Latest / The Bechdel Cast / Brave with Rachel Anne Clarke

Transcript

Brave with Rachel Anne Clarke · The Bechdel Cast

• 0:00
  Speaker 1: Hi everybody, how are you? Okay? Cool, very smooth intro
• 0:07
  Speaker 1: to the show. Okay, so we don't have the ability
• 0:11
  Speaker 1: to play our theme song tonight. So here's what we're thinking.
• 0:17
  Speaker 1: You guys know the words right, yes, okay, we have
• 0:22
  Speaker 1: a solid four people willing to participate in this sick
• 0:25
  Speaker 1: exercise we just came up with. Okay, should we just
• 0:28
  Speaker 1: count a man? One two three? No one started there? Okay, wait, okay,
• 0:38
  Speaker 1: I'm gonna count to three and then someone someone take
• 0:40
  Speaker 1: the lead please Okay, one, two three, good job, thank you,
• 1:04
  Speaker 1: that's the show. Just kidding. Hi, Hello, wow, so ah,
• 1:21
  Speaker 1: what's ukon? I've been wanting to say that since I
• 1:27
  Speaker 1: saw What a Girl Wants? What's up in London? Thank
• 1:32
  Speaker 1: you so much for being here. We're so excited. Is
• 1:34
  Speaker 1: our first show in London or out of the country
• 1:37
  Speaker 1: at all? We're so psycked. Thank you for singing our
• 1:40
  Speaker 1: song for us. That was truly better. You just put
• 1:44
  Speaker 1: a bunch of female musicians out of a job. Hateful.
• 1:49
  Speaker 1: So this is this is the Bechtel Cast? Where is
• 1:52
  Speaker 1: it the women in Film show? As the sign indicates,
• 1:59
  Speaker 1: we got dumb our own venue? Close enough? No, sounds
• 2:06
  Speaker 1: like a good show. Yeah, we are the Bechtel Cast.
• 2:11
  Speaker 1: My name is Caitlin Dronte. My name is Jamie Loftus
• 2:14
  Speaker 1: And uh. We talked about the representation of women in movies,
• 2:17
  Speaker 1: as you probably know because you're here. That was where
• 2:20
  Speaker 1: actually we got the name for the podcast, which is
• 2:22
  Speaker 1: the Women in Film Podcast. But the the real, the
• 2:27
  Speaker 1: canonical name of the podcast is the Bechtel Cast. Just
• 2:33
  Speaker 1: clapping up. If you have listened to the Betel Cast before,
• 2:39
  Speaker 1: I love it. Uh and then uh and it's okay.
• 2:44
  Speaker 1: If if you have been brought here and you haven't
• 2:47
  Speaker 1: listened to the show before, please also clap yes, yes, yes,
• 2:53
  Speaker 1: a few see what they did. Brave, thank you, thank you.
• 3:01
  Speaker 1: That was that was a thinker. That was a time, real,
• 3:03
  Speaker 1: real hand scratcher. But yeah, we're the Becktel Cast. We are.
• 3:07
  Speaker 1: We talk about women in film and we use the
• 3:09
  Speaker 1: Bechdel Test as a jumping off point for our discussion. Yes,
• 3:13
  Speaker 1: and if you're not familiar with that, what that is.
• 3:15
  Speaker 1: It is a media metric creative our cartoonist Alice and
• 3:18
  Speaker 1: Bechtel also sometimes own as a Becktel Wallace test. Uh.
• 3:22
  Speaker 1: And it requires that two female identifying characters with names
• 3:25
  Speaker 1: talk to each other about something other than a man,
• 3:28
  Speaker 1: and you would think it would happen all the time,
• 3:30
  Speaker 1: But then there's most of the Star Wars and also
• 3:36
  Speaker 1: other movies. Shall we demonstrate it? Yes? Please? Okay? Um,
• 3:42
  Speaker 1: I have one ready. Yes, I wrote it down to
• 3:46
  Speaker 1: hey Jamie, yes, um, Sorry I almost sucked it up.
• 3:56
  Speaker 1: Did you know that we have someone here in the
• 3:58
  Speaker 1: audience tonight named Kay whose birthday it is? Yes? I
• 4:02
  Speaker 1: did I read that? Dear where's Katie? Oh? Hai? Kay?
• 4:10
  Speaker 1: Oh my god? Happy birthday? Sing too. We already know
• 4:13
  Speaker 1: you can sing you sick aus? Wait can we sing
• 4:16
  Speaker 1: happy birthday? Okay? You guys know how to do it.
• 4:19
  Speaker 1: It doesn't one to Happy birthday to you. Happy birthday,
• 4:31
  Speaker 1: Happy dear Caseyay? Wow. Isn't anyone else's birthday? Birth? Okay? Wait,
• 4:46
  Speaker 1: it is your birthday? I know someone isn't. Someone tweeted?
• 4:48
  Speaker 1: Someone just tweet there like it's my birthday and I'm
• 4:50
  Speaker 1: in the front room. That was you? Wait, Oh my god,
• 4:54
  Speaker 1: it's everyone's birthday. This is so Wait whose birthday is it?
• 4:59
  Speaker 1: It's you birthday Friday. We'll get out of here, god, Okay, Well,
• 5:05
  Speaker 1: I Happy birthday, Happy belated birthday, Virgo, what's your name?
• 5:08
  Speaker 1: Don't know what that means? Claire, Happy belated birthday? And
• 5:11
  Speaker 1: what's your is it your birthday? Oh? Okay, it was
• 5:17
  Speaker 1: also Friday. What's your name? Clementine? Happy birthday, Claren, Clementine.
• 5:22
  Speaker 1: Like so many good sea names, hard continent love a
• 5:28
  Speaker 1: hard continent really gets the night started up, right, man?
• 5:34
  Speaker 1: So yeah, we were so we're so packed to be here.
• 5:38
  Speaker 1: We tried to choose movies appropriately. So this this one
• 5:43
  Speaker 1: really works because it doesn't take place in this country,
• 5:48
  Speaker 1: but it's close. Yeah. Point for effort. Yes, uh. And
• 5:53
  Speaker 1: we have a guest here to join our discussion. She
• 5:57
  Speaker 1: is a comedian from Glasgow. She is a co ho
• 6:00
  Speaker 1: of a live show they're in Glasgow called The Salon.
• 6:04
  Speaker 1: Give it up for the very funny Rachel Ann Clark. Hello,
• 6:15
  Speaker 1: what's up? Thanks for being here, Thanks for having me.
• 6:18
  Speaker 1: I'm really excited to be here. So Women and Film,
• 6:22
  Speaker 1: Women in Film and their podcast, So we're talking about Brave.
• 6:28
  Speaker 1: Of course, this is my This is the best movie
• 6:31
  Speaker 1: for us to cover because I can just say Brave
• 6:32
  Speaker 1: all the time. So everything that happens in this movie
• 6:35
  Speaker 1: is brave. Yes. And the show, the show that we're
• 6:40
  Speaker 1: doing after this one is the favorite, and if you
• 6:43
  Speaker 1: mash them together, it's the Braver Wite night there. So
• 6:48
  Speaker 1: I was very impressed with it, thank you. Not anyone
• 6:51
  Speaker 1: else was, but by round of applause, who has seen
• 6:56
  Speaker 1: the movie Brave? Brave? Is there is there anyone who
• 7:04
  Speaker 1: has not seen Brave? Clap coward? It's called an inversion. So, Rachel,
• 7:17
  Speaker 1: and what's your history your relationship with Brave? Well, apart
• 7:21
  Speaker 1: from the obvious, he came out in and I was
• 7:28
  Speaker 1: unemployed because I just graduated and media, so you know. Um,
• 7:33
  Speaker 1: so it was like Brave was coming out, not really
• 7:36
  Speaker 1: into the whole Disney princess vibe usually, but I was
• 7:40
  Speaker 1: like so quick to scrape up the last of my
• 7:43
  Speaker 1: dull money, just like unemployment benefacture. Thank you. Even then
• 7:51
  Speaker 1: we were very stupid. I was like counting the coppers
• 7:56
  Speaker 1: like quick quick when you go see Brave And yeah,
• 7:58
  Speaker 1: just like skipped to cinema to see it, and did
• 8:01
  Speaker 1: you like it? Loved it, like really loved it for
• 8:05
  Speaker 1: so many reasons that I will get into, but yeah,
• 8:10
  Speaker 1: like definitely, like definitely my favorite Disney favorite. Oh the
• 8:15
  Speaker 1: favorite this is. I really saved my bravorite, Caitly, what
• 8:22
  Speaker 1: about you? I saw it, I don't think in theaters,
• 8:25
  Speaker 1: but as per usual, like not long after it came out,
• 8:28
  Speaker 1: and um, I liked it just fine. And I think
• 8:33
  Speaker 1: it was that that was the only time I saw
• 8:35
  Speaker 1: it until prepping for the show. But I have a
• 8:38
  Speaker 1: greater appreciation for it now. I think I wasn't that
• 8:42
  Speaker 1: fond of it at the time because I hadn't discovered
• 8:44
  Speaker 1: my love of Bears yet. I needed I needed Paddington
• 8:52
  Speaker 1: to come out two years later and then and now
• 8:57
  Speaker 1: I'm like, Bears, what about you? What's your history? I
• 9:02
  Speaker 1: hadn't seen it. I was. I was in college when
• 9:04
  Speaker 1: this movie came out, so I was probably just like
• 9:07
  Speaker 1: busy torpedoing my life. So I wasn't seeing a lot
• 9:11
  Speaker 1: of movies at that time. But no, I hadn't seen
• 9:14
  Speaker 1: it before. It's been on my list of just like
• 9:16
  Speaker 1: things I wanted to watch forever. So I saw it
• 9:19
  Speaker 1: when we were prepping a k yesterday, and um, I
• 9:23
  Speaker 1: liked it. There were some things of it. It's so weird.
• 9:25
  Speaker 1: I feel like, even between twenty twelve and now, the
• 9:28
  Speaker 1: way that leading female characters are treated in movies has
• 9:33
  Speaker 1: already changed quite a bit, and so there are it
• 9:36
  Speaker 1: already feels in some ways to me to be a
• 9:39
  Speaker 1: little bit dated, even though it just came out seven
• 9:41
  Speaker 1: years ago. Um, but I think it was like a huge,
• 9:43
  Speaker 1: like step forward in a lot of ways. I would
• 9:46
  Speaker 1: the Okay, the thing that through me the most about
• 9:49
  Speaker 1: this movie is in the marketing of this movie, they
• 9:52
  Speaker 1: did in no way indicate that it's about a bare,
• 9:54
  Speaker 1: freaky Friday. I thought it was about like if they're like,
• 10:00
  Speaker 1: she doesn't conform to the rules, she shoots arrows. I'm like,
• 10:03
  Speaker 1: this is fucking cool. I love this, and then they're like,
• 10:05
  Speaker 1: also her momma mom is a You're like, where did
• 10:10
  Speaker 1: that come from? I was truly, I was like shocked
• 10:14
  Speaker 1: when that happened. I was like, why do that? But
• 10:18
  Speaker 1: I guess we'll just unpack it for the next hour.
• 10:21
  Speaker 1: But I just I didn't see the bear coming. I'm like,
• 10:24
  Speaker 1: why did they Why was there so much bear erasure
• 10:27
  Speaker 1: in the marketing? Like, I had no idea this is
• 10:30
  Speaker 1: about a mom bear situation. I know. Confusing. Well, shall
• 10:35
  Speaker 1: I get into the recap? Yes, okay, recap recap we're
• 10:40
  Speaker 1: from We've been here for two days, so we're from here,
• 10:42
  Speaker 1: so kind of how it works, okay, the story of
• 10:46
  Speaker 1: Brave Mereda is a little girl in medieval Scotland and
• 10:51
  Speaker 1: she's the cutest and she's a princess and her parents
• 10:57
  Speaker 1: are the King and Queen. That's how that works, yep, okay,
• 11:02
  Speaker 1: And she loves archery, and for her birthday her dad
• 11:04
  Speaker 1: gets her a bow and arrow. Uh. And as she's
• 11:07
  Speaker 1: practicing with it, she comes across a bunch of wisps,
• 11:11
  Speaker 1: which are these like ethereal little like blue whispy things
• 11:15
  Speaker 1: basically like stolen from studios. Hep right uh and as
• 11:21
  Speaker 1: legend has it, these whisps lead you to your fate. Uh.
• 11:25
  Speaker 1: And just then a demon bear, not Paddington, the opposite
• 11:32
  Speaker 1: named more Do attacks Meredith's family and she and her
• 11:37
  Speaker 1: mom escape as her father fights it off. Now we
• 11:40
  Speaker 1: cut to ten years later. Her father, Fergus, has lost
• 11:43
  Speaker 1: his leg in this bear attack to the mean bear
• 11:47
  Speaker 1: bear moore Do. Mereda has three little brothers, now Hamish,
• 11:51
  Speaker 1: Hubert and Harris, just like a little juggling balls, very cute,
• 11:57
  Speaker 1: and Meredith's mother Lenor is teaching her how to be
• 12:02
  Speaker 1: prim and proper so that Mereda can rule is queen
• 12:06
  Speaker 1: one day? Uh and then when yes, there's there's stuff
• 12:11
  Speaker 1: to talk about. When Merida, when she can, she escapes
• 12:15
  Speaker 1: the pressures of princess life to borrow sort of a
• 12:19
  Speaker 1: phrase from Aladdin um and she ventures off and practices
• 12:24
  Speaker 1: her archery, which she is not. There's music playing in
• 12:28
  Speaker 1: the background your life sure. And one day Mereda learns
• 12:34
  Speaker 1: that three young male suitors are coming to visit from
• 12:39
  Speaker 1: each of the neighboring clans and they're going to compete
• 12:42
  Speaker 1: in some games and the winner will be betrothed to Merida.
