:01
  Speaker 1: Twitter and Instagram. You can scoot on over to our
• 1:47:05
  Speaker 1: Patreon a k a. Matreon, where we released two bonus
• 1:47:09
  Speaker 1: episodes every month on fun little themes that we cook up. Yeah.
• 1:47:14
  Speaker 1: Plus you get access to the entire back catalog of bonuses,
• 1:47:17
  Speaker 1: of which there are over one hundred bonus episodes and
• 1:47:20
  Speaker 1: that is all at patreon dot com. Slash backtel Cast
• 1:47:24
  Speaker 1: for five dollars a month, and we're getting into horror
• 1:47:27
  Speaker 1: movie season and we'll be covering some popular horror requests over. Yeah,
• 1:47:33
  Speaker 1: Trial Malignant, Ever heard of it? I can'tot wait to
• 1:47:36
  Speaker 1: watch Blignance again. Uh, And you get if you need
• 1:47:39
  Speaker 1: merch you can go to tea PAP with dot com,
• 1:47:41
  Speaker 1: slash get backtel cast for all your merchandizing needs. And
• 1:47:47
  Speaker 1: uh with that, how do we close up? There's so
• 1:47:50
  Speaker 1: many there's so many possibilities. Well, we did talk about Bruno,
• 1:47:55
  Speaker 1: but we also talked about Mutabell and we talked about
• 1:47:57
  Speaker 1: a Boia. We talked about we talked but Luisa and
• 1:48:01
  Speaker 1: many other characters, and so we we did it. We
• 1:48:06
  Speaker 1: did it. We talked about everybody. So we can go home.
• 1:48:09
  Speaker 1: So we can go home now, Okay, bye bye, bye
• 1:48:12
  Speaker 1: bye