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Aladdin with Shereen Lani Younes · The Bechdel Cast

• 0:00
  Speaker 1: On the Dog Cast, the questions asked if movies have
• 0:03
  Speaker 1: women in them, are all their discussions just boyfriends and
• 0:07
  Speaker 1: husbands or do they have individualism? The patriarchy? Zef in
• 0:11
  Speaker 1: best start changing it with the Bechdel Cast. Hello and
• 0:16
  Speaker 1: welcome to the Bechtel Cast. My name is Caitlin Darante.
• 0:18
  Speaker 1: My name is Jamie Loftus, and we talk about how
• 0:21
  Speaker 1: women are represented in film and the podcasts were listening to.
• 0:26
  Speaker 1: Which is the Vectel Cast? We use the Bechtel Test.
• 0:29
  Speaker 1: Ever heard of it? No? What is it? It's a test?
• 0:34
  Speaker 1: Episode ninety Jamie learns what the Bechtel tests. That reminds
• 0:39
  Speaker 1: me of um. This show that he's been DIDNY channel
• 0:42
  Speaker 1: called Dog with a Blog And the first episode I
• 0:44
  Speaker 1: ever watched it's like season two, episode thirty five, and
• 0:48
  Speaker 1: it was like the people learned the dog as a blog.
• 0:52
  Speaker 1: It's like deep into season two that anyone becomes aware
• 0:55
  Speaker 1: that the blog everyone in town has been reading has
• 0:58
  Speaker 1: been written by a dog. It's a real wow. I
• 1:01
  Speaker 1: think that there's like an R rated version of that
• 1:04
  Speaker 1: that I think would be really compelling. Anyways, what is
• 1:07
  Speaker 1: the Bactel Test? I don't know what I don't know
• 1:08
  Speaker 1: what it is. Does the dog in this show identify
• 1:11
  Speaker 1: as any particular gender? Yes, you can't get a television
• 1:15
  Speaker 1: show unless you're a male identifying dog. Okay, So in
• 1:19
  Speaker 1: that case, the conversation we just had about the dog
• 1:22
  Speaker 1: with a blog does not pass the Bactel test because
• 1:25
  Speaker 1: we were talking about a male identifying figure. Um. So
• 1:30
  Speaker 1: the Bactel test requires that a movie, let's say that
• 1:33
  Speaker 1: you're watching, has to have two female identifying characters. They
• 1:38
  Speaker 1: have to speak to each other, and that conversation that
• 1:42
  Speaker 1: they have cannot be about a man. Let's try it. Okay,
• 1:46
  Speaker 1: Hey Caitlin, Hey Jamie Bucket, hats are back, Jamie. I
• 1:50
  Speaker 1: would have to disagree. We did. We did. That's that passed.
• 1:54
  Speaker 1: The Bactel test doesn't pass the rules of fashion, but
• 1:58
  Speaker 1: it does pass. Yes. So anyway, we are here as
• 2:02
  Speaker 1: we always are with a guest. Um. She is a
• 2:08
  Speaker 1: filmmaker and she is the co host of the Ethnically
• 2:12
  Speaker 1: Ambiguous podcast on How Stuff Works. Sharine Lonnie Unite. Hi, Hi,
• 2:18
  Speaker 1: So you brought us Aladdin? I brought you a Laddin
• 2:22
  Speaker 1: Disney's nineteen ninety two Aladdin. Yes, it's a sentimental treasure
• 2:28
  Speaker 1: of mine. I watched it again yesterday. It was just magical. Yeah,
• 2:32
  Speaker 1: I hadn't seen it in a couple years, but it's
• 2:37
  Speaker 1: still bangs for me. I still, I mean, there's like,
• 2:39
  Speaker 1: I mean, there's infinity things to unpack about. What a
• 2:43
  Speaker 1: fun movie. It's a great movie. It was the introduction
• 2:45
  Speaker 1: to Robin Williams, the same catapult in my obsession with him.
• 2:49
  Speaker 1: The songs are fun and the lyrics are kind of
• 2:51
  Speaker 1: weird sometimes, but as a kid, you didn't know that
• 2:54
  Speaker 1: that's an adult, right, there's a lot of weird. Well,
• 2:58
  Speaker 1: there's like and this has nothing to do with our
• 3:00
  Speaker 1: discussion on gender, and this is the point where people
• 3:03
  Speaker 1: listening or are going to our iTunes page and being
• 3:06
  Speaker 1: like they don't talk about it in exopt But seriously,
• 3:09
  Speaker 1: there's so much like self referential Disney ship in this
• 3:13
  Speaker 1: movie that is like kind of unusual for Disney movies.
• 3:15
  Speaker 1: Like there there's a reference to a Little Mermaid, There's
• 3:19
  Speaker 1: there's a goofy at the end. Yeah, it almost feels
• 3:23
  Speaker 1: like a DreamWorks movie vibe where they're so they don't
• 3:27
  Speaker 1: give a fuck there, they're just like, oh yeah, this
• 3:31
  Speaker 1: is a new Shrek movie. But also Boss Baby and
• 3:34
  Speaker 1: you're like, yeah, sure, whatever. I can't think of a
• 3:36
  Speaker 1: ton of other specific examples aside from there's a moment
• 3:40
  Speaker 1: in Zootopia where they do some self referential stuff. But
• 3:43
  Speaker 1: I feel like that's not that uncommon for Disney. I
• 3:44
  Speaker 1: feel like they put a little like Easter eggs in
• 3:46
  Speaker 1: Easter Eggs. But I mean, I feel like the ones
• 3:48
  Speaker 1: in this movie and just like reference culture in general
• 3:51
  Speaker 1: is especially. I don't hate it at all, it's just
• 3:54
  Speaker 1: like kind of unusual for this that's true. Yeah. Anyways,
• 3:57
  Speaker 1: So Sharine, what is your hist with this movie? Your relationship?
• 4:01
  Speaker 1: I know you love it. Did you grow up with it?
• 4:03
  Speaker 1: I did so. I'm Arab, I'm Syrian, and as a
• 4:07
  Speaker 1: kid you had one thing to relate to, and it
• 4:10
  Speaker 1: was a ladd and if you were a real Eastern,
• 4:13
  Speaker 1: I grew up an older I have two sisters, and
• 4:14
  Speaker 1: my older sisters she's a year and have older than me,
• 4:16
  Speaker 1: and so we would grow up watching the same movies
• 4:19
  Speaker 1: and she would always relate to, like the princesses and stuff,
• 4:22
  Speaker 1: and like she was she was aerial, and she was
• 4:24
  Speaker 1: Jasmine and Belle, and I was always the animal sidekick.
• 4:27
  Speaker 1: I was Raja or flounder or I loved it. I
• 4:31
  Speaker 1: was like, I can't wait to be an animal like
• 4:34
  Speaker 1: peek younger siblings exactly sweet. But as a Middle Eastern kid,
• 4:40
  Speaker 1: you watch Aladdin, I don't know, do you automatically like
• 4:44
  Speaker 1: it just because it's like I'm represented at least a
• 4:46
  Speaker 1: little bit, even though it's all by like it's by
• 4:48
  Speaker 1: a white company, by with white voice actors, and but
• 4:51
  Speaker 1: they'll say like praise Allah or like even a Laddin
• 4:55
  Speaker 1: at one point says like my esteemed offendi and theffendi
• 4:58
  Speaker 1: means like friend, and like, as an Arab you know
• 5:00
  Speaker 1: what that means, like you you like, or like you'll
• 5:02
  Speaker 1: see Arabic on the on the on the screen and
• 5:04
  Speaker 1: you'll be like, I know, I know how to read that.
• 5:06
  Speaker 1: And so watching Aladdin as a Middle Eastern girl, it
• 5:10
  Speaker 1: felt like I was like, oh, I've seen now. That's
• 5:12
  Speaker 1: why I was especially pissed when they were casting the
• 5:15
  Speaker 1: live action movie of Aladdin. I thought like, this was
• 5:17
  Speaker 1: like a chance for like a Middle Eastern actress to
• 5:20
  Speaker 1: get her chance in the cast. Have Indian have white girl?
• 5:24
  Speaker 1: So I haven't. I haven't been keeping up with the
• 5:28
  Speaker 1: casting for that movie. Is there a Laddins Egyptian, which
• 5:31
  Speaker 1: is which is acceptable to me, but I just think, like,
• 5:34
  Speaker 1: and then the argument was like Acaba is made up,
• 5:36
  Speaker 1: it's a real place in the Middle East, Like yeah,
• 5:37
  Speaker 1: I understand that, but also when else will will a
• 5:40
  Speaker 1: Middle Eastern actress and get her chance if not for
• 5:43
  Speaker 1: fucking Aladdin? You know, so, and it's Middle Eastern culture
• 5:47
  Speaker 1: that's being referenced the whole time, so it's like the
• 5:50
  Speaker 1: whole time. That's not really a valid argument. Yeah, And
• 5:53
  Speaker 1: even like how the bread looks like in the in
• 5:56
  Speaker 1: the cartoon and everything, it's very like like that's how
• 6:00
  Speaker 1: looks like in Syria when my grandpa would come back
• 6:02
  Speaker 1: from the market, Like it's like these like yeah me
• 6:04
  Speaker 1: loaves of bread or like the bizarre. It would be
• 6:05
  Speaker 1: like something I would relate to. And obviously it's like
• 6:07
  Speaker 1: an ancient time, and like Syria wasn't like that ancient
• 6:11
  Speaker 1: when I was when I would visit there, But there
• 6:13
  Speaker 1: are little references that you can relate to, and like, um,
• 6:17
  Speaker 1: there are similarities that are just like you can't ignore.
• 6:20
  Speaker 1: And it felt cool as a kid knowing that was
• 6:23
  Speaker 1: my movie and it was a great movie, and it
• 6:25
  Speaker 1: was like that's another thing. Um. And then there was
• 6:28
  Speaker 1: also a Supernintendo video game of Aladdin that we were
• 6:31
  Speaker 1: obsessed with, and it was like walk you through the
• 6:33
  Speaker 1: whole thing, and you would like eat apples and that
• 6:36
  Speaker 1: was like your life supported on the side, like how
• 6:38
  Speaker 1: many apples you had, and like so many of the
• 6:41
  Speaker 1: genie The genie level was like really hard and getting
• 6:44
  Speaker 1: out of a cave of wonders is really fun. And
• 6:46
  Speaker 1: the whole thing me and my sisters was just nerds
• 6:48
  Speaker 1: that loved the lad and loved the video game and
• 6:50
  Speaker 1: defined a lot of our childhood for sure. Yeah yeah, yeah,
• 6:53
  Speaker 1: it's I mean, it's so unfortunate that like that was
• 6:56
  Speaker 1: your one choice, like an Arab girl growing up, like
• 7:00
  Speaker 1: this is like my one chance to see myself represented.
• 7:04
  Speaker 1: It's wild. Um. It also resonated with white kids because
• 7:08
  Speaker 1: I also loved this movie growing up. Not yeah, not
• 7:12
  Speaker 1: for the same reasons as you, but I was just like,
• 7:14
  Speaker 1: oh my god, the genie is funny and I love
• 7:17
  Speaker 1: you know, so um yeah, I also grew up with
• 7:19
  Speaker 1: this movie. I think I don't know if I saw
• 7:21
  Speaker 1: it in the theater. I was six when it came out,
• 7:23
  Speaker 1: but um, we had this on VHS. I watched it
• 7:26
  Speaker 1: all the time. I watched it last night for the
• 7:29
  Speaker 1: first time in a while, but I still had so
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  Speaker 1: many things memorized, like it just comes back to you.
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  Speaker 1: Songs even a little like words in the middle of
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  Speaker 1: a song. They're just like random, Like it's just everything
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  Speaker 1: comes back to you just because you've seen it, like
• 7:40
  Speaker 1: it's ingrained in your memory. So I can there's like
• 7:42
  Speaker 1: certain songs that I can not only did I not
• 7:45
  Speaker 1: realize that I had fully memorized, but I can also
• 7:47
  Speaker 1: hear like my little brother at five singing it like
• 7:50
  Speaker 1: with me when I hear yeah, because my brother used
• 7:53
  Speaker 1: to sing friend like Me very loud, and I remember
• 7:57
  Speaker 1: pushing him into a wall once and his tooth got
• 8:00
  Speaker 1: loose because he was singing friend like Me too loud.
• 8:04
  Speaker 1: That's a really lovely memory. I want a beautiful shout
• 8:07
  Speaker 1: out to be The Genie was like my hero character.
• 8:10
  Speaker 1: I loved him so much, and I loved Dropping Williams
• 8:13
  Speaker 1: after I saw that movie, and I always think about
• 8:15
  Speaker 1: like actors now like comedians that decided to do children's movies,
• 8:18
  Speaker 1: like the kids that are growing up with them probably
• 8:21
  Speaker 1: are getting introduced to them for the first time the
• 8:22
  Speaker 1: same way I was induced to Robin Williams and so
• 8:25
  Speaker 1: I really love the roll. Williams did that and he
• 8:27
  Speaker 1: was just so funny, and I love the genie. And
• 8:28
  Speaker 1: my second favor character was the carpet because I'm a weirdo.
• 8:32
  Speaker 1: The carpet rules. The carpet is so cute, has a
• 8:35
  Speaker 1: big personality, even the carpets of a boy. Aladdin genders
• 8:41
  Speaker 1: the carpet right away, and it's like, how could you know?
• 8:44
  Speaker 1: How could you know best? The carpet is a genderless icon.
• 8:51
  Speaker 1: I agree, Jamie. What's your history with Aladdin? Exactly the same.
• 8:55
  Speaker 1: It's just I watched it five hundred times and then
• 8:57
  Speaker 1: I pushed my brother into a wall. Yeah, that was
• 8:59
  Speaker 1: the one to Prince we had. We never pushed us
• 9:01
  Speaker 1: something into a wall, maybe over different reasons. Yeah. Shall
• 9:08
  Speaker 1: I do their recap? So, okay, we open on Jaffar.
• 9:13
  Speaker 1: He's my crunish. We do need to unpack why Jaffar
• 9:17
  Speaker 1: is your crash, but we will get into that. Um So,
• 9:20
  Speaker 1: there's this bad, sinister looking man named Jaffar and he's
• 9:23
  Speaker 1: trying to get into the Cave of Wonders to get
• 9:26
  Speaker 1: this magic lamp and he's not able to do it
• 9:29
  Speaker 1: because like the guy he recruited is is he not
• 9:32
  Speaker 1: good enough? Unworthy? So then we meet Aladdin and he
• 9:37
  Speaker 1: and his pet monkey slash best friend. A boo also
• 9:41
  Speaker 1: means father of an Arabic which always confused me, Like
• 9:46
  Speaker 1: do you know how like in European countries like Johnson
• 9:49
  Speaker 1: is like the son of John and in the Middle East,
• 9:52
  Speaker 1: like a nickname will call someone by is like father
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  Speaker 1: of the oldest child they have, So like my father
• 9:58
  Speaker 1: is a Buddha in me, which is like my my
• 10:00
  Speaker 1: sister's name is Raymi, or like a boo whatever is
• 10:03
  Speaker 1: like their nickname. So as a kid, the fact that
• 10:06
  Speaker 1: the monkey was named like dad, always that's so weird.
• 10:11
  Speaker 1: Never understood it anyways, Sorry, who is all of our fathers?
• 10:17
  Speaker 1: What does that make sense to me? So he and
• 10:20
  Speaker 1: a boo they are poor, they have to steal their food,
• 10:23
  Speaker 1: and they're always in trouble with the law. Then we
• 10:27
  Speaker 1: meet Jasmine and she is the princess. Her father is
• 10:31
  Speaker 1: the Sultan, and he is trying to marry her off
• 10:34
  Speaker 1: because laws, because laws. The law says that she has
• 10:38
  Speaker 1: to be married to a prince by her next birthday,
• 10:40
  Speaker 1: which is in three days. We also don't know how
• 10:42
  Speaker 1: old she is. They never specifive. I feel like, intentionally
• 10:45
  Speaker 1: I think so too. They're like, she looks sixteen, but
• 10:47
  Speaker 1: if anyone asks, she's five. Also, the Saltan is adorable,
• 10:53
  Speaker 1: such a bumbling idiot such he is shuffling around like
• 10:59
  Speaker 1: I want to one of those I don't know if
• 11:01
  Speaker 1: there's like a formal word for it, but like those
• 11:03
  Speaker 1: things where it's like a cartoon without it's like, I
• 11:08
  Speaker 1: guess we do see him in his underwear. I'm like,
• 11:09
  Speaker 1: I feel like his legs would be like a wild shape,
• 11:12
  Speaker 1: but they're regular. Yeah, he's wearing like Boxer's heart shaped Boxer.
• 11:15
  Speaker 1: I retract that statement. I was like, I wish we
• 11:18
  Speaker 1: knew what the Sultan was like without his clothes on,
• 11:20
  Speaker 1: but the movie actually does know. That's my first wish.
• 11:27
  Speaker 1: I want to see the Salton naked. Um. And then
• 11:31
  Speaker 1: it's also around here that we learn that Jaffar is
• 11:35
  Speaker 1: the Sultans, that he's not hot, but he is the
• 11:41
  Speaker 1: Sultan's like royal advisor. He's rasputant of the sult like
• 11:46
  Speaker 1: he's anyways sorry um So, then Jafar learns that Aladdin
• 11:50
  Speaker 1: is the person he needs to enter the Cave of
• 11:53
  Speaker 1: Wonders to retrieve this lamp for him, so he basically
• 11:55
  Speaker 1: tricks him. Chose a one narrative, so he tricks Aladdin
• 11:59
  Speaker 1: into going and getting this lamp and and so doing,
• 12:02
  Speaker 1: Aladdin meets the Magic Carpet, he gets the lamp. Jaffar
• 12:06
  Speaker 1: portrays him, but like Jaffar does not in disguise, yes,
• 12:11
  Speaker 1: because because the boot steals the lamp back. Yeah yeah, yeah,
• 12:14
  Speaker 1: he's a little pickpocket. But they're so they're now trapped
• 12:16
  Speaker 1: in the Cave of Wonders, but they have the lamps.
• 12:18
  Speaker 1: So that we meet the Genie big number right us
• 12:24
  Speaker 1: For me, it's so fun. I watched it twice. So fun,
• 12:31
  Speaker 1: so good. So now the Genie is Aladdin's master. No,
• 12:36
  Speaker 1: Aladdin is the genies master. Yes, he's granted three wishes
• 12:41
  Speaker 1: for his first wish. He's like, m oh, I forgot
• 12:43
  Speaker 1: the part where Aladdin and Jasmine meets. So Jasmine runs
• 12:46
  Speaker 1: away because she's like, I'm not going to marry anyone.
• 12:49
  Speaker 1: I don't want my choices made for me. I'm going
• 12:52
  Speaker 1: to run away from home. So she meets Aladdin in
• 12:55
  Speaker 1: the marketplace and they fall basically instantly in love. But
• 13:00
  Speaker 1: Aladdin gets taken away and like under arrest. And then Jasmine,
• 13:03
  Speaker 1: who was like I'm going to run away forever, returns
• 13:05
  Speaker 1: to her palace literally that night. Yeah, after saying I'll
• 13:09
  Speaker 1: never go back there. That's how my only trying to
• 13:12
  Speaker 1: run away from home scheme went when I was thirteen
• 13:15
  Speaker 1: to literally walked to my aunt's house. She drove me
• 13:18
  Speaker 1: on three hours later. Right, Okay. So then for m
• 13:22
  Speaker 1: Aladdin's first wish, He's like, wow, I really love this princess.
• 13:25
  Speaker 1: But the Genie's like, I can't make anyone fall in
• 13:27
  Speaker 1: love with anyone else. So Aladdin's like, what if you
• 13:30
  Speaker 1: make me a prince that way? I haven't had her in.
• 13:33
  Speaker 1: What if I gaslight this woman into falling in love
• 13:35
  Speaker 1: with me? So Genie turns him into a prince, and
• 13:39
  Speaker 1: he comes parading into her life, being like, oh my god,
• 13:42
  Speaker 1: like Prince Ali another great number, Any any any song
• 13:49
  Speaker 1: with the Genie is a blast. It's so good. It's
• 13:52
  Speaker 1: so good. So then he, you know, eventually kind of
• 13:56
  Speaker 1: wins her over because at first she's just like I
• 13:57
  Speaker 1: don't want you. You're one of these other stuffy suitors.
• 14:01
  Speaker 1: No thanks, But then he reminds her of the boy
• 14:04
  Speaker 1: that she met in the marketplace, ak Aladdin, because that
• 14:07
  Speaker 1: is who he is. She has eyes and she has eyes.
• 14:12
  Speaker 1: But he's like, no, that wasn't me, but you're pretty great,
• 14:14
  Speaker 1: so let's hang out and she's like okay, fine. Meanwhile,
• 14:17
  Speaker 1: Jaffar gets wind that Prince Alie is just Aladdin with
• 14:21
  Speaker 1: the lamp, so he tries to kill him, and then yeah,
• 14:24
  Speaker 1: I forgot that, like of the few like moments that
• 14:28
  Speaker 1: I did not remember about this movie at all, I
• 14:30
  Speaker 1: forgot that they knock him out and throw him off
• 14:32
  Speaker 1: a cliff like to his death, like he has a
• 14:35
  Speaker 1: weight on his feet, and he's like pretty much did. Yeah.
• 14:38
  Speaker 1: It's like, oh my god, was that truly necessary to
• 14:42
  Speaker 1: show us all of that? But and that's when Aladdin
• 14:46
  Speaker 1: uses his second wish to basically have the Genie stave
• 14:49
  Speaker 1: him from dying. And he had promised the Genie that
• 14:52
  Speaker 1: he was like, you know what for my third wish,
• 14:54
  Speaker 1: I promised to set you free so that you're not
• 14:56
  Speaker 1: my slave anymore. And the Genie's like, okay, great, I
• 15:00
  Speaker 1: hope that happens. And then there's a moment where Aladdin's like, actually,
• 15:03
  Speaker 1: they want to make me sultan, so like I can't.
• 15:06
  Speaker 1: I'm like, I would love both from slavery, but I
• 15:10
  Speaker 1: actually need you to help me lie to a woman
• 15:13
  Speaker 1: for the rest of her life. And yes, it's like,
• 15:17
  Speaker 1: oh cool, cool, cool, cool cool. But then Jaffar steals
• 15:21
  Speaker 1: the lamp and then he uses it to like take
• 15:24
  Speaker 1: over Agriba. Honestly, Jaffar uses the lamp pretty wide, like
• 15:29
  Speaker 1: he leverages the lamp in a way of like, oh, yeah, Aladdin,
• 15:32
  Speaker 1: you fucking idiot, you're wishy, you're thinking small, you made
• 15:36
  Speaker 1: your monkey into an elephant. And then Jafar took over
• 15:39
  Speaker 1: the entire king in like two seconds. Yeah, he had
• 15:43
  Speaker 1: an agenda, he had a schedule to maintain. He's busy.
• 15:48
  Speaker 1: And then of course, like Aladdin's like, no, I'm not
• 15:51
  Speaker 1: gonna let this happen, so he goes and defeats Jaffar
• 15:55
  Speaker 1: after Jaffar tries to kill Aladdin with a series of
• 15:59
  Speaker 1: visual pun get from that point, Yeah, it's actually, yeah,
• 16:04
  Speaker 1: I'm just getting warmed up. Breathe fire. So he turns
• 16:08
  Speaker 1: into a gigantic palace and then abuff Genie and then
• 16:12
  Speaker 1: he's defeated, right because Aladdin he convinces Jaffar to become
• 16:17
  Speaker 1: a genie, which will enable to him have to have
• 16:19
  Speaker 1: all the power in the world. He will then also
• 16:22
  Speaker 1: become enslaved because that's what being a genie is. So yeah,
• 16:28
  Speaker 1: missed a bunch of park. Also, the video game was
• 16:32
  Speaker 1: so fun because the final boss was like multiple levels,
• 16:35
  Speaker 1: like first it was Jafar, then it was him as
• 16:36
  Speaker 1: a snake, and then it was him a genie and
• 16:38
  Speaker 1: it was so that's so cool, so fun any nude sultan, darn,
• 16:46
  Speaker 1: he's not a boss. So yeah, Jafar gets defeated, and
• 16:53
  Speaker 1: then Aladdin learns the lesson to just be who you are,
• 16:55
  Speaker 1: and then he frees the genie. Jasmine still loves Aladdin
• 16:59
  Speaker 1: because she's like, you know, I always liked you when
• 17:01
  Speaker 1: you were poor, So that's this is fine. And then
• 17:04
  Speaker 1: and then Jasmine influences policy and changes the law so
• 17:09
  Speaker 1: that she can get married because that's her one function
• 17:11
  Speaker 1: in this story. He kiss bye bye, slur and good night.
• 17:17
  Speaker 1: So that is the movie. Let's take a quick break
• 17:21
  Speaker 1: and then we'll be back to have our discussion. And
• 17:29
  Speaker 1: we're back. Let's talk about the under politics of Aladdin.
• 17:34
  Speaker 1: Oh it's also okay, please explain to me what about
• 17:39
  Speaker 1: Jaffar makes you have a crush on him or had crush.
• 17:43
  Speaker 1: This is true. This is like a real day where
• 17:45
  Speaker 1: it's like that is a crush I had so early
• 17:49
  Speaker 1: in my life before I fully understood what a crush
• 17:52
  Speaker 1: even was that I cannot tell you why I have
• 17:56
  Speaker 1: a crush on de Far. I just know I always have.
• 17:59
  Speaker 1: And I first of all, I will say, Aladdin has
• 18:02
  Speaker 1: no nipples. No, no, what is that about Jaffar? We
• 18:06
  Speaker 1: have to assume has nipples, So that's a point for him.
• 18:11
  Speaker 1: I don't I really don't know. I just thought like
• 18:15
  Speaker 1: Jaffar was like really tall, as like he's so much
• 18:19
  Speaker 1: taller than Aladdin. So cool. I liked that he had
• 18:23
  Speaker 1: like his cool evil apartment, like his outfit. I like
• 18:30
  Speaker 1: his laugh, like his voice. You know. I just think
• 18:33
  Speaker 1: that there were redeeming things about Jaffar that warranted a crush.
• 18:36
  Speaker 1: But my cartoon crushes it was Jaffar, and it was
• 18:40
  Speaker 1: Peter Pan, it was John Smith. So I'm kind of
• 18:43
  Speaker 1: all over the j Smith John Smith boring motherfucker. Are
• 18:47
  Speaker 1: you serious? He's a He's a chiseled, boring motherfucker. I
• 18:51
  Speaker 1: don't know. I've since grown up, and no, Coco Won
• 18:56
  Speaker 1: was far hotter than don't ask John Smith Coco was
• 18:59
  Speaker 1: hot though he was great. Yeah, a grown woman knows.
• 19:02
  Speaker 1: I like ptsc just remembering the necklace, like just breaking, goddamn,
• 19:08
  Speaker 1: never be the same. Sorry, this a lot so if
• 19:12
  Speaker 1: you boiled down this story. We've already hinted at this,
• 19:14
  Speaker 1: but it's basically a story about a man who the
• 19:18
  Speaker 1: second he gets access to just a little bit of power,
• 19:22
  Speaker 1: he uses it to gaslight a woman into thinking that
• 19:25
  Speaker 1: he's a prince in into falling in love with him. Right, Yeah,
• 19:29
  Speaker 1: you would argue that she's already interested in him, but
• 19:32
  Speaker 1: as Aladdin, so he should we just like get into Jasmine. Yeah,
• 19:37
  Speaker 1: because there's a there's like the one female character. You
• 19:39
  Speaker 1: mean that's gonna be the bulk of our discussion today. Yeah,
• 19:44
  Speaker 1: there were parts of Jasmine's character that I didn't like.
• 19:48
  Speaker 1: I didn't remember her being as headstrong as she is.
• 19:52
  Speaker 1: Like there's a lot of like really good lines from her.
• 19:56
  Speaker 1: I like that about her remember as a kid growing up,
• 19:58
  Speaker 1: being like she's kind of a badass, Like she tricked
• 20:01
  Speaker 1: her far even though she had to kiss him at it,
• 20:02
  Speaker 1: but like she still was like smart. And then she
• 20:05
  Speaker 1: has a line like the very beginning when she's like,
• 20:07
  Speaker 1: I have no friends except for you, my pet tiger,
• 20:10
  Speaker 1: who's I guess a girl. Um, So it's like this
• 20:12
  Speaker 1: lonely but somehow still smart, badass person that I was like,
• 20:16
  Speaker 1: You're not too bad. So I kind of liked it's
• 20:18
  Speaker 1: a kid that she wasn't like represented too flimsy, and
• 20:21
  Speaker 1: I also appreciate as a kid. I remember very distinctly
• 20:25
  Speaker 1: that they like that they made the salt In like
• 20:27
  Speaker 1: a softie. Yeah, to make him the typical angry Arab man.
• 20:31
  Speaker 1: That's yeah. And then like other I mean even like
• 20:34
  Speaker 1: pitted against other Disney princess father So I was thinking
• 20:37
  Speaker 1: about the Saltan versus King Triton was awful and violent
• 20:43
  Speaker 1: and wrecked all his daughter's stuff like scary and the
• 20:49
  Speaker 1: Saltan and I guess Bell's dad too. Yeah, Yes, had
• 20:53
  Speaker 1: similar character design when I think about it, A little
• 20:55
  Speaker 1: tiny plump little men who were like very but I'm
• 21:01
  Speaker 1: still sexist. Yeah, I love you, but also get married now.
• 21:06
  Speaker 1: And this is another example of a Disney princess without
• 21:08
  Speaker 1: a mother. Yes, mom only has a dad. A classic trope,
• 21:14
  Speaker 1: the Sultan makes one reference to her mom. He says
• 21:19
  Speaker 1: after Jasmine's like, I don't want to get married in
• 21:21
  Speaker 1: less than three days, and he's like her mother wasn't
• 21:25
  Speaker 1: nearly so picky, which I think is a little little
• 21:27
  Speaker 1: little dig it himself, because you look at Jasmine next
• 21:32
  Speaker 1: to the Sultan, you don't see a lot of saltan energy.
• 21:36
  Speaker 1: Gotta think she's got a hot money. But yeah, her
• 21:39
  Speaker 1: sole purpose is to I mean, now that I think
• 21:42
  Speaker 1: about it, a lot of Disney movies, that's the main
• 21:44
  Speaker 1: purpose of all the female characters, whether it's pocahonas Little
• 21:47
  Speaker 1: Mermaid or like whatever. It's just like be obedient to
• 21:50
  Speaker 1: your father. It's kind of unfortunate that I just passion
• 21:54
  Speaker 1: in my head. Well, and like all the princess narratives
• 21:57
  Speaker 1: are very formulaic in that way, where, especially like during
• 22:01
  Speaker 1: the Disney Renaissance era, you see like princesses unlike Sleeping
• 22:06
  Speaker 1: Beauty who's knocked out for the whole movie, and Cinderella
• 22:09
  Speaker 1: who's like la la la, I don't know, maybe someone
• 22:12
  Speaker 1: will come and fix everything, you know, Like these princesses
• 22:15
  Speaker 1: have more identity and they're more headstrong. But by the
• 22:19
  Speaker 1: end of the movie, it's like there is some sort
• 22:22
  Speaker 1: of major compromise where they can still be themselves as
• 22:27
  Speaker 1: long as Daddy's happy, as long as they get married,
• 22:31
  Speaker 1: as long as like there's always like this caveat of
• 22:35
  Speaker 1: I don't know, Like they like a Disney trying to
• 22:38
  Speaker 1: like keep their conservative values and try to push forward
• 22:43
  Speaker 1: a little bit, but ultimately sell backpacks every state lunch
• 22:49
  Speaker 1: boxes backpacks. Right as we were saying, like, if you
• 22:53
  Speaker 1: isolate Jasmine as a character, like the things that she says,
• 22:57
  Speaker 1: the stances that she takes, her intelligence and like being
• 23:01
  Speaker 1: able to figure things out and like read the people
• 23:04
  Speaker 1: around her, like I am not apprised to be one exactly.
• 23:08
  Speaker 1: She she doesn't want to be forced into marriage so
• 23:11
  Speaker 1: much so that she runs away from home, so she
• 23:14
  Speaker 1: like arguably has a little bit of agency. But then
• 23:18
  Speaker 1: she does return back to the palace less than twenty
• 23:21
  Speaker 1: four hours later, so um, you know there's that. But
• 23:24
  Speaker 1: like if you just isolate her, you're like, oh, yeah,
• 23:27
  Speaker 1: Like this is an admirable character. This is someone that
• 23:29
  Speaker 1: like little girls can look up to. But her purpose
• 23:34
  Speaker 1: in the story is still just to be Aladdin's love interest,
• 23:37
  Speaker 1: so she doesn't really have a function outside of that,
• 23:41
  Speaker 1: and the narrative does screw her over several different times,
• 23:46
  Speaker 1: especially by the end, where she's literally like the classic
• 23:49
  Speaker 1: lead female character benched during the climax of the movie
• 23:53
  Speaker 1: in some horrifying way. We've got Mary Jane in a web,
• 23:56
  Speaker 1: We've got Jasmine in an hour glass, We've got the
• 24:00
  Speaker 1: woman in Pacific room launched out of the scene. It's
• 24:03
  Speaker 1: like happens all the time in a series of visually
• 24:06
  Speaker 1: obnoxious ways. But the meg Hercules in the Underworld, Yes,
• 24:11
  Speaker 1: crushed by a column. They killed her, and then they're like, Okay,
• 24:15
  Speaker 1: Hercules is actually for you. It happens all the time.
• 24:18
  Speaker 1: And I think even in The Little Mermaid, Eric is
• 24:21
  Speaker 1: the one who like defeat. There's also some big similarities
• 24:28
  Speaker 1: between Ursula and Jaffar that I was noticing, where they
• 24:32
  Speaker 1: both go into disguise to trick someone. They both get
• 24:36
  Speaker 1: huge at the end of the movie and the end
• 24:39
  Speaker 1: of similarities. But well, they're also both coded gay the
• 24:43
  Speaker 1: way that many many Disney villains are. Yeah, but before
• 24:48
  Speaker 1: before we get there. So the one thing Jasmine is
• 24:52
  Speaker 1: allowed by the story to do before she's benched until
• 24:57
  Speaker 1: the movie is basically over, and then all she has
• 24:59
  Speaker 1: to do is married influence policy and then get married,
• 25:03
  Speaker 1: but she tricks Jafar. I Okay, I wasn't totally clear
• 25:08
  Speaker 1: on this. Does she see Aladdin? Is she just trying
• 25:11
  Speaker 1: to distract to far? Okay, Okay, so she she does that.
• 25:15
  Speaker 1: She's really smart. We've seen her like trick people before
• 25:19
  Speaker 1: and like distract and blah blah blah. But the story
• 25:22
  Speaker 1: makes her do it with her sexuality and also he
• 25:26
  Speaker 1: calls her pussy cat. Calls her pussy cat, which it's
• 25:30
  Speaker 1: just like my skin crawl, Like you just you don't
• 25:33
  Speaker 1: want to kiss a woman, Jafar. Let's just like and
• 25:36
  Speaker 1: what a gross And I forgot that they actually kissed.
• 25:39
  Speaker 1: And if you hear the background when she's like trying
• 25:41
  Speaker 1: to seduce him, she just keeps like saying these like
• 25:44
  Speaker 1: ridiculous things like the gap between your teeth and you're
• 25:48
  Speaker 1: so tall, like your eyebrows are so it's in your
• 25:53
  Speaker 1: beard is so she wish it's disturbing. But I liked
• 25:58
  Speaker 1: her because she was smart. Even when she first sees Aladdin,
• 26:02
  Speaker 1: he says like, do you trust me? And she already
• 26:04
  Speaker 1: knows it's him with the whole apple thing on the carpet,
• 26:06
  Speaker 1: like she already figured it out. It's all someoing like
• 26:07
  Speaker 1: Miley Cyrus like like it's obviously him, and even at
• 26:16
  Speaker 1: the beginning where she is like she leaves the palace
• 26:20
  Speaker 1: and goes to I was worried. I was like, oh,
• 26:22
  Speaker 1: I feel like Aladdin kind of rescues her. But in
• 26:25
  Speaker 1: the end it sort of ends up being this team
• 26:27
  Speaker 1: effort where he's you know, he swoops down, he falls
• 26:30
  Speaker 1: in love. At first side, he's like, oh, she's hot,
• 26:32
  Speaker 1: although I have theories about a latin that again too,
• 26:35
  Speaker 1: he like looks like he's like, oh, she's hot. Better
• 26:37
  Speaker 1: rescue her from this cop very anti cop movie, which
• 26:42
  Speaker 1: is oh sure, I thought you were talking about. The
• 26:45
  Speaker 1: moment in the marketplace where she does not know how
• 26:48
  Speaker 1: commerce works, so she's like, here, let me give you
• 26:50
  Speaker 1: this apple, little kid, I have to pay, and the
• 26:53
  Speaker 1: vendors like, um, excuse me, please pay for that, and
• 26:55
  Speaker 1: then he threatens to chop off her arm and kill
• 26:57
  Speaker 1: her right, and then um Aladdin has to swoop in
• 27:00
  Speaker 1: and save her, right. But then he like when he
• 27:04
  Speaker 1: says like, oh, this is my sister. She doesn't know.
• 27:07
  Speaker 1: Jasmine does start to like play a long into it,
• 27:10
  Speaker 1: and he does say she's crazy, and then she has
• 27:14
  Speaker 1: to play along with being crazy because women be crazy obviously, right,
• 27:17
  Speaker 1: so seems believable. But but then she saves him, like
• 27:25
  Speaker 1: when when when the guard comes after him and she's
• 27:28
  Speaker 1: like unhand him. Yeah, by order of the princess. So
• 27:32
  Speaker 1: I don't know, I like, I like Latin and Jasmine's
• 27:35
  Speaker 1: relationships more than I like most. Yeah, like it seems
• 27:39
  Speaker 1: relatively balanced, balanced in comparable the fact that the movie
• 27:43
  Speaker 1: is called a Laddin right, well, he is the protagonist,
• 27:47
  Speaker 1: she is the love interest. He's pushing the narrative forward,
• 27:50
  Speaker 1: so she's she's just kind of like. She does make
• 27:53
  Speaker 1: some choices, but for the most part, things are just
• 27:55
  Speaker 1: sort of happening to her. Their romantic relationship is depicted
• 27:59
  Speaker 1: a little bit better than what we're used to seeing,
• 28:01
  Speaker 1: especially in Disney movies, where he does value her for
• 28:05
  Speaker 1: her looks, which he does say like when he's describing,
• 28:08
  Speaker 1: but it's the third thing he said. He does say
• 28:10
  Speaker 1: she's smart and she's fun and beautiful like um. And
• 28:18
  Speaker 1: then also whenever they're sort of like, he brings her
• 28:22
  Speaker 1: to his like studio apartment or whatever and exactly lives
• 28:30
  Speaker 1: near the reservoir, and they realize that they're starting to
• 28:35
  Speaker 1: like connect and like each other because they share a
• 28:37
  Speaker 1: similar experience, so they both feel trapped. So it's not
• 28:41
  Speaker 1: just that he finds her attractive. And I will also
• 28:43
  Speaker 1: say that this is one of the few movies where
• 28:46
  Speaker 1: she's like made to be less hot and he still
• 28:49
  Speaker 1: finds her attractive because she's wearing this like kind of
• 28:51
  Speaker 1: big like robe, and like her insane body type, which
• 28:55
  Speaker 1: we will talk about, is kind of covered up, so
• 28:59
  Speaker 1: he like he gets a glimpse of her like face
• 29:00
  Speaker 1: and her hair, and he's like, who's that. Yeah, but
• 29:03
  Speaker 1: that's something like as a kid, her body was very
• 29:06
  Speaker 1: like belly dancer like Mary, just like stereotypical like Middle
• 29:09
  Speaker 1: Eastern sexuality whatever, And that kind of made me I
• 29:12
  Speaker 1: never wanted to be Jasmine for Halloween because I, first
• 29:15
  Speaker 1: of all, was not allowed to wear those things, and
• 29:17
  Speaker 1: second of all, it was just like, I'm not that's
• 29:19
  Speaker 1: kind of just just too sexy for eight year old
• 29:21
  Speaker 1: to wear. Not. Yeah, I think she has like sexualized more. Yeah,
• 29:27
  Speaker 1: And I think it's because it's a middle I mean,
• 29:29
  Speaker 1: like maybe I'm biased, Like I think they exploited some
• 29:32
  Speaker 1: of the culture a little bit too much. Like even
• 29:34
  Speaker 1: the first verse of the Arabian night song. They say
• 29:38
  Speaker 1: it's barbaric, but hey, it's home like it's like you're
• 29:41
  Speaker 1: and then like cutting off a hand for stealing an
• 29:42
  Speaker 1: apple is just like the culture is either very barbaric
• 29:45
  Speaker 1: or very sexualized, or very just over the top exploitative,
• 29:49
  Speaker 1: sometimes just to serve the narrat And I see it
• 29:53
  Speaker 1: more now than I did back then. For sure, there's
• 29:55
  Speaker 1: a lot of things like that, Like the only characters
• 29:57
  Speaker 1: with accents are villain like there's all kinds of stuff
• 30:01
  Speaker 1: where it's very exploitative and like not necessarily painting Arabic
• 30:05
  Speaker 1: culture in a positive lay Ah. I thought another comparison
• 30:09
  Speaker 1: that I was like, oh, it is so different. The
• 30:11
  Speaker 1: way it's depicted in a Laddin is the one jump
• 30:14
  Speaker 1: ahead sequence is not entirely dissimilar from Bell walking through
• 30:19
  Speaker 1: her village at the beginning of Beauty and the Beast,
• 30:22
  Speaker 1: where it's like, Okay, this is where we are, this
• 30:24
  Speaker 1: is what it's like here, and both sequences are like
• 30:28
  Speaker 1: depicting like a lower class community, but the way they
• 30:32
  Speaker 1: do it in Aladdin is way more violent, way more
• 30:34
  Speaker 1: like it's just it's it's very different. I'm glad you
• 30:37
  Speaker 1: brought that up. Because it's completely true. Even the side characters,
• 30:41
  Speaker 1: whether it's like some like matronly person like coming on
• 30:44
  Speaker 1: to Aladdin, like like, they're all very just unattractive people
• 30:47
  Speaker 1: in the marketplace or in the bizarre, in the whatever,
• 30:50
  Speaker 1: they're just not flattering depictions of the Arab culture. Also,
• 30:53
  Speaker 1: the things like sword swallowing and fire eating, all that
• 30:57
  Speaker 1: stuff is like usually made to seem like a joke,
• 31:00
  Speaker 1: were like a gad for kids to be like, oh
• 31:02
  Speaker 1: my god, what what? Yeah? And all the women even
• 31:05
  Speaker 1: in like the parade for Ali, Prince Ali or whatever,
• 31:07
  Speaker 1: they were all belly dancer looking, like all the hot
• 31:10
  Speaker 1: the hot girls are all just like in very just
• 31:12
  Speaker 1: like our glass figures and and racy outfits or whatever.
• 31:16
  Speaker 1: And I like, in respect that belly dancing is a
• 31:19
  Speaker 1: part of Arabic culture and the Middle Eastern culture for sure.
• 31:22
  Speaker 1: But as for a children's movie, which just would have
• 31:24
  Speaker 1: been nice to have a woman dressed in something else, right, Yeah,
• 31:28
  Speaker 1: And it's either that or then Jasmine covered up in
• 31:31
  Speaker 1: a potato sack. It's just like there's two she and
• 31:35
  Speaker 1: and I'm sorry to keep comparing it to Beating the Beast,
• 31:38
  Speaker 1: but there's another analog there of like the three belly
• 31:41
  Speaker 1: dancers who they're in gusts like like women's yeah, and
• 31:45
  Speaker 1: the three and and they are significantly more covered, but
• 31:48
  Speaker 1: they're the same three characters basically. But I'm pretty sure
• 31:52
  Speaker 1: that the women in Beauty and the Beast had names
• 31:56
  Speaker 1: the women and I believe that they do. And in
• 31:58
  Speaker 1: Aladdin there's actress don't get names, but they show up
• 32:01
  Speaker 1: multiple times. They're in Prince Ali there in one jump ahead. Well,
• 32:04
  Speaker 1: that's the same. Those are the same women, the same
• 32:07
  Speaker 1: unless unless the characters are drawn that. But I'm pretty
• 32:10
  Speaker 1: sure it's say characters. I think that's probably true because
• 32:13
  Speaker 1: they're like in the same area, but yeah, I don't know.
• 32:16
  Speaker 1: It's It's weird is the implication during one jump ahead
• 32:20
  Speaker 1: that like Aladdin has like possibly hooked up with a
• 32:23
  Speaker 1: lot of ladies in town. Because I was thinking that
• 32:26
  Speaker 1: this time where it's like every time he runs into
• 32:28
  Speaker 1: a lady in the marketplace, they're like, hey, it's like
• 32:32
  Speaker 1: maybe he I mean, I had read it as being like, oh,
• 32:35
  Speaker 1: he's well liked, everyone knows him because he just is
• 32:37
  Speaker 1: always around and like it's homeless, but like maybe it
• 32:40
  Speaker 1: is like he's a player. Maybe, I mean I'm like,
• 32:43
  Speaker 1: kind of here, I don't buy that. Aladdin when he
• 32:47
  Speaker 1: meets Jasmine is like this virginal was like Aladdin like fox.
• 32:53
  Speaker 1: I think the nipples wonder of a fox, Like how
• 32:58
  Speaker 1: this one has to be has to be a fucking
• 33:01
  Speaker 1: stud Yeah. So my theory is and why he carries
• 33:05
  Speaker 1: himself he has the confidence of someone that has had sex.
• 33:09
  Speaker 1: And and the way that he whisks Jasmine into his
• 33:12
  Speaker 1: studio apartment. I'm like, oh, you've done this before where
• 33:15
  Speaker 1: he's like and the view you know, like you go
• 33:18
  Speaker 1: home with Okay, this is like stuff tap dancing. It's
• 33:24
  Speaker 1: like he's done that we can call in the studio
• 33:27
  Speaker 1: Apartment's totally right. He did have a Yeah, he had
• 33:31
  Speaker 1: a whole routine and oh there's a moment which we
• 33:34
  Speaker 1: come across a lot which is very annoying where a
• 33:37
  Speaker 1: woman does a thing that he did not expect a
• 33:39
  Speaker 1: woman could do, and there they have to pick their
• 33:42
  Speaker 1: jaws up off the floor. It's when he's taking her
• 33:45
  Speaker 1: to his studio apartment. Jumpy thing. Yeah, he like pull
• 33:48
  Speaker 1: vaults over like a gap between two buildings and he's
• 33:51
  Speaker 1: like you're He's like, you're gonna need this board to
• 33:55
  Speaker 1: walk across and then as he's like laying down the board,
• 33:58
  Speaker 1: she also pulled vaults over it, and he's like a
• 34:02
  Speaker 1: woman that can do a thing. But also was like,
• 34:05
  Speaker 1: I'm a fast leader. Yeah you were homeschool to see
• 34:09
  Speaker 1: your first about of the palace, Like can you really
• 34:11
  Speaker 1: learn that? That sta um that scene in general, though,
• 34:14
  Speaker 1: like I was more impressed by it than I thought
• 34:17
  Speaker 1: it was going to be where it's like like Aladdin,
• 34:20
  Speaker 1: he does his whole like bachelor bit or whatever, but
• 34:24
  Speaker 1: he doesn't come on too strong. It's clear he's trying
• 34:26
  Speaker 1: to get to know her a little bit. He's asking
• 34:29
  Speaker 1: your questions. She like is clearly expressing interest in him
• 34:33
  Speaker 1: in a way I think we don't see a lot
• 34:35
  Speaker 1: in Disney movies. Usually it's she's like I hate you
• 34:38
  Speaker 1: and he's like, so there's hope. That's every other. But
• 34:44
  Speaker 1: it's like, it was cool to see a couple who
• 34:46
  Speaker 1: clearly are into each other. And the fact that when
• 34:49
  Speaker 1: he meets her, like you were saying, Caitlin, like, he
• 34:52
  Speaker 1: doesn't know that like, and I think that once he
• 34:55
  Speaker 1: finds out she's a princess, he values her more than
• 34:57
  Speaker 1: he did when he met which sucks, but it's clear
• 35:01
  Speaker 1: that like bass level, they like each other. They used
• 35:05
  Speaker 1: they're like about to kiss, yeah, and then on each
• 35:08
  Speaker 1: other for thirty minutes and they're like better kiss already. Um.
• 35:13
  Speaker 1: I could see that he values her more after he
• 35:16
  Speaker 1: finds out that she is royalty, but he also feels
• 35:19
  Speaker 1: like a lot of shame for he's like almost stupid,
• 35:22
  Speaker 1: Like I don't know, I feel like, and Jasmine doesn't
• 35:26
  Speaker 1: value status in a man, so she's like, I actually
• 35:29
  Speaker 1: like this guy who is borderline homeless and you know,
• 35:33
  Speaker 1: doesn't have any wealth, doesn't have enough status nipples. This
• 35:39
  Speaker 1: is not onlike the movie like Titanic, say, where Rose
• 35:44
  Speaker 1: falls in love with a poor boy named Jack Dawson.
• 35:49
  Speaker 1: That's the thing though, So the protagonist can be a
• 35:52
  Speaker 1: poor person as long as he's a boy, and he's
• 35:55
  Speaker 1: like like his value does not equate with his status
• 35:58
  Speaker 1: at all. But the woman, I feel like it's never
• 36:00
  Speaker 1: reversed other than like asthrala that I just thought thought of,
• 36:03
  Speaker 1: but like it's I feel like to value the woman character,
• 36:06
  Speaker 1: she has to at least to be rich or like
• 36:08
  Speaker 1: at least have something else going for her other than
• 36:10
  Speaker 1: being just like a poor person. Because like when you.
• 36:13
  Speaker 1: I mean, there's there's one part where you think a
• 36:16
  Speaker 1: load has fleas. And when I was like thinking of
• 36:18
  Speaker 1: them like being together in a studio apartment, I was
• 36:20
  Speaker 1: just like, he probably smells bad, and like she's still
• 36:23
  Speaker 1: into him because he's like alow that he's nice, right,
• 36:27
  Speaker 1: And then I mean and even like going off that
• 36:29
  Speaker 1: the way that like poor women are drawn in that
• 36:33
  Speaker 1: world is totally different, where like, yeah, they're the only
• 36:37
  Speaker 1: two female characters like in the Agriba marketplace are either
• 36:42
  Speaker 1: like bigger older women wearing like potato sacks or belly dancers.
• 36:46
  Speaker 1: And that's it. Yeah, another quick Titanic reference though, Yeah,
• 36:53
  Speaker 1: Jafar needs the use of the mystic blue diamond that
• 36:58
  Speaker 1: the Saltan has to be able to figure out who
• 37:01
  Speaker 1: the diamond and the roughest who can enter the Cave
• 37:03
  Speaker 1: of Wonders. I would like to think that it's the
• 37:06
  Speaker 1: same blue diamond from Titanic. The Heart of the Ocean
• 37:11
  Speaker 1: Latin take place in the Titanic verse, do Yeah, I
• 37:15
  Speaker 1: would like to really quick discuss the Cave of Wonders
• 37:17
  Speaker 1: as a vagina metaphor, because it is okay, the Cave
• 37:22
  Speaker 1: of Wonders I think is a vagina metaphor. I used
• 37:26
  Speaker 1: to have nightmares about the Cave of Wonders all the time,
• 37:29
  Speaker 1: fear of own sexuality. Maybe I okay, question, do you
• 37:35
  Speaker 1: think in the quest for the clip with the lamp
• 37:38
  Speaker 1: or the jewel, that a boot takes which which thoughts
• 37:43
  Speaker 1: I'd like to open the floor? Sure? Well, I have
• 37:45
  Speaker 1: not given this any thought up till now. Well, whenever
• 37:48
  Speaker 1: a boot touches the giant jewel, that's what causes mad. Yeah,
• 37:53
  Speaker 1: so I would say it can't be that. But I
• 37:56
  Speaker 1: also don't think it's the lamp. Honestly, I never thought
• 38:01
  Speaker 1: too well. Okay, I see the comparison to Cat. It's
• 38:04
  Speaker 1: a gigantic cat. Cat Ja won't Jaffar won't go near it.
• 38:10
  Speaker 1: He doesn't even try to go inside. He keeps finding
• 38:14
  Speaker 1: straight men to go in. Cats do have eight nipples,
• 38:18
  Speaker 1: though this is Cat FACX with Caitlin Um. I feel
• 38:20
  Speaker 1: like I feel like it's the ruby, right, Okay, I
• 38:25
  Speaker 1: was leaning towards the ruby the lamp. I don't know
• 38:27
  Speaker 1: what that would qualify as. I don't Okay, here's what
• 38:30
  Speaker 1: I think it is. I don't think they come across
• 38:32
  Speaker 1: the clitterest at all, because don't find it because they
• 38:36
  Speaker 1: don't find it. They don't and if they do, they
• 38:38
  Speaker 1: have no idea what to do with it. So, like
• 38:40
  Speaker 1: the jewel, touching it has very bad consequences, which is
• 38:44
  Speaker