• 12:46
  Speaker 1: And this makes her furious because she does not want
• 12:50
  Speaker 1: to get married and how old does she supposed to be? Also,
• 12:53
  Speaker 1: she seems like I would guess like I would guess
• 12:56
  Speaker 1: closer to six, the standard prince a stage. I wouldn't
• 13:04
  Speaker 1: oh boy right, And so she and her mom argue,
• 13:08
  Speaker 1: but Mereda realizes that she has no choice but to
• 13:11
  Speaker 1: participate because it's tradition. So all they like cartoony Daddy's
• 13:16
  Speaker 1: bringing their Scottish boys to woo her. They are McIntosh,
• 13:23
  Speaker 1: which I think is a nod to Steve Jobs, who
• 13:27
  Speaker 1: wanted The other major twist of the movie a tribute
• 13:31
  Speaker 1: to Steve Jobs. At the end, You're just like what
• 13:33
  Speaker 1: but there was because he had just died, and I
• 13:35
  Speaker 1: guess we were still we were like, oh, he's a
• 13:37
  Speaker 1: nice guy. Like I don't know what we were thinking,
• 13:41
  Speaker 1: yeah something, Yeah, I mean doesn't mean he was a
• 13:44
  Speaker 1: good person. We've all seen the Ashton Kutcher Jobs starring
• 13:50
  Speaker 1: Ashton Kutcher. The man was a monster. So McIntosh, he's
• 13:56
  Speaker 1: giving off off some strong William Wall spraveheart vibes mcguffin,
• 14:03
  Speaker 1: which is a film term. And I know that because
• 14:05
  Speaker 1: I studied screenwriting and I have a masters in it
• 14:09
  Speaker 1: from Boston University, but I hate to mention it. I
• 14:13
  Speaker 1: think you're getting your money's worth on that just by
• 14:15
  Speaker 1: repeating it. Right. He's like a tall dude that no
• 14:20
  Speaker 1: one understands when he speaks. And then Dingwall he's I
• 14:25
  Speaker 1: don't even know what that's a reference to. That's a
• 14:27
  Speaker 1: that's a very sophisticated reference. Yes, yes, no, I'm kidding,
• 14:30
  Speaker 1: I don't know. He's like this little dweepy guy. So
• 14:35
  Speaker 1: each of the suns are presented, and none of them
• 14:37
  Speaker 1: are appealing to Meridath. And then there's too much masculine
• 14:40
  Speaker 1: energy in the room, so a fight breaks out. Uh.
• 14:44
  Speaker 1: And then Queen Eleanor explains how the games will go,
• 14:48
  Speaker 1: and Meredith perks up when she hears that only the
• 14:51
  Speaker 1: firstborns of each clan are eligible to compete. So Meredath
• 14:55
  Speaker 1: chooses archery as the thing that they'll all compete in.
• 14:58
  Speaker 1: She should be a lawyer. That was a very clever
• 15:01
  Speaker 1: Oh yeah, a brave choice, I would say. And the
• 15:07
  Speaker 1: three young men all shoot with like varying degrees of success.
• 15:11
  Speaker 1: And then Meredith is like, um, actually is the firstborn
• 15:15
  Speaker 1: of clan done Brock, I will be competing for my
• 15:18
  Speaker 1: own hand. This is the best part of the whole movie.
• 15:21
  Speaker 1: It's so exciting. Everything that happens before the bear twist
• 15:24
  Speaker 1: is my favorite thing I've ever seen. And then the
• 15:26
  Speaker 1: bear stuff happens, uh, and she like fucking creams. The
• 15:32
  Speaker 1: three boys archers their arrow and like exciting, Um, does
• 15:40
  Speaker 1: cream means something that I'm I mean, it means the
• 15:45
  Speaker 1: same thing, and these guys does it mean? Come? Does it?
• 15:48
  Speaker 1: What does it mean? Everyone laughed when I said, mean
• 15:52
  Speaker 1: it's come, Kaylyn, I'm being told it means that do
• 15:59
  Speaker 1: not for us too? Right? No, Well, I don't know
• 16:04
  Speaker 1: my pants for Nicholas Hole. Right, just an example. Yeah,
• 16:11
  Speaker 1: if you're for the favorite show, you'll I'll say that again,
• 16:14
  Speaker 1: you go. But for us it can also mean brutally defeat.
• 16:20
  Speaker 1: But you could also use it both ways. I could
• 16:21
  Speaker 1: be like I cream for I cream for Alfred Molina,
• 16:27
  Speaker 1: but I could cream him in a fight. Yes, right,
• 16:33
  Speaker 1: so I mean, god, we're just also different here now,
• 16:38
  Speaker 1: poor choice of words for me. She started a dialogue
• 16:44
  Speaker 1: that was good, and Eleanor is furious about Mereda, like
• 16:49
  Speaker 1: making a mockery of the whole situation. And I have
• 16:51
  Speaker 1: a huge fight, and Mereda takes a sword and slices
• 16:54
  Speaker 1: this tapestry of her family, and then she runs away.
• 16:58
  Speaker 1: And Meredith comes across some wisps, the same ones that
• 17:01
  Speaker 1: she saw as a child, and they lead her to
• 17:04
  Speaker 1: the cottage of a witch. I like to call her
• 17:07
  Speaker 1: convenient plot, which we we have fluids to naim, like
• 17:14
  Speaker 1: is that a common thing? And mered is like, Hi,
• 17:20
  Speaker 1: can you please cast a spell that will change my mom?
• 17:23
  Speaker 1: And then which is like mm hmm, I got you, yeah,
• 17:28
  Speaker 1: And she makes a magical cake for her mom to eat,
• 17:33
  Speaker 1: which Eleanor does and which turns her into a bear.
• 17:38
  Speaker 1: And then you're just like, wait, what movie of that?
• 17:43
  Speaker 1: She turns into a bear? Yes, and they both freak
• 17:46
  Speaker 1: out for a little bit, and then Mereda realizes it
• 17:49
  Speaker 1: because of her father's bear vendetta. If if he steal
• 17:56
  Speaker 1: was this the bear vendetta? Uh? If if her father
• 18:03
  Speaker 1: sees the queen as a bear, he will try to
• 18:06
  Speaker 1: kill her. So now Meredith has to protect her bear
• 18:09
  Speaker 1: mom from her bear killing dad, who is also just
• 18:14
  Speaker 1: doesn't notice that his wife is gone her like two days.
• 18:20
  Speaker 1: And then at the end she comes back. Spoilers, she
• 18:22
  Speaker 1: comes back, and then at the end he's like, there
• 18:25
  Speaker 1: you are. I was like, what is this? What there?
• 18:29
  Speaker 1: I thought he was supposed to be nice, Like he
• 18:31
  Speaker 1: doesn't notice his wife and three of his sons are
• 18:34
  Speaker 1: gone and meredith whole family has gone and he's just
• 18:39
  Speaker 1: sitting around like I sure do hate bears yea. So
• 18:47
  Speaker 1: also Meredith has to figure out how to change her
• 18:49
  Speaker 1: mom back to being a human, and they escape from
• 18:52
  Speaker 1: the castle and go back to the witch's cottage, but
• 18:54
  Speaker 1: the witch isn't there anymore. That's how plot witches work.
• 18:58
  Speaker 1: They're only there for the one scene. Yeah, but she's
• 19:01
  Speaker 1: left a message that says by sunrise on the second day,
• 19:06
  Speaker 1: the spell will be permanent unless she reverses it, which
• 19:09
  Speaker 1: she needs. In order to do that, she has to
• 19:12
  Speaker 1: mend the bond torn by pride. But they're like kind
• 19:15
  Speaker 1: of getting some like Ursula energy there with the wording
• 19:18
  Speaker 1: of the curse. Yeah, except but not plot relevant, like
• 19:23
  Speaker 1: Ursula appears again and has a reason to be there,
• 19:26
  Speaker 1: but this which is like I went to Coachella, like
• 19:30
  Speaker 1: girls like okay, so they don't know what this means.
• 19:36
  Speaker 1: And Mereda and her bear mom are out in the woods.
• 19:40
  Speaker 1: They're fishing their bonding. Then her mom becomes feral for
• 19:45
  Speaker 1: a second and Mared is like, oh my god, I
• 19:48
  Speaker 1: gotta fix this soon. Mom is becoming a bear. Yeah.
• 19:52
  Speaker 1: So then some wisps show up again and convenient plot
• 19:56
  Speaker 1: whisps I like to call them. They follow the whisps
• 20:01
  Speaker 1: to this old castle, where Meredith figures out that the
• 20:04
  Speaker 1: demon Bear more Do used to be a prince who
• 20:07
  Speaker 1: wanted too much power and then like trying to change
• 20:10
  Speaker 1: his fate, which was foreshadowed by convenient plot, which foreshadowing
• 20:16
  Speaker 1: also being the beast. Yeah right, because the least was like, Hey,
• 20:23
  Speaker 1: you're the big scary. Yeah yeah, and there's also foreshadowed
• 20:29
  Speaker 1: whenever her mom like, it's like legends are lessons, don't
• 20:33
  Speaker 1: try to get too much power at the end um
• 20:37
  Speaker 1: women having power and bed. Anyways, I'm a bear. Now
• 20:41
  Speaker 1: there's like a twist. So then Mereda realizes that men
• 20:46
  Speaker 1: the bond torn by pride means that she has to
• 20:49
  Speaker 1: fix that tapestry that she cut up with the sword
• 20:53
  Speaker 1: because women being yes, yes, this was pre shopping days,
• 20:58
  Speaker 1: so they had to be sewing rather shopping for threat sometimes. Yeah. True.
• 21:03
  Speaker 1: So they go back to the castle and all the
• 21:06
  Speaker 1: men are still fighting about which son will get to
• 21:08
  Speaker 1: marry Mereda, and she distracts all these guys with this speech.
• 21:13
  Speaker 1: During this the bear mom plays a game of charades
• 21:16
  Speaker 1: to communicate that she now supports Merida in breaking tradition
• 21:20
  Speaker 1: by not getting married. So uh there there, I mean,
• 21:26
  Speaker 1: you don't see the bear change coming. But then just
• 21:29
  Speaker 1: the repeated bear an text, you're just like, yeah, sure,
• 21:32
  Speaker 1: bear charades is the climax of the movie. Bear Charades,
• 21:38
  Speaker 1: give me a break. And then they go and find
• 21:41
  Speaker 1: the tapestry, but just then Bear Mom turns feral again,
• 21:44
  Speaker 1: and then bear hating Daddy barges in and tries to
• 21:48
  Speaker 1: kill bear Mom, but Daddy locks Merida in the room,
• 21:53
  Speaker 1: and then an angry mob chases after Bear Mom and
• 21:56
  Speaker 1: then Merida escapes with the help of her now bare brothers. Also,
• 22:00
  Speaker 1: her brothers are bears, not too important that you know.
• 22:03
  Speaker 1: They ate some of the cake now they're tiny little
• 22:06
  Speaker 1: bears because they love desserts. Their most favorite dessert seems
• 22:09
  Speaker 1: to be a pastry that looks exactly like a boob
• 22:14
  Speaker 1: they love. Oh yeah, they make a lot of weird
• 22:17
  Speaker 1: boob jokes. They also make a lot of jokes kind
• 22:19
  Speaker 1: of at the expense of the woman who works at
• 22:22
  Speaker 1: the castle. I don't remember. Yeah, yeah, there's justice for Marty,
• 22:28
  Speaker 1: my god. So Merida escapes. She shows up the tapestry
• 22:32
  Speaker 1: and goes to find her mom, and then outside all
• 22:35
  Speaker 1: the men are trying to capture Bear Mom, and a
• 22:37
  Speaker 1: more do shows up the demon bear. Wait, not enough
• 22:40
  Speaker 1: bears in the scenes bring the other bear back and
• 22:45
  Speaker 1: he and Bear Mom fight more Due gets crushed by
• 22:50
  Speaker 1: Scottish Stonehenge. Scottish or that was probably offensive. Okay, your kids,
• 22:59
  Speaker 1: maybe maybe it was their first and Stonehenge copied the
• 23:04
  Speaker 1: Scottish Yeah so the bears crushed, more dues crushed, and
• 23:10
  Speaker 1: then the sun starts to rise, but bear mom is
• 23:13
  Speaker 1: still a bear, and Mered is like, oh my god,
• 23:15
  Speaker 1: I'm so sorry. This is all my fault. And it
• 23:17
  Speaker 1: turns out that all that needed to happen was an
• 23:19
  Speaker 1: apology to mend the bo All she had to do
• 23:22
  Speaker 1: is apologize to her mom, who was punishing her for
• 23:24
  Speaker 1: no reason. She was so wrong to have not wanted
• 23:29
  Speaker 1: to get married at sixteen to a stranger. Mereda, you
• 23:32
  Speaker 1: goof yes, and then uh Eleanor finally turns back into
• 23:39
  Speaker 1: a human and they all have happily ever after. There's
• 23:48
  Speaker 1: a lot to discuss here. There's an So it's a
• 23:51
  Speaker 1: movie about a young woman who is actively defying tradition,
• 23:56
  Speaker 1: traditional patriarchal values, and rigid gender norm So that's not
• 24:00
  Speaker 1: something we generally see out of a Disney Princess movie.
• 24:05
  Speaker 1: It's about a mother who at first tries to uphold
• 24:09
  Speaker 1: these patriarchal values and traditional gender roles. But then when
• 24:14
  Speaker 1: Meredith turns her mom into a bear a k. When
• 24:19
  Speaker 1: Meredith does something like very drastic to show her mom
• 24:23
  Speaker 1: that she's not fucking around, well, when she just says, yeah,
• 24:26
  Speaker 1: I disagree with you, and I'm sixteen, so I wish
• 24:29
  Speaker 1: you were different. Right. She didn't ask for her mom
• 24:32
  Speaker 1: to be a bear. That was just plot which kind
• 24:34
  Speaker 1: of going off in her own direction. But when that happens,
• 24:38
  Speaker 1: Eleanor starts to realize how toxic her views are and
• 24:41
  Speaker 1: how it's destroying her relationship with her daughter, and then
• 24:44
  Speaker 1: the story becomes about doing away with these toxic views
• 24:48
  Speaker 1: and repairing the mother daughter relationships. So at the core,
• 24:52
  Speaker 1: that's to me what this movie is about. Yeah, I
• 24:56
  Speaker 1: mostly agree with that, but then there's a little part
• 25:00
  Speaker 1: and me that's like, as her mom just saying that
• 25:04
  Speaker 1: because she's a bear, Right, you would say anything to
• 25:12
  Speaker 1: not be a bear? Yeah, just say I'm a bear? Night.
• 25:15
  Speaker 1: What do I know? What's more important as hard not
• 25:20
  Speaker 1: getting maddied and then maybe I'll not be a bear. Yeah,
• 25:24
  Speaker 1: it's a real survivalist instinct coming on her. I hadn't
• 25:27
  Speaker 1: thought of that. I honestly I am neither. Yeah, she
• 25:31
  Speaker 1: we don't know where she's coming from there there. If
• 25:35
  Speaker 1: it does feel kind of very rooted in its time
• 25:38
  Speaker 1: in I will like I wish I had grown up
• 25:41
  Speaker 1: with this movie, and I wish that I had more
• 25:44
  Speaker 1: examples of especially princess movies, because they're so prevalent um
• 25:49
  Speaker 1: and so heavily marketed at young girls, to like see
• 25:54
  Speaker 1: if these movies are going to continue young girl who
• 25:57
  Speaker 1: has agency, who has very clear desires and what she
• 26:01
  Speaker 1: wants to do, and is very capable and is willing
• 26:03
  Speaker 1: to define in order to do that. I just think
• 26:05
  Speaker 1: that at some point in the movie, for me, it
• 26:07
  Speaker 1: kind of there is still a weird blaming element towards
• 26:12
  Speaker 1: the women in this movie that don't apply to the
• 26:15
  Speaker 1: men in the movie at all. So I guess like
• 26:19
  Speaker 1: where I'm coming from from there is you have like
• 26:22
  Speaker 1: these kind of stock characters and kind of besides, this
• 26:25
  Speaker 1: is like another point, but the way that the characters
• 26:28
  Speaker 1: are animated are kind of classically, like the male cartoons
• 26:31
  Speaker 1: are look like cartoons, and the female cartoons look like
• 26:35
  Speaker 1: hot women, like normative Western beauty hot women, And that
• 26:40
  Speaker 1: is something that is like an issue and animation over
• 26:42
  Speaker 1: and over and over where like you know, men aren't
• 26:45
  Speaker 1: actual gigantic triangles like like every man and and and
• 26:50
  Speaker 1: they're really cool. The character design on the male characters
• 26:53
  Speaker 1: is so much more fun, like the Baby's heads are gigantic,
• 26:56
  Speaker 1: like it's there, it's ridiculous. But then you see like
• 26:59
  Speaker 1: Merrit and her mother are very clearly Western beauty standard
• 27:04
  Speaker 1: women because merchandizing or whatever. But yes, she has comedy,
• 27:14
  Speaker 1: she has serious comedy boops, and they're out the whole time.
• 27:17
  Speaker 1: And there's that oh god, the one that I was like,
• 27:19
  Speaker 1: are you fucking kidding me? The one where the baby
• 27:22
  Speaker 1: bear swan dives into her cleavage. I'm just like, because
• 27:27
  Speaker 1: I've had enough there. But the way the way that
• 27:32
  Speaker 1: the patriarchal structure is represented here, from the way I
• 27:35
  Speaker 1: was viewing it was that all the men in this
• 27:38
  Speaker 1: movie are so goofy that it makes it. It suggests
• 27:42
  Speaker 1: that the patriarchy doesn't exist and that all men just
• 27:45
  Speaker 1: need to be it has to be suggested to them like, oh,
• 27:48
  Speaker 1: have you ever thought that maybe a teenager shouldn't marry someone?
• 27:52
  Speaker 1: And there and in the movie there's literally that whole
• 27:54
  Speaker 1: scene where all the guys are like, oh doroy, yeah,
• 28:00
  Speaker 1: we should totally okay, we're gonna go now, like it's
• 28:02
  Speaker 1: like and that just that lets the concept of patriarchy
• 28:07
  Speaker 1: off the like totally off the hook to by suggesting
• 28:11
  Speaker 1: that those standards aren't in place very much on purpose,
• 28:15
  Speaker 1: and then all of the kind of like criticism is
• 28:18
  Speaker 1: placed on her mom, who is the one who is
• 28:22
  Speaker 1: doing the kind of the the I mean she, I
• 28:24
  Speaker 1: think she, especially at the beginning, is framed very kind
• 28:26
  Speaker 1: of shrew stereotype of like you have to do this,
• 28:30
  Speaker 1: you have to do this, you have to do this,
• 28:31
  Speaker 1: And it's hard to understand where that character is coming
• 28:33
  Speaker 1: from because it doesn't seem like the men around her
• 28:36
  Speaker 1: are enforcing that norm right, it's basically only the mother
• 28:39
  Speaker 1: who is And then the dad's like, yeah, girls can
• 28:41
  Speaker 1: do archery, fucking well, I'm cool, Billy Connolly and I'm
• 28:46
  Speaker 1: nice Billy. Well, Billy Connolly does have a thing in
• 28:49
  Speaker 1: his contract that he'll only play cool day. But they're
• 28:53
  Speaker 1: just that way of just like we're supposed to be
• 28:56
  Speaker 1: angry at and we just don't really have much context
• 28:58
  Speaker 1: for why is mother character behaving like this, and it's
• 29:03
  Speaker 1: made to seem like it's more of a personal flaw
• 29:05
  Speaker 1: of hers rather than a flaw of like the society
• 29:08
  Speaker 1: they're living in. So that like that kind of kept
• 29:11
  Speaker 1: coming up for me as we were as we were
• 29:13
  Speaker 1: going through it. But that's it I mean it's like,
• 29:15
  Speaker 1: I wouldn't have that wouldn't have hit with me as
• 29:17
  Speaker 1: hard when I was a kid. That's because is kind
• 29:19
  Speaker 1: of the way that we're watching it now. Yeah, that
• 29:22
  Speaker 1: criticism is is totally valid, but um, I mean, I
• 29:27
  Speaker 1: think there's a lot that this movie does really well,
• 29:29
  Speaker 1: especially considering the intended audience. And I too, I wish
• 29:32
  Speaker 1: I had seen it like grown up with this rather
• 29:35
  Speaker 1: than you know, the very damaging movies that we've covered
• 29:38
  Speaker 1: on the podcast already, like you know, snow White, Little Mermaid, Aladdin,
• 29:43
  Speaker 1: stuff like that. Because if you do compare Brave to
• 29:47
  Speaker 1: earlier Disney princess movies and they're referenced a lot in
• 29:51
  Speaker 1: this movie, like by a lot of different scenes, you're like, oh,
• 29:53
  Speaker 1: that's kind of from there, you know, right, because like
• 29:56
  Speaker 1: in a lot of these other ones, just to name
• 29:58
  Speaker 1: a few, snow White, Cinderella, Sleeping be Beuty, Little Mermaid,
• 30:01
  Speaker 1: Beauty and the Beast, Pocahon's a Laddin, the mom is
• 30:03
  Speaker 1: absent in those movies, and the princess's whole story arc
• 30:07
  Speaker 1: is about ending up with a man. Brave still about
• 30:11
  Speaker 1: a princess, but this is I think the first Disney
• 30:17
  Speaker 1: Princess movie where the princess does not have a romantic interest,
• 30:21
  Speaker 1: which helps with it being like not technically Disney, right,
• 30:25
  Speaker 1: but this is also I mean, like seventeen years into
• 30:27
  Speaker 1: Pixar and this is their first female whet. Yeah, I
• 30:30
  Speaker 1: have a whole spiel about that. But so not only
• 30:34
  Speaker 1: does she not have a romantic interest, she explicitly states
• 30:38
  Speaker 1: that that's something that she's not interested in at all,
• 30:40
  Speaker 1: or at least like in this juncture in her life.
• 30:43
  Speaker 1: So that's a huge But also I mean, like girls
• 30:47
  Speaker 1: were getting married off at age nine ish during this time,
• 30:50
  Speaker 1: so it's actually very progressive. So like, yeah, her not
• 30:57
  Speaker 1: having a romantic interest and not having an interest in
• 31:00
  Speaker 1: getting married is becomes a huge plot point. And then
• 31:04
  Speaker 1: her mom is not only alive in this movie, but
• 31:09
  Speaker 1: the story is largely about Meredith's relationship with her mom.
• 31:13
  Speaker 1: I would even argue that it's and I don't even
• 31:15
  Speaker 1: know if this is like the best writing choice, but
• 31:18
  Speaker 1: the story gradually becomes more and more about Mereda's mom,
• 31:22
  Speaker 1: to the point where Merrid's mom is the one to
• 31:24
  Speaker 1: make all of the climactic decisions and moves, where like
• 31:28
  Speaker 1: Mereda is about to be like, you know what, I'm
• 31:31
  Speaker 1: gonna get married and then bear charades. So Mereda's mom
• 31:36
  Speaker 1: is is taking the reins in that scene and then
• 31:38
  Speaker 1: in the big bear fight with the other bear. How
• 31:41
  Speaker 1: many chimes are you say? Bear? Uh? That Like Meredith's
• 31:45
  Speaker 1: mom is is in charge of of that scene as well.
• 31:49
  Speaker 1: So it's like it I feel like the main arc
• 31:52
  Speaker 1: in this story kind of belongs to her mother, because
• 31:56
  Speaker 1: we go from Merida not wanting to get married to
• 31:58
  Speaker 1: Merida not wanting to get married. Like she she is
• 32:01
  Speaker 1: a pretty consistent character where married's mom has this whole
• 32:05
  Speaker 1: ideological shift. Or does she because she's a bear? Yeah, yeah,
• 32:12
  Speaker 1: there's that to ponder. Yeah, but it is interesting, like
• 32:15
  Speaker 1: they're like the mom kind of starts off as the
• 32:18
  Speaker 1: closest thing we have to a villain besides the other bear.
• 32:23
  Speaker 1: She has kind of this cool redemptive arc that I liked. Yeah,
• 32:26
  Speaker 1: that's true. A few other like key differences between Brave
• 32:30
  Speaker 1: and other earlier Disney movies is, for example, like when
• 32:34
  Speaker 1: Meredath is locked in a tower at the end of
• 32:37
  Speaker 1: the movie, which her dad does to keep her safe
• 32:39
  Speaker 1: from the various bears, she like tries really hard to
• 32:44
  Speaker 1: escape and then like manages to do so, whereas like
• 32:46
  Speaker 1: and other manipulates her bear brothers, because in other like
• 32:51
  Speaker 1: princess narratives, the princess generally passively waits sitting by, waiting
• 32:57
  Speaker 1: to be rescued by like, you know, Prince Charming kind
• 32:59
  Speaker 1: of or Shrek Um or Shrek right in some of Shrek,
• 33:05
  Speaker 1: never forget Shrek Um. And then when Meredith does need
• 33:09
  Speaker 1: to be rescued from more do at the end, it's
• 33:12
  Speaker 1: only after she's put up a good fight herself and
• 33:16
  Speaker 1: it's her mom who rescues her. Not not an right, right,
• 33:20
  Speaker 1: I do that. I do wish that Meredith had fought
• 33:22
  Speaker 1: more at the at the end. I mean, she's she's
• 33:25
  Speaker 1: like she'd she launches some arrows. I just sword. I
• 33:29
  Speaker 1: think that that's like a personal preference thing. I was
• 33:31
  Speaker 1: just like, whoever makes like the killing blow, it's their
• 33:35
  Speaker 1: movie and mom and it's Beare Mom, And I think
• 33:39
  Speaker 1: that it is arguably kind of Beare Mom's movie. She
• 33:42
  Speaker 1: has the biggest she I think everyone is brave at
• 33:46
  Speaker 1: the end of the day, Thank you so much. We're
• 33:50
  Speaker 1: also true. Here's my spiel about Brave being the first
• 33:55
  Speaker 1: Pixar movie with a female lead. I have a lot
• 33:57
  Speaker 1: to say this about this as well. Okay, do you
• 33:59
  Speaker 1: want to go first? Um? Sure? Uh? So this was so,
• 34:03
  Speaker 1: as we were started referencing earlier, this is the first
• 34:06
  Speaker 1: Pixar movie to ever have a female lead. Uh and
• 34:09
  Speaker 1: this is seventeen years after Toy Story took a long
• 34:12
  Speaker 1: fucking time. Not coincidentally, is also the first Pixar movie
• 34:17
  Speaker 1: to have a female director. Brenda Chapman, who I think
• 34:21
  Speaker 1: kind of has this really interesting place in animation history
• 34:25
  Speaker 1: because she is like one of the She was the
• 34:27
  Speaker 1: first woman to ever direct a major studio animated film.
• 34:32
  Speaker 1: She directed The Princes of Egypt. Anyone remember that classic
• 34:35
  Speaker 1: probably doesn't hold up well, but I saw it in
• 34:39
  Speaker 1: the church summer camp. They're just like, how do we
• 34:44
  Speaker 1: get you to be quiet for an hour? So she
• 34:47
  Speaker 1: she had directed The Prince of Egypt. And there's still
• 34:49
  Speaker 1: to date from what I could find, or there's under ten,
• 34:52
  Speaker 1: arguably under five women who have directed major animation studio
• 34:57
  Speaker 1: projects literally ever. Um, Brenda Chapman ended up co directing,
• 35:02
  Speaker 1: which we'll get into this movie. And then there was
• 35:05
  Speaker 1: also uh where what's her name? Jennifer Yo directed and
• 35:11
  Speaker 1: co directed Kung fu Panda's two and three. Um, and
• 35:15
  Speaker 1: then there was also a female co director of Frozen,
• 35:19
  Speaker 1: but there's still never been a movie only directed by
• 35:22
  Speaker 1: a woman in animation. And I don't know if you've
• 35:25
  Speaker 1: been alive for the past two years, but Pixar has
• 35:28
  Speaker 1: a spectacularly bad record with how they treat women. Yeah. So,
• 35:33
  Speaker 1: so the deal with Brenda is she had been working
• 35:38
  Speaker 1: in animation at Disney or uh DreamWorks for Disney adjacent
• 35:42
  Speaker 1: since the late eighties. She started working with them on
• 35:45
  Speaker 1: The Little Mermaid doing like in between drawings and stuff
• 35:48
  Speaker 1: like that. She like put in her time, right and
• 35:52
  Speaker 1: uh then for for Brave, this was going to be
• 35:54
  Speaker 1: her big opportunity to direct, and she had co written
• 35:58
  Speaker 1: the script and she conceived of the story based on
• 36:03
  Speaker 1: her own relationship with her daughter, right, and so it's
• 36:07
  Speaker 1: like great, okay Brenda, and who fux it up? But
• 36:11
  Speaker 1: you know who already John Mothers fucking Lasseter ruining everything
• 36:18
  Speaker 1: since apparently toy story like he is this piece of ship. Okay,
• 36:23
  Speaker 1: So we haven't heard from Brenda Chapman in a in
• 36:27
  Speaker 1: a bit, but what we do know is that she
• 36:30
  Speaker 1: worked on this project for years and years. It was
• 36:32
  Speaker 1: her baby, and it was the payoff for all of
• 36:34
  Speaker 1: this work she had done for all these years, and
• 36:36
  Speaker 1: then she was replaced with eighteen months left, and for
• 36:40
  Speaker 1: a movie this big that is pretty late in the game.
• 36:43
  Speaker 1: She was replaced by a man because of her disagreements
• 36:46
  Speaker 1: creatively with John Lasseter. So in the end she only
• 36:49
  Speaker 1: gets co directing credit for the thing. That is very
• 36:54
  Speaker 1: clear she did the bulk of the work on and
• 36:57
  Speaker 1: she leaves Pixar the second this movie comes out. She's
• 37:00
  Speaker 1: sucking out of here. And she said publicly at the time,
• 37:03
  Speaker 1: she's like, I will not be coming back like she is.
• 37:06
  Speaker 1: She really like it's and in twelve that's not a
• 37:09
  Speaker 1: small thing. This is extremely pre me too, and extremely
• 37:13
  Speaker 1: like when John Lasseter was still kind of this like
• 37:15
  Speaker 1: golden god in the animation industry. But she was just like,
• 37:18
  Speaker 1: I'm not going to work with him. He's a piece
• 37:20
  Speaker 1: of ship. And coming from the only female director he's
• 37:23
  Speaker 1: ever worked with, that's not nothing. So shout out Brenda Chapman.
• 37:27
  Speaker 1: She's a she. She she fucking and the movie still
• 37:30
  Speaker 1: turned out incredible in spite of all that like behind
• 37:33
  Speaker 1: the scenes insanity, and she has said that she feels
• 37:36
  Speaker 1: her like original vision was generally maintained, and she's still
• 37:39
  Speaker 1: very proud of it. Um I have a few quotes
• 37:42
  Speaker 1: from her from various pieces. She penned a piece in
• 37:47
  Speaker 1: The New York Times in twelve entitled stand up for
• 37:51
  Speaker 1: Yourself and mentor others uh, and she says about Brave,
• 37:56
  Speaker 1: this was a story that I created, which came from
• 37:59
  Speaker 1: a very personal play as a woman and a mother.
• 38:02
  Speaker 1: To have it taken away and given to someone else
• 38:04
  Speaker 1: and a man at that was truly distressing on so
• 38:07
  Speaker 1: many levels. Then, in an interview with Polygon in she says,
• 38:12
  Speaker 1: I'm very very proud of Brave. Much of my work
• 38:15
  Speaker 1: that they had initially tried to take out once I left,
• 38:19
  Speaker 1: they ended up putting much of it back in because
• 38:21
  Speaker 1: there was really nothing wrong with the movie and there
• 38:24
  Speaker 1: was no reason creatively to take me off the film.
• 38:27
  Speaker 1: When asked what they tried to change about Brave, she
• 38:33
  Speaker 1: said they tried to make it more about the father
• 38:36
  Speaker 1: daughter story opposed to the mother daughter story. It was interesting,
• 38:43
  Speaker 1: and it didn't work. And then, going back to her
• 38:49
  Speaker 1: New York Times piece, she writes, sometimes women expressed an
• 38:53
  Speaker 1: idea and are shot down, only to have a man
• 38:55
  Speaker 1: expressed essentially the same idea and have it broadly embraced.
• 39:00
  Speaker 1: Until there is a sufficient number of women executives and
• 39:03
  Speaker 1: high places, this will continue to happen. Yes, So basically, yeah,
• 39:07
  Speaker 1: I mean, from what I can tell, John Lasseter wanted
• 39:10
  Speaker 1: to ruin the story. Brenda Chapman was like, no, don't
• 39:13
  Speaker 1: do that, and then John later because of that, and
• 39:18
  Speaker 1: then realized that the changes they were trying to make
• 39:20
  Speaker 1: didn't work, and then they just ended up making the
• 39:23
  Speaker 1: movie that Chapman originally envisioned, but now without her right,
• 39:27
  Speaker 1: which is something that happens all the time. I mean,
• 39:30
  Speaker 1: if you're a big little lies head like myself on
• 39:34
  Speaker 1: the on the second season, a very similar thing happened
• 39:36
  Speaker 1: this past year where uh female director even the reins
• 39:40
  Speaker 1: for the entire season, and then in the last three
• 39:43
  Speaker 1: months of editing, her work was taken from her and
• 39:46
  Speaker 1: completely re edited and redone and then credited to a man.
• 39:51
  Speaker 1: So it is prevalent issue everywhere. I'm I'm really glad
• 39:55
  Speaker 1: that Brenda Chapman is like spoken to this, especially in animation,
• 39:59
  Speaker 1: which is so incredibly male dominated UM and and also,
• 40:04
  Speaker 1: I mean it is an extremely extremely white industry, and
• 40:09
  Speaker 1: so the fact that she you know, she spoke up
• 40:11
  Speaker 1: and like defended her. Like that's not an easy thing
• 40:14
  Speaker 1: to do, so drama behind the scenes. You love to
• 40:18
  Speaker 1: see a feminist icon Brenda. Good for her. I really
• 40:23
  Speaker 1: admire that. I also enjoyed The Prince of Egypt, so
• 40:27
  Speaker 1: long time fan. Every Yeah, Vacation, Bible School Baby. More
• 40:38
  Speaker 1: about just this movie being the first Pixar film with
• 40:42
  Speaker 1: a female lead. Yes, that is true, but it's also
• 40:46
  Speaker 1: the one that most closely resembles a typical animated Disney
• 40:50
  Speaker 1: princess movie because the other pis are movies about the boys,
• 40:55
  Speaker 1: get to be about toys, bugs, monsters, cars, fish, robots,
• 41:05
  Speaker 1: et cetera. Uh. But the good news is after Brave,
• 41:09
  Speaker 1: there were more female protagonists in Pixar movies were inside Out.
• 41:15
  Speaker 1: We spend the time inside a woman's brain, a confusing
• 41:19
  Speaker 1: place that none of us understand. Oh it's ust but
• 41:24
  Speaker 1: finding Dory, I mean yeah, um, but all the same,
• 41:28
  Speaker 1: like this, you know, is the first one with a
• 41:31
  Speaker 1: female lead. It's still is like a fairy tale about
• 41:34
  Speaker 1: a princess. And while I would say, especially by standards,
• 41:39
  Speaker 1: it is a feminist text, uh, it is still showcasing
• 41:43
  Speaker 1: a very specific type of like female archetype, which is
• 41:47
  Speaker 1: a rich white, young princess girl, yeah, who can go
• 41:50
  Speaker 1: to plot Witch's house and be like I have gold,
• 41:54
  Speaker 1: Like they're just like relatable. Um uh yeah. No. I also,
• 41:59
  Speaker 1: I mean think that that is kind of another indication
• 42:03
  Speaker 1: of how male dominated Pixar and that entire industry is,
• 42:08
  Speaker 1: but especially Pixar, because there are so many demonstrable examples
• 42:12
  Speaker 1: of women's opinions just being absolutely shut down at any
• 42:14
  Speaker 1: opportunity of it's not. It's like kind of disappointing. Even
• 42:19
  Speaker 1: though I like Brave and I'm glad it exists, it's
• 42:22
  Speaker 1: disappointing that the only female led story they were willing
• 42:25
  Speaker 1: to take a chance on was something that was a
• 42:28
  Speaker 1: clear clearly demist like a princess movie. Like there's really
• 42:31
  Speaker 1: not even though there are like inversions and like really
• 42:35
  Speaker 1: really smart ones done by I'm assuming the female writers. Um,
• 42:40
  Speaker 1: they're still not taking a real gamble by doing this,
• 42:44
  Speaker 1: I don't think. I mean, I think it was a
• 42:46
  Speaker 1: gamble by their standards, but making another princess movie is
• 42:49
  Speaker 1: not a huge risk. And I was curious about is
• 42:53
  Speaker 1: this story rooted in any sort of like Scottish lore,
• 42:57
  Speaker 1: folklore and Rachel anne Um as our resident expert, is
• 43:03
  Speaker 1: there is that the case. I'm not from medieval Scotland,
• 43:07
  Speaker 1: but but you don't know what everything about Scotland has
• 43:11
  Speaker 1: ever happened. I don't. I don't think so. I think
• 43:16
  Speaker 1: the will of the wisps, like a whisp is as
• 43:19
  Speaker 1: a thing, and like the stones are a thing. I've
• 43:23
  Speaker 1: been to the like Scottish stonehenge, yes, thing, well, this
• 43:30
  Speaker 1: one that I was at was in the Hebrides. But
• 43:31
  Speaker 1: there's like there's more than one, like there's more than
• 43:37
  Speaker 1: one stonehenge. They're just not all called stonehenge like stones,
• 43:43
  Speaker 1: stones and a big circle are a thing. Sure, no
• 43:47
  Speaker 1: one knows why. Maybe that's where they had the bear
• 43:50
  Speaker 1: fights back there, like we've not we've not quite figured
• 43:54
  Speaker 1: out why they're there and ask for like turning into bear. No,
• 43:59
  Speaker 1: I've not that not, that's not part of Scottish lore.
• 44:02
  Speaker 1: Maybe me once a month, but like no, like I've not,
• 44:07
  Speaker 1: I have no. I'm still I'm just like, what is
• 44:10
  Speaker 1: going on with the bear? I just the bear? Try.
• 44:13
  Speaker 1: I honestly, if this movie had played out the way
• 44:16
  Speaker 1: I thought it was going to, which is a movie,
• 44:18
  Speaker 1: I think I would have liked better would have it
• 44:20
  Speaker 1: would have been like Mereda going off and you know,
• 44:23
  Speaker 1: like leaving the kingdom that she is from, you know,
• 44:26
  Speaker 1: and and going out finding her own way making coming
• 44:29
  Speaker 1: back with the lessons she's learned. I mean, basically invert
• 44:33
  Speaker 1: the hero story that we've seen with male characters a
• 44:36
  Speaker 1: billion times and seeing it with this really cool, empowered,
• 44:40
  Speaker 1: capable female character. And then we kind of get caught
• 44:43
  Speaker 1: in the weeds of this whole bear situation and she
• 44:46
  Speaker 1: doesn't get much further than two miles from home. Yeah,
• 44:50
  Speaker 1: I feel like there's not really a lesson for her learn. Yeah,
• 44:55
  Speaker 1: she doesn't want to get mad, and then she does,
• 44:59
  Speaker 1: which which is cool. I mean, like in itself, that's
• 45:02
  Speaker 1: a subversion, but I do think that like they're and
• 45:05
  Speaker 1: I don't even I'm like, is this a feminist critique
• 45:07
  Speaker 1: or is this just like weird writing of just not
• 45:11
  Speaker 1: much about her changes and what does change about her
• 45:14
  Speaker 1: kind of made me feel weird of by the end,
• 45:18
  Speaker 1: like the the action that Merida takes at the climax
• 45:22
  Speaker 1: of the movie to unbear her mom is that she
• 45:26
  Speaker 1: apologizes for her firmly held values, and that was just like,
• 45:33
  Speaker 1: what are we supposed to be taking away from that.
• 45:35
  Speaker 1: Like this the like the first twenty minutes of this movie,
• 45:38
  Speaker 1: which I've loved, and you know, when she's like doing
• 45:40
  Speaker 1: the archery, she rips her dress, she's like, funck this,
• 45:42
  Speaker 1: and you know, like that is all so incredible. But
• 45:45
  Speaker 1: then it feels like she's apologizing for all of that
• 45:48
  Speaker 1: having happened, being like, oh, I didn't respect patriarchal traditions
• 45:51
  Speaker 1: and so and now my mom's a bearer. I'm so bad. Yeah,
• 45:56
  Speaker 1: I agree that she kind of has. I mean, she
• 45:59
  Speaker 1: should maybe apologized to her mom for turning her into
• 46:02
  Speaker 1: a bear, but but she didn't. Yeah, the fact that
• 46:06
  Speaker 1: she apologizes at last, Ursula clearly states what's going to happen.
• 46:13
  Speaker 1: That's true, even makes her sign a contract and know
• 46:17
  Speaker 1: is basically a scientist and a lawyer. Yeah, for sure.
• 46:20
  Speaker 1: And then this plot which apparently only knows one spell,
• 46:24
  Speaker 1: which is to turn people into bears. She's also Emma Thompson.
• 46:28
  Speaker 1: She's also a Coachla, You're just like, who is this
• 46:31
  Speaker 1: character now? Emma Thompson's the mom? Emma Sorry, sorry, so
• 46:34
  Speaker 1: you're right. Who's Who's Julie Waters? Julie Walters? Yeah, Waters
• 46:37
  Speaker 1: are walters mom and Mrs Bird from Paddington's. Yeah, then,
• 46:46
  Speaker 1: let me just take a quick sidebar to note the
• 46:49
  Speaker 1: Paddington's parallels, sure the obvious, both being bare heavy movies.
• 46:58
  Speaker 1: Julie Walters play is the Witch, who is of course
• 47:01
  Speaker 1: Mrs Bird in Paddington's. Emma Thompson, who voices Eleanor is
• 47:05
  Speaker 1: from Paddington, England. And you know who else is from
• 47:12
  Speaker 1: Paddington England? Whom Alfred Molina? What? Yes? You know that?
• 47:19
  Speaker 1: Did they not lay him in the movie? Why didn't
• 47:21
  Speaker 1: he get asked? I don't know. I bet he was
• 47:25
  Speaker 1: busy and he didn't want to. Oh my god, wow, wow,
• 47:29
  Speaker 1: he's from Well, if we're talking about who Alfred Millina
• 47:32
  Speaker 1: could play in this movie, and I know that we're
• 47:36
  Speaker 1: aiming for a Scottish heavy cast, but we do have
• 47:38
  Speaker 1: Emma Thompson right, and she's she's English, right, mama is Scottish,
• 47:43
  Speaker 1: her mom is okay if we're but but you Rachel
• 47:49
  Speaker 1: and also told us before we came out on stage
• 47:52
  Speaker 1: that so Kelly McDonald plays Merida, and she I think
• 47:56
  Speaker 1: is best known from train Spotting as famously only woman
• 48:00
  Speaker 1: in Trainspotting. But she voices Mereda, but apparently it was
• 48:05
  Speaker 1: originally supposed to be Reese Witherspoon. Yeah wait, I'm gonna
• 48:13
  Speaker 1: pull up the quote because it is very Oh stop
• 48:24
  Speaker 1: trying to make Reese Witherspoon happen. She's already famous. I
• 48:31
  Speaker 1: love I loved her at role. That's the other thing
• 48:34
  Speaker 1: where we were just like, have we ever heard Reese
• 48:37
  Speaker 1: Weatherspoon be anyway like play in Non America? I don't
• 48:40
  Speaker 1: think so. So the whole Reese situation. Uh so they
• 48:45
  Speaker 1: hired her. She was attached to the project forever. No
• 48:48
  Speaker 1: one was like, wait a second, Reese got a coach.
• 48:53
  Speaker 1: She's like, I'm Scottish now, this is this is the
• 48:56
  Speaker 1: new Reese legally Scottish. And and then and then I
• 49:01
  Speaker 1: guess she quietly left the project because she turns out
• 49:04
  Speaker 1: she isn't Scottish. And then she like said in an
• 49:08
  Speaker 1: interview later, she was like, yeah, my Scottish was like dogshit,
• 49:12
  Speaker 1: it was really mad. Yeah, so you know, I didn't
• 49:16
  Speaker 1: didn't miss reason this one lover though, for sure. But
• 49:21
  Speaker 1: when became back to what you were saying about Merida's
• 49:23
  Speaker 1: arc and where she goes from the beginning toward the end,
• 49:26
  Speaker 1: that that also hit for me as well. Yeah, I
• 49:29
  Speaker 1: mean like if her mom didn't turn any a bear,
• 49:31
  Speaker 1: nothing would happen, right right, Like nothing, nothing would have happened.
• 49:36
  Speaker 1: It would have just had a bed round and then
• 49:39
  Speaker 1: she might have got married like she probably would because
• 49:43
  Speaker 1: I think her mom wouldn't be so like do the
• 49:46
  Speaker 1: bear she would be as she wouldn't be like as
• 49:48
  Speaker 1: invested in changing it if she wasn't a bear. Right.
• 49:51
  Speaker 1: I really like this this line of thought of like
• 49:54
  Speaker 1: the mom is just trying to get out of this situation. Yeah,
• 49:59
  Speaker 1: not nothing. I do really feel like much would have changed.
• 50:01
  Speaker 1: And then, like I loved the film so much, and
• 50:04
  Speaker 1: then right up to the end, I was just like
• 50:07
  Speaker 1: absolutely winded because man, it does like this is all
• 50:11
  Speaker 1: my fault. I've been so selfish, like she says, I
• 50:14
  Speaker 1: am selfish. I'm selfish, Like you know, I'll do anything
• 50:17
  Speaker 1: to take it back, like I've changed. I'm so sorry,
• 50:19
  Speaker 1: Like this is all me, and her mom's just there,
• 50:21
  Speaker 1: she can't speak because she's a bear, right right, and man,
• 50:26
  Speaker 1: it just like pulled in her heart and her mom's
• 50:27
  Speaker 1: just like move I'm bear. That was a good I
• 50:36
  Speaker 1: was devastated as I wanted them. Mom should be apologizing,
• 50:41
  Speaker 1: but as you said, she's a bear. It is I mean,
• 50:45
  Speaker 1: the fact that Meredith has to go so far to
• 50:47
  Speaker 1: apologize for the character that we all fell in love
• 50:50
  Speaker 1: with at the beginning of the movie just feels off, Yeah, yeah,
• 50:53
  Speaker 1: I don't know. And then and then and kind of
• 50:55
  Speaker 1: like getting back to what we were talking about at
• 50:57
  Speaker 1: the beginning, the dad's lack of accountability and this whole situation. Right,
• 51:02
  Speaker 1: first of all, he doesn't notice his family has vanished.
• 51:07
  Speaker 1: But also that like in this whole thing, anytime that
• 51:10
  Speaker 1: the that Queen Eleanor is saying like this is what
• 51:13
  Speaker 1: you need to do, this is your expectation of society,
• 51:15
  Speaker 1: the father always kind of gets off scott free again,
• 51:18
  Speaker 1: well that's what uh brave of you. But he kind
• 51:26
  Speaker 1: of he kind of just like, is you know a
• 51:29
  Speaker 1: big triangle and he's like, I don't know. And then
• 51:31
  Speaker 1: and Meredith like, my triangle Dad is so awesome, and
• 51:36
  Speaker 1: you're like your triangle Dad is complicit and a lot
• 51:38
  Speaker 1: of Shita wake up. I have I have some lists
• 51:43
  Speaker 1: of things, has various lists like so I would say,
• 51:48
  Speaker 1: unlike a lot of its predecessors in terms of other
• 51:52
  Speaker 1: like fairy Tale Disney Princess movies. This one does a
• 51:55
  Speaker 1: lot more to comment on things like femininity, masculine city,
• 52:00
  Speaker 1: and gender roles, because there are various scenes in which
• 52:04
  Speaker 1: Queen Eleanor says, like what a princess does and does
• 52:07
  Speaker 1: not do. A princess does not chortle, she does not
• 52:10
  Speaker 1: stuff her gob uh, she does not raise her eat them,
• 52:18
  Speaker 1: she does not raise her voice. She does not have weapons.
• 52:21
  Speaker 1: She is compassionate, patient, cautious, clean, and above all, a
• 52:25
  Speaker 1: princess strives for perfection. I like this scene the way
• 52:29
  Speaker 1: Emma Thompson does it, but I prefer it the way
• 52:31
  Speaker 1: Julie Andrews did it in The Princess Diaries. Yes, but
• 52:37
  Speaker 1: it's she's basically saying like, you're a woman, and women
• 52:41
  Speaker 1: can only do certain things and they should not do
• 52:44
  Speaker 1: other things. Meanwhile, whole feminist icon sort of, her dad
• 52:48
  Speaker 1: is like, as a loser, I agree, but at first
• 52:54
  Speaker 1: we're like, oh, he's actually really cool because he's like, here,
• 52:57
  Speaker 1: have a bow, learned to shoot. But I won't stand
• 52:59
  Speaker 1: up you in public or care that you're missing for
• 53:03
  Speaker 1: forty eight hours. Bad. So the movie does also comment
• 53:08
  Speaker 1: on masculinity. I think to some degree where the groups
• 53:12
  Speaker 1: of men that you see are constantly trying to flaunt
• 53:15
  Speaker 1: their masculinity. They're always trying to one up each other.
• 53:17
  Speaker 1: They're always breaking out into huge violent fights, and this
• 53:21
  Speaker 1: is always made to look very like stilly and and foolish,
• 53:24
  Speaker 1: um and toxic. By the movie. There's that especially one
• 53:28
  Speaker 1: suitor who's like this toxic bro fuck boy. He's oh yeah,
• 53:32
  Speaker 1: He's like he definitely like does like pick up artist stuff. Yeah.
• 53:36
  Speaker 1: And then and then he like throws a tantrum whenever
• 53:39
  Speaker 1: he like doesn't get the bull's eye. And then like
• 53:41
  Speaker 1: Meredith sarcastically, he's like, oh that's attractive. Um. Just the
• 53:45
  Speaker 1: legend of the prince who wanted the strength of ten men.
• 53:49
  Speaker 1: He wanted all this power and then bad things happen
• 53:52
  Speaker 1: to him because he turned into a demon bear. Uh.
• 53:56
  Speaker 1: And then Meredith's dad is like on meredith side for
• 54:02
  Speaker 1: a lot of the movie, but I'm anti dad. If
• 54:05
  Speaker 1: you can't stand up for your daughter in public as
• 54:08
  Speaker 1: a man with power, you, I don't funk with you.
• 54:11
  Speaker 1: Fergus and do it. And he has such a strong
• 54:14
  Speaker 1: bear vendetta that he almost kills his wife. Okay, but
• 54:18
  Speaker 1: to be fair, it's hard to be fair. It would
• 54:22
  Speaker 1: be really hard to look at it bear and be like,
• 54:25
  Speaker 1: this is my wife. I was true. I was kind
• 54:31
  Speaker 1: of empathizing with him on that where it's married is
• 54:33
  Speaker 1: like no, this bears mom and he's like no, but
• 54:39
  Speaker 1: but if he just listened to Meredith. But he doesn't
• 54:42
  Speaker 1: like to listen to women, is the thing, right, right?
• 54:44
  Speaker 1: That's fair and women when they say other women are
• 54:47
  Speaker 1: bears and important and don't lock them up in a tower,
• 54:52
  Speaker 1: definitely don't do that. He wasn't a good He's not
• 54:54
  Speaker 1: a good character. He's not He's not good. And then
• 54:56
  Speaker 1: he shoves her out of the way the in the
• 54:57
  Speaker 1: bear fight at the end, she also she also like
• 55:02
  Speaker 1: she she fights him. Yeah, I'm glad that she does that.
• 55:10
  Speaker 1: And that was I mean, that was like a really
• 55:11
  Speaker 1: that was like when the Meritive, it felt like the
• 55:13
  Speaker 1: Meratith from the beginning of the movie came back for
• 55:15
  Speaker 1: a second. You're like, oh, cool, Like when she's escaping
• 55:17
  Speaker 1: the tower and when she like fights like sword fights
• 55:20
  Speaker 1: with her dad, Like, yeah, this is the Meriti I
• 55:22
  Speaker 1: wanted to see the whole time, not this whole barre
• 55:24
  Speaker 1: negotiation thing. Sure to sum up there is some commentary
• 55:31
  Speaker 1: on like you know, like gender roles, masculinity, femininity, but
• 55:34
  Speaker 1: it's still it's not perfect in this movie. Um, I
• 55:38
  Speaker 1: want to talk about sate. Oh right, Brave, because most
• 55:45
  Speaker 1: movies that have fate as like a theme or a
• 55:48
  Speaker 1: big story element have male protagonists. Um, there's a lot
• 55:52
  Speaker 1: of talk about destiny and Star Wars, there's a lot
• 55:56
  Speaker 1: of talk about fate in The Matrix Terminator much any
• 56:00
  Speaker 1: like Chosen One narrative, Jesus of Jesus. Sorry, I just
• 56:07
  Speaker 1: wanted to participate. These all have like fate as a
• 56:14
  Speaker 1: theme or through line, and they're almost always male driven stories.
• 56:18
  Speaker 1: If fate or destiny is something that gets talked about
• 56:21
  Speaker 1: in a female driven movie, it's almost always something about romance,
• 56:25
  Speaker 1: and it's like something to the effect of this is
• 56:28
  Speaker 1: the man I'm destined to be with, or it is
• 56:31
  Speaker 1: like a tragic fate where there's all those like faded
• 56:35
  Speaker 1: to die to advance the male protagonists fated to die.
• 56:40
  Speaker 1: So KIANU Reeves can begin the movie like that that
• 56:44
  Speaker 1: kind of fate. Sure. Yeah, However, Brave has very strong
• 56:50
  Speaker 1: fate themes and it has nothing to do with romance.
• 56:53
  Speaker 1: It's all about like carving out your own path, being
• 56:56
  Speaker 1: free to choose your own journey in life, and not
• 56:59
  Speaker 1: being bound you are. Oh wow, someone said bear ahead
• 57:04
  Speaker 1: to and like not being bound to rigid patriarchal traditions.
• 57:09
  Speaker 1: So I still wish we had gotten to see more
• 57:11
  Speaker 1: of a journey for her, though, I still I still
• 57:13
  Speaker 1: think we see more of married as Mom's journey than hers.
• 57:17
  Speaker 1: She doesn't get very far from home. I mean, yeah,
• 57:20
  Speaker 1: but I think it's nice to just have a like,
• 57:23
  Speaker 1: a headstrong young woman whose like values we know. She
• 57:29
  Speaker 1: she never wavers for them until she's apologizing for no
• 57:31
  Speaker 1: reason at the end and the very end, which I yeah,
• 57:34
  Speaker 1: that is I think a mistake narratively, which is probably
• 57:37
  Speaker 1: something John lasted or decided to do because it doesn't
• 57:41
  Speaker 1: make any sense. But this movie doesn't make any sense.
• 57:44
  Speaker 1: We've mentioned the bear also, I wanted to mention really
• 57:50
  Speaker 1: quick there there are four credited writers on the screenplay,
• 57:54
  Speaker 1: and there is gender parody here. Uh so, Brendan Chapman
• 57:57
  Speaker 1: is a credited writer, as well as Irene Metchi. I
• 58:00
  Speaker 1: think it's how you say her name, who's like a
• 58:03
  Speaker 1: Disney standby. She had writing credits on The Lion King
• 58:06
  Speaker 1: Hunchback Hercules Fantasia two thousand and she wrote the TV
• 58:11
  Speaker 1: version of Annie that I liked from so it did that.
• 58:16
  Speaker 1: That is also I mean for any Disney, Pixar or
• 58:20
  Speaker 1: any movie period um having some parody in the in
• 58:24
  Speaker 1: the writing was was nice to see. For sure. I
• 58:27
  Speaker 1: want to talk about Merida as a possible queer icon
• 58:32
  Speaker 1: question mark, question mark, question mark. So a lot has
• 58:36
  Speaker 1: been written about whether or not Mereda might be coded queer,
• 58:39
  Speaker 1: either a lesbian or maybe asexual because of her lack
• 58:44
  Speaker 1: of interest in getting married to a man. Um She's yeah,
• 58:51
  Speaker 1: I'm also not interested in getting married to a man,
• 58:55
  Speaker 1: and I'm straight. It's just good instincts and a lot
• 58:59
  Speaker 1: for any one. True and different members of the queer
• 59:04
  Speaker 1: community have embraced the idea that Merida might be queer.
• 59:08
  Speaker 1: Others have speculated that she could just as easily be
• 59:11
  Speaker 1: a straight person but doesn't want to be, you know,
• 59:14
  Speaker 1: locked into a marriage when she's a teenager, as we pointed, up,
• 59:17
  Speaker 1: straight person with a good head on her shot a
• 59:21
  Speaker 1: good head of so much hair there. Then I think
• 59:25
  Speaker 1: about like the rendering times on her head. You're like,
• 59:29
  Speaker 1: I'm sure people were like at the brink of their
• 59:31
  Speaker 1: own sanity over like this gorgeous cartoons head. They had
• 59:37
  Speaker 1: to develop a like animation program specifically just for her hair,
• 59:43
  Speaker 1: I mean worth it. Yeah, it's great anyway. The movie
• 59:49
  Speaker 1: doesn't spell out her sexual identity or preference one way
• 59:54
  Speaker 1: or the other. But I would say for those who
• 59:56
  Speaker 1: have embraced Meredith as being a queer character, it's nice
• 59:59
  Speaker 1: that for once, it's not a villain. Um, this time
• 1:00:03
  Speaker 1: it's the hero. Because historically we've talked about this a lot,
• 1:00:06
  Speaker 1: the queer, coded, uh or ambiguous characters, and Disney movies
• 1:00:09
  Speaker 1: have pretty much all been villains. So um, I think
• 1:00:13
  Speaker 1: that's a nice change of pace and I just love,
• 1:00:16
  Speaker 1: I mean that element of this genre of movies. For
• 1:00:20
  Speaker 1: all the issues that come with the Princess movie, I
• 1:00:22
  Speaker 1: feel like there is a very like active discussion and
• 1:00:26
  Speaker 1: open to interpretation element that different communities have made for themselves.
• 1:00:31
  Speaker 1: I was really when we were doing the Little Mermaid episode.
• 1:00:34
  Speaker 1: I was like pleasantly surprised and really interested in the
• 1:00:38
  Speaker 1: number of different reads that can be done on a
• 1:00:41
  Speaker 1: movie like this that is designed to be pretty broad
• 1:00:44
  Speaker 1: and for you to plug yourself into the main character
• 1:00:46
  Speaker 1: and to see um, the different meanings that people get
• 1:00:50
  Speaker 1: out of it, and it's just it's cool. And I
• 1:00:52
  Speaker 1: think Meredith is like that kind of character that is
• 1:00:54
  Speaker 1: just kind of like open and I appreciate that. I mean,
• 1:00:57
  Speaker 1: it's truly the absolute least they can do, but by
• 1:01:00
  Speaker 1: not doing a hard specification like that, that was really cool.
• 1:01:04
  Speaker 1: For sure, possible quer icon. We don't know, true, She'll
• 1:01:08
  Speaker 1: let us know. I think my last point was about archery. Okay,
• 1:01:15
  Speaker 1: go off. We had a similar discussion on our Hunger games.
• 1:01:22
  Speaker 1: With Brave, you get to see a woman using real
• 1:01:24
  Speaker 1: weapons for once. It's not a frying pan or other
• 1:01:28
  Speaker 1: kitchen of pines, although you do see Mahdi grab a
• 1:01:32
  Speaker 1: frying pan to try to hit the three Little Bear
• 1:01:36
  Speaker 1: brothers with at one point, again, she really reminded me
• 1:01:38
  Speaker 1: of a character, a similar character from The Little Mermaid.
• 1:01:41
  Speaker 1: It's like the woman who worked at Eric's castle is
• 1:01:44
  Speaker 1: the same character. They're they're pulling a lot. Is it lazy?
• 1:01:48
  Speaker 1: Is it homage? Sometimes it's both. Yesage is just kind
• 1:01:54
  Speaker 1: of another word from like like so here different enough
• 1:02:00
  Speaker 1: at though we see Mereda defending herself against more Do
• 1:02:05
  Speaker 1: by firing arrows at him, she's often wielding a sword
• 1:02:10
  Speaker 1: and according to a study by the Gina Davis Institute
• 1:02:14
  Speaker 1: on Gender and Media about archery, fellow mens, Yes, um,
• 1:02:20
  Speaker 1: this study was about archery, which is the fastest growing
• 1:02:23
  Speaker 1: sport in the US. Apparently seven and ten girls said
• 1:02:27
  Speaker 1: that Catnets from The Hunger Games and Meredith from Brave
• 1:02:30
  Speaker 1: influenced their decision to take up archery. Hell yeah, that's incredible.
• 1:02:34
  Speaker 1: So it just goes to show that when young people
• 1:02:38
  Speaker 1: see someone like them on screen represented doing something, especially
• 1:02:43
  Speaker 1: when it's a thing that they usually don't see themselves doing,
• 1:02:46
  Speaker 1: like a girl doing archery and also being the very
• 1:02:50
  Speaker 1: best at it, which the movie goes out of its
• 1:02:52
  Speaker 1: way again again where she's, as you said, creaming them,
• 1:02:55
  Speaker 1: creaming she's very very good like and that that is
• 1:03:01
  Speaker 1: cool to see, Like she's not just their peer, she's
• 1:03:06
  Speaker 1: like she's creaming them the right. So, yes, whenever girls
• 1:03:11
  Speaker 1: are shown doing things that like maybe aren't traditionally feminine
• 1:03:15
  Speaker 1: things to do, what empowers the audience to say, Hey,
• 1:03:18
  Speaker 1: I could maybe do archery too, It just feels more possible. Yes, absolutely.
• 1:03:23
  Speaker 1: Does anyone have any other thoughts about the film? What
• 1:03:29
  Speaker 1: if I was like, I'd like to talk more about
• 1:03:31
  Speaker 1: the bear on No, No, that's all. That's all, uh,
• 1:03:39
  Speaker 1: that I really had for this. I think I mean
• 1:03:42
  Speaker 1: to start wrapping up. And I think that this movie
• 1:03:45
  Speaker 1: has like a very unique place in time, um where
• 1:03:50
  Speaker 1: this is definitely a step forward, and it was like
• 1:03:53
  Speaker 1: Pixar's first attempt to show a female character. And I
• 1:03:57
  Speaker 1: think that the ways that they succeeded and failed are
• 1:04:00
  Speaker 1: kind of telling, especially behind the scenes, and it is
• 1:04:04
  Speaker 1: kind of weirdly encouraging that I was frustrated at so
• 1:04:09
  Speaker 1: many places in this movie, because that just means that
• 1:04:11
  Speaker 1: we have better options now. Um, So it was like
• 1:04:16
  Speaker 1: weird the for the for the parts, I was frustrated
• 1:04:18
  Speaker 1: that I was at least grateful to think, well, there
• 1:04:21
  Speaker 1: are movies that exist, now would it exist off the
• 1:04:25
  Speaker 1: work that Brave did? That kind of resolves some of
• 1:04:27
  Speaker 1: the issues. It's a it's a good stepping stone hinge,
• 1:04:34
  Speaker 1: Scott stonehinge, someone did boo Yeah and yeah. I mean,
• 1:04:42
  Speaker 1: I feel like we've talked a lot about the bear,
• 1:04:45
  Speaker 1: but I feel like we've cannot overlooked Angus a little bit.
• 1:04:49
  Speaker 1: Oh the horse, which is a very strange name for
• 1:04:52
  Speaker 1: the horse unless they're going to like eat them later, Yeah,
• 1:04:57
  Speaker 1: this is a thing. Yeah, yeah, just to show out
• 1:05:02
  Speaker 1: to Angus. We never really we were like, he doesn't
• 1:05:05
  Speaker 1: really do much in it. But then that's also the thing.
• 1:05:07
  Speaker 1: When she has running off to save her mom, she's
• 1:05:10
  Speaker 1: not even really you know, got Angus there to be like, Oh,
• 1:05:13
  Speaker 1: come on, she's just sitting to buy animals, just doing
• 1:05:16
  Speaker 1: it on her own. Sure, no one can talk to her.
• 1:05:19
  Speaker 1: She's brave, she's grave. Yeah, how she's another Disney princess
• 1:05:24
  Speaker 1: with seemingly only animal friends. Yeah, why doesn't she have
• 1:05:27
  Speaker 1: a like a human friend. We don't see any of
• 1:05:30
  Speaker 1: the people there. There's a major peasant erasure. We don't
• 1:05:36
  Speaker 1: see anyone who's valued at less than six figures in
• 1:05:39
  Speaker 1: this movie, except for a plot which we don't maybe
• 1:05:44
  Speaker 1: is like a chamber maid or something like a line. Yeah,
• 1:05:49
  Speaker 1: she plays subjectified, brutal like Marti, plays into like the
• 1:05:53
  Speaker 1: hysterical woman's stereotype because she's always a true woman. Yeah,
• 1:05:59
  Speaker 1: and are a few of our only I mean iconic
• 1:06:02
  Speaker 1: brave of them to include these troups. I I blame
• 1:06:07
  Speaker 1: anything that isn't like good or that's kind of trumpy
• 1:06:10
  Speaker 1: about this movie on like John Lasseter, Sure, because I
• 1:06:16
  Speaker 1: feel like Brenda Chapman would have, you know, not done
• 1:06:19
  Speaker 1: that stuff. We firmly stand Brenda. Yes, we stand Brenda Chapman. Um.
• 1:06:24
  Speaker 1: I think we have time for a few questions or
• 1:06:27
  Speaker 1: comments from the audience. Oh, yes, how many nipples to be?
• 1:06:35
  Speaker 1: The question? Was the question? I don't know off the
• 1:06:39
  Speaker 1: top of my head, so I'm going to look at it.
• 1:06:44
  Speaker 1: So I learned this recently that the number of nipples
• 1:06:47
  Speaker 1: and animal has is dependent upon the number of offspring
• 1:06:52
  Speaker 1: they generally have per litter. So bears I think generally
• 1:06:56
  Speaker 1: have like maybe two or three cubs that time. I'm guessing.
• 1:07:02
  Speaker 1: But but you double double it, so twice as many nipples?
• 1:07:07
  Speaker 1: Is it? Do they have six? Wow? I got it
• 1:07:11
  Speaker 1: on the first try. The way this will be edited. Um, okay,
• 1:07:20
  Speaker 1: so six nipples is Thank you so much for your question.
• 1:07:24
  Speaker 1: Any others? Yeah? Do you think the cake that was
• 1:07:28
  Speaker 1: given was a bear nipple? Oh? The witch's cake? I
• 1:07:33
  Speaker 1: think that is what a bear nipple looks like. Yes,
• 1:07:37
  Speaker 1: it's like kind of flat and like squarish and delicious,
• 1:07:43
  Speaker 1: and if you eat a bear nipple it'll turn you
• 1:07:44
  Speaker 1: into a bear. Yeah, that is kind of Um with
• 1:07:50
  Speaker 1: more do like with the other Bear story. It felt
• 1:07:53
  Speaker 1: like that didn't need to be there at all, but
• 1:07:55
  Speaker 1: it could have been really interestingly looked at, Like you
• 1:07:58
  Speaker 1: end up with Mother Bear killing Patre So do you
• 1:08:01
  Speaker 1: think there could have been any way to make that
• 1:08:03
  Speaker 1: actually part of the story rather than just this kind
• 1:08:06
  Speaker 1: of like oh, there's I mean there, I could have
• 1:08:11
  Speaker 1: done with either a lot more or a lot less bears.
• 1:08:15
  Speaker 1: It doesn't The amount of Bear is confusing to me.
• 1:08:19
  Speaker 1: This was like there, I didn't I saw. I mean,
• 1:08:22
  Speaker 1: it's like I watched the trailer. I didn't show up
• 1:08:24
  Speaker 1: ready for Bear. There there because there's also there's another
• 1:08:28
  Speaker 1: Disney movie called Brother Bear where a human turned to bear,
• 1:08:33
  Speaker 1: and that movie I hope we never cover because it's
• 1:08:35
  Speaker 1: a fucking disaster there. I've never seen it, but I have.
• 1:08:41
  Speaker 1: That's it's a it's a it's a Phil Collins joint,
• 1:08:45
  Speaker 1: which I do. I mean in England we stand Phil Collins,
• 1:08:48
  Speaker 1: do it? We don't we fuck them? There? I know
• 1:08:52
  Speaker 1: I know things. Yeah, no that I do think that
• 1:08:56
  Speaker 1: like the patriarchy Bear added at the end there, and
• 1:09:00
  Speaker 1: then you get this like I don't know, there's like
• 1:09:03
  Speaker 1: the the fact that there were four writers on this
• 1:09:05
  Speaker 1: movie is very obvious because everyone wasn't. I feel like
• 1:09:09
  Speaker 1: maybe Patriarchy Bear was added after Brenda Chapman left because
• 1:09:14
  Speaker 1: you there was even this moment where it's kind of
• 1:09:16
  Speaker 1: it reminds me of that moment. There's a scene in
• 1:09:19
  Speaker 1: the Rock his wife, his wife where there's like a
• 1:09:24
  Speaker 1: soldier who dies. We don't know who this soldier is.
• 1:09:28
  Speaker 1: He's played off with like twenty seconds like a one gun.
• 1:09:32
  Speaker 1: So they're like it's some guy and they're like, We're like,
• 1:09:37
  Speaker 1: who is this guy? I felt the same way about
• 1:09:40
  Speaker 1: Patriarchy Bear when his ghost appears above the Bear at
• 1:09:43
  Speaker 1: the end and Meredith is like, I'm so glad you're
• 1:09:45
  Speaker 1: at peace. We're like, who are I don't care about
• 1:09:51
  Speaker 1: your soul? Like, who are you? He was a bad guy?
• 1:09:54
  Speaker 1: He was, I again, but she's like, good for you?
• 1:09:58
  Speaker 1: What the second there? I don't even know if there
• 1:10:03
  Speaker 1: needed to be one Bear storyline, much less too u
• 1:10:07
  Speaker 1: Shian in the back there so to to repeat it
• 1:10:10
  Speaker 1: into the mic. The question The comment is basically because
• 1:10:14
  Speaker 1: her dad permitted Mereda to go off and like do
• 1:10:17
  Speaker 1: outdoorsy journeys and stuff like that, she has the wherewithal
• 1:10:21
  Speaker 1: in the knowledge to know that like the berries that
• 1:10:25
  Speaker 1: bear Mom tried to collect and eat for breakfast, because
• 1:10:29
  Speaker 1: bare moms be making breakfast. Uh, they would have died
• 1:10:35
  Speaker 1: because Mereda wouldn't have known that they were poisonous and
• 1:10:38
  Speaker 1: that there were worms in the water. I can see. Yeah,
• 1:10:41
  Speaker 1: point for fergus on that one not all bad. Yeah,
• 1:10:44
  Speaker 1: I I agree this movie could have been called Mother Bear.
• 1:10:51
  Speaker 1: The comment to summarize is, uh that when women are
• 1:10:56
  Speaker 1: given weapons, they're generally long range weapons as opposed to
• 1:10:59
  Speaker 1: hand the hand combat, which is something that you kind
• 1:11:02
  Speaker 1: of see, um, I mean in these two characters alone,
• 1:11:06
  Speaker 1: which is it makes me glad that Mereda at least
• 1:11:08
  Speaker 1: gets to do some sword wielding at certain points, but
• 1:11:12
  Speaker 1: it does seem like it is still kind of an
• 1:11:14
  Speaker 1: unnecessary limitation and in some ways kind of indicates there's
• 1:11:18
  Speaker 1: still some cultural weirdness around seeing women into combat hand
• 1:11:25
  Speaker 1: to hand. Common women are allowed to be snipers but
• 1:11:29
  Speaker 1: not have swords and knives. I would say, an exception
• 1:11:32
  Speaker 1: to that, Yeah, I think that's generally very true. An
• 1:11:34
  Speaker 1: exception is one of three female characters in Lord of
• 1:11:37
  Speaker 1: the Rings, a Owen that's everyone's name, that like, why
• 1:11:47
  Speaker 1: why wasn't you and McGregor cast in this Scottish movie, right,
• 1:11:52
  Speaker 1: what did he do? Maybe? Brenda Chapman was like, no,
• 1:11:56
  Speaker 1: and I won't talk about it, but a Owen we
• 1:12:01
  Speaker 1: alds a sword. But yeah, I would say in general
• 1:12:03
  Speaker 1: that's totally true where women are only allowed to use
• 1:12:07
  Speaker 1: long range. That's one thing Game of Thrones gets right
• 1:12:10
  Speaker 1: sometimes is that you get to see women really brutally
• 1:12:15
  Speaker 1: murdering people. Gotta love it for that. A couple more
• 1:12:21
  Speaker 1: questions talk for it's just factor married as a queer icon. Unfortunately,
• 1:12:27
  Speaker 1: the rather terrible ABC show Once upon a Time addressed
• 1:12:31
  Speaker 1: that they tried to force a romance between her and Macintosh. No, like,
• 1:12:36
  Speaker 1: there was like a whole arc where because she she
• 1:12:39
  Speaker 1: didn't defend her father, who you know, big sword building
• 1:12:42
  Speaker 1: triangle because she didn't defend him and he died on
• 1:12:45
  Speaker 1: her watch. She was more the being queen. There was
• 1:12:47
  Speaker 1: like a whole thing she'd to go and prove herself
• 1:12:49
  Speaker 1: again and Bulan was involved. It's way, I had no
• 1:12:57
  Speaker 1: idea all these characters were in that show. Yeah because
• 1:13:00
  Speaker 1: it Yeah, it Disney owns ABC, so they can just
• 1:13:04
  Speaker 1: do fucking weird, problematic fan fiction on their stupid show
• 1:13:08
  Speaker 1: all the time. It's a mess. I didn't know there
• 1:13:11
  Speaker 1: was ameretat that sucks them to the ground. McIntosh is
• 1:13:19
  Speaker 1: the brave, hearty one. I love when people funk up
• 1:13:24
  Speaker 1: their own good work. That's and I'm back. Okay, so
• 1:13:35
  Speaker 1: they did have some queer relationships in there. Okay, it
• 1:13:40
  Speaker 1: was oh good as long as it was bad and
• 1:13:43
  Speaker 1: set things back. Oh god, that's brutal. Thank you for
• 1:13:49
  Speaker 1: sharing that very upsetting infoun Yeah, I think one more
• 1:13:56
  Speaker 1: yes on the topic of Mere does more ark. I'd
• 1:14:01
  Speaker 1: like to add a few more elements and here your
• 1:14:03
  Speaker 1: reactions to them. It seems pretty clear that the reason
• 1:14:06
  Speaker 1: right how the they need to resolve their bare problem
• 1:14:10
  Speaker 1: is to solve solve their issue with pride, which shows
• 1:14:14
  Speaker 1: Marrider's actions has been overly prideful. And then when they're
• 1:14:17
  Speaker 1: in the ruins of the odd Castle and they see
• 1:14:19
  Speaker 1: that the man who became bad Bear was trying to
• 1:14:24
  Speaker 1: be selfish and not be part of the community, the family,
• 1:14:28
  Speaker 1: and that was wrong, and this leads Merrider to then
• 1:14:31
  Speaker 1: try to explain to all the lords that she's been bad,
• 1:14:34
  Speaker 1: and she apologizes, as you've talked about. So the only
• 1:14:37
  Speaker 1: thing that isn't embracing the patriarchal system in that moment
• 1:14:43
  Speaker 1: is that she gets to choose who she wants to fuck,
• 1:14:46
  Speaker 1: and that that's basically it other than that thing. And
• 1:14:51
  Speaker 1: even now we've kind of learned that she only chooses
• 1:14:54
  Speaker 1: amongst the free men who she had a choice of anyway, Yeah,
• 1:14:58
  Speaker 1: that it still seems like she basically her faults. Her
• 1:15:01
  Speaker 1: mol arc is to learn to embraset the patriarchy with
• 1:15:05
  Speaker 1: slight comma that I get to choose the dick, right,
• 1:15:11
  Speaker 1: and so that she doesn't become a bear. Of course,
• 1:15:13
  Speaker 1: Yeah it is, I I do. Yeah, I I have
• 1:15:17
  Speaker 1: some issues with with Mereda's arc. And I also feel
• 1:15:22
  Speaker 1: like when they when they do that scene and they
• 1:15:23
  Speaker 1: try to set up like prideful, we'll make you into
• 1:15:26
  Speaker 1: a bad bear, like that's felt like very false equivalency,
• 1:15:31
  Speaker 1: because all she's trying to do is have some ownership
• 1:15:36
  Speaker 1: of what happens to her. She's not trying to inflict
• 1:15:39
  Speaker 1: harm or control over literally anyone but herself. And I
• 1:15:43
  Speaker 1: feel like comparing her to this prince that no one
• 1:15:45
  Speaker 1: gives a funk about was kind of like, Yeah, that
• 1:15:49
  Speaker 1: was just another way that I feel like the plot
• 1:15:51
  Speaker 1: subtly would punish Mereda and her mother and kind of
• 1:15:55
  Speaker 1: invent this thing that Merida has to feel bad about
• 1:15:58
  Speaker 1: when the only person she's trying to extraly has control
• 1:16:00
  Speaker 1: over is herself. She's not trying to force anything on anyone.
• 1:16:04
  Speaker 1: So fuck that prince. What was that? That was too
• 1:16:08
  Speaker 1: many bears? Yeah? One more question in the corner there, Yes,
• 1:16:13
  Speaker 1: um So the question was how the movie represents curly
• 1:16:17
  Speaker 1: hair and like the element of a wild nature and nonconformity,
• 1:16:21
  Speaker 1: and how that's often tied with curly hair. So I
• 1:16:25
  Speaker 1: had like made into hair and a past life, and
• 1:16:28
  Speaker 1: like I had like very wild, ginger curly hair, and
• 1:16:33
  Speaker 1: after a brave I grew it so it got even
• 1:16:37
  Speaker 1: longer and even wilder. Um I don't know if that
• 1:16:41
  Speaker 1: if I was influenced by that, but um, I like
• 1:16:44
  Speaker 1: proper waiting for it. So I had like ginger cuddles
• 1:16:47
  Speaker 1: down to like here. It's hard to imagin hi brave,
• 1:16:53
  Speaker 1: but yeah, I guess that is a good point. She
• 1:16:55
  Speaker 1: is the only one to have has there been other
• 1:16:58
  Speaker 1: princesses that I've had, Like, I don't think so, And
• 1:17:00
  Speaker 1: most of the other princesses have been white woman women
• 1:17:03
  Speaker 1: and curly hair is not exclusively, but um, women of
• 1:17:07
  Speaker 1: color and curly hair is there are connections there, um,
• 1:17:13
  Speaker 1: So I think, yeah, I think it's just a matter
• 1:17:15
  Speaker 1: of like all the princesses in like fairytale history being
• 1:17:21
  Speaker 1: white women who like various degrees of like adventurous. Uh.
• 1:17:26
  Speaker 1: I don't know totally how to answer your question, but
• 1:17:28
  Speaker 1: I think that it's definitely something that like, I'll be
• 1:17:30
  Speaker 1: on the lookout more for. Yeah, I know that there's
• 1:17:33
  Speaker 1: more written on this, and I know just with the
• 1:17:35
  Speaker 1: amount of knowledge I have, I'm not qualified to really
• 1:17:37
  Speaker 1: speak to it. I did kind of view that as
• 1:17:42
  Speaker 1: an attempt at some sort of subversion of the princess
• 1:17:45
  Speaker 1: archetype that they seem to try to be commenting on
• 1:17:49
  Speaker 1: a lot of like this, you know, like where there's
• 1:17:52
  Speaker 1: I can't really think of a princess besides Ariel whose
• 1:17:56
  Speaker 1: hair isn't somehow like styled or controlled in some way,
• 1:18:00
  Speaker 1: and so it seemed like a character designed to indicate
• 1:18:03
  Speaker 1: something about her. But I definitely see what you're saying,
• 1:18:06
  Speaker 1: and then that's something that yeah, I would just need
• 1:18:08
  Speaker 1: to do more research on, thank you sharing that up
• 1:18:11
  Speaker 1: to Yeah, for sure, So does this movie pass the
• 1:18:15
  Speaker 1: Bechdel test. Yes, and it passes the bark that was
• 1:18:25
  Speaker 1: like a bad pun on the level that I usually do.
• 1:18:28
  Speaker 1: I know I was. I was just like, wow, I
• 1:18:29
  Speaker 1: didn't know I had to it anymore, Jamie, honestly brieve
• 1:18:34
  Speaker 1: of you. Yes, it passes between um Merida and eleanor
• 1:18:40
  Speaker 1: it passes between Merida and the witch, who isn't technically named.
• 1:18:44
  Speaker 1: But I think that she's plot plot, which I think
• 1:18:47
  Speaker 1: she is an important enough character because like the name
• 1:18:49
  Speaker 1: Caveat is like do we see this woman for five
• 1:18:51
  Speaker 1: seconds or less? Uh? And but yeah, I think I
• 1:18:54
  Speaker 1: think I would count. It doesn't pass as much as
• 1:18:57
  Speaker 1: much as you would because her almost a bear for
• 1:19:00
  Speaker 1: the most of the time. I can't talk, but she is.
• 1:19:03
  Speaker 1: But they are communicating, and I think that there is
• 1:19:05
  Speaker 1: like I mean, bytel cast, bytel test, oh my god,
• 1:19:09
  Speaker 1: bytel tests is you know, not a precise metric because
• 1:19:12
  Speaker 1: it wasn't designed to be that. I think that, you know, like,
• 1:19:14
  Speaker 1: even though a lot of the communication between Merit and
• 1:19:17
  Speaker 1: her mom are nonverbal, it's still I would absolutely the
• 1:19:23
  Speaker 1: charades bear scene counts. That's communications between female identifying characters. Yes, absolutely,
• 1:19:29
  Speaker 1: bears be damned bears. They speak their own language. What
• 1:19:34
  Speaker 1: would we rate this on the nipple scale zero to
• 1:19:37
  Speaker 1: five nipples based on its representation of women. Um, I
• 1:19:40
  Speaker 1: would give this I think a four three and a
• 1:19:43
  Speaker 1: half four. I think for the time especially, it was
• 1:19:46
  Speaker 1: like it was paving the way for other like feminist
• 1:19:51
  Speaker 1: texts targeted at young girls to be made. I think
• 1:19:53
  Speaker 1: there's a lot of stuff in Handles really well. It
• 1:19:55
  Speaker 1: subverts a lot of tropes and but as we've talked about,
• 1:19:58
  Speaker 1: there's some missteps in again they're probably all John Lasseter's fault. Um,
• 1:20:04
  Speaker 1: but yeah, I don't like that, like the burden becomes
• 1:20:08
  Speaker 1: is placed on Merida to have to apologize for just
• 1:20:11
  Speaker 1: being like a feminist icon. That's her for seeming like
• 1:20:15
  Speaker 1: patriarchy with her idea somehow. Yeah. Yeah, there's a lot
• 1:20:19
  Speaker 1: of weird things like that. But um, I'll split the
• 1:20:22
  Speaker 1: difference and I'll do a three point seven five. Now
• 1:20:26
  Speaker 1: everyone doesn't imagine slicing a nipple like that. Uh yeah,
• 1:20:33
  Speaker 1: And I will give one to bear Mom, to to Merida,
• 1:20:38
  Speaker 1: and I'll give my three quarters nipple to Paddington, who
• 1:20:42
  Speaker 1: should be in this movie. If you if you're going
• 1:20:44
  Speaker 1: to have two Bears, Why not a third bear? Rule
• 1:20:47
  Speaker 1: of threes Paddington, I'm gonna do. I was, I swear
• 1:20:54
  Speaker 1: to I was thinking the exact same number that three
• 1:20:57
  Speaker 1: point seven five nipples. Yeah, I mean because meeting this
• 1:21:02
  Speaker 1: movie in context and on its terms for twelve, this
• 1:21:06
  Speaker 1: was kind of the only movie of its kind that
• 1:21:09
  Speaker 1: was coming out, so for all the reasons that the
• 1:21:13
  Speaker 1: way that it deals with the idea of patriarchy was
• 1:21:16
  Speaker 1: kind of frustrating, But it does seem like there have
• 1:21:19
  Speaker 1: been movies since that have learned from the lessons that
• 1:21:23
  Speaker 1: this movie sort of taught us. And the fact that
• 1:21:24
  Speaker 1: this is like one of the first female held fun
• 1:21:28
  Speaker 1: the other guy who worked on it for a year
• 1:21:29
  Speaker 1: and a half, don't care, is Brenda Chapman's movie, Like
• 1:21:31
  Speaker 1: that is a really cool step in the right direction,
• 1:21:35
  Speaker 1: And unfortunately, since she left Pixar, she hasn't been able
• 1:21:38
  Speaker 1: to direct another movie. So I really, really, really hope
• 1:21:41
  Speaker 1: that those opportunities continue to be available. So so I'll
• 1:21:45
  Speaker 1: do the only three point seven five, give two to Merita,
• 1:21:49
  Speaker 1: one to one of the brothers, whichever it was your
• 1:21:52
  Speaker 1: okay if uh, and then I'll give the last three
• 1:21:57
  Speaker 1: quarters to bear Mom and how you Um, I'm not
• 1:22:01
  Speaker 1: as good at maths, so I'm going to go a
• 1:22:02
  Speaker 1: solid three. I just think that it was going, you know,
• 1:22:07
  Speaker 1: relatively well until she decides she doesn't want to get married,
• 1:22:12
  Speaker 1: and then she poisons her mom. She's like, I know
• 1:22:18
  Speaker 1: what to do. I'll poison my mom. And then her
• 1:22:21
  Speaker 1: mom turns into a bear and she's like, maybe that
• 1:22:26
  Speaker 1: was too much. Maybe we could have slept on it
• 1:22:30
  Speaker 1: and spoke about things in the morning and she would
• 1:22:33
  Speaker 1: have came around, but she didn't. She's so she's a bear.
• 1:22:37
  Speaker 1: And then and then it's her fault. It's essentially it's
• 1:22:40
  Speaker 1: it's her fault that her mom's a bear, and we
• 1:22:42
  Speaker 1: forget that. She's like not like wanting to get married. Now,
• 1:22:46
  Speaker 1: she just has to change her mom back by apologizing
• 1:22:51
  Speaker 1: profusely for something that she didn't mean to do, and
• 1:22:56
  Speaker 1: then she's like borderline thinking about getting married. At the end. Yeah,
• 1:23:00
  Speaker 1: it's like, so she also made a really irresponsible purchase
• 1:23:03
  Speaker 1: by buying all of those wood carvings. What was that
• 1:23:08
  Speaker 1: for income? Was that the plot just being like, get ready,
• 1:23:14
  Speaker 1: there's a lot more bears with this Carol. Yeah, so
• 1:23:21
  Speaker 1: three nipples day. Yeah, I think that's the show, damn shows.
• 1:23:27
  Speaker 1: So thank you so much again to our guests Rachel
• 1:23:30
  Speaker 1: and Rachel and what would you like to plug? Where
• 1:23:35
  Speaker 1: can people find you online? So I'm on Instagram Rachel
• 1:23:38
  Speaker 1: and dot comedians like all these are a c h
• 1:23:41
  Speaker 1: e L A double n E. And I'm on Twitter
• 1:23:45
  Speaker 1: tweet Rachel A and r A c h E L
• 1:23:50
  Speaker 1: A double n e. Um. You can also follow my
• 1:23:54
  Speaker 1: comedy night which I run, which is in Glasgow, but
• 1:23:56
  Speaker 1: you know, if you're around, it's Ambish the salon. So
• 1:24:01
  Speaker 1: we have a sketch grip called Ambush and we run
• 1:24:04
  Speaker 1: a live home tonight and it has stand up and
• 1:24:06
  Speaker 1: sketch and all sorts of alternative feminist comedy that wouldn't
• 1:24:10
  Speaker 1: make you wins get it up for one more time
• 1:24:16
  Speaker 1: giving up for yourselves. Well, thank you so much for coming. Yeah,
• 1:24:20
  Speaker 1: we'll be hanging out. We're gonna be selling us some
• 1:24:22
  Speaker 1: merch and taking pics. So come say hi on your
• 1:24:25
  Speaker 1: way out by coming. And that was our brave episode.
• 1:24:31
  Speaker 1: It was so much fun, our first international episode. Can
• 1:24:34
  Speaker 1: you believe? Brave of us? Brave of us? So thank
• 1:24:38
  Speaker 1: you again to our guest Rachel Anne Clark. She is wonderful,
• 1:24:42
  Speaker 1: so funny, so amazing. Thank you to the Albany in
• 1:24:46
  Speaker 1: London for hosting us, for listing us as the Women
• 1:24:49
  Speaker 1: in Film Podcast, which we have as you know, by
• 1:24:52
  Speaker 1: now officially rebranded US. Thank you to my beloved Isaac
• 1:24:57
  Speaker 1: Taylor for recording for us under duress. Oh no, I'm kidding, okay,
• 1:25:03
  Speaker 1: I was like what he volunteered and we paid him big.
• 1:25:08
  Speaker 1: Thanks to Sassy for working the door checking people in
• 1:25:12
  Speaker 1: Sassi as a champion. Thank you so much, and thank
• 1:25:15
  Speaker 1: you to everyone who came and everyone who bought merch.
• 1:25:18
  Speaker 1: We are eternally grateful and we hoped to be back
• 1:25:21
  Speaker 1: in London soon and we have another live episode from
• 1:25:24
  Speaker 1: London coming out in the near future, so look forward
• 1:25:27
  Speaker 1: to that. Stay tuned. Bye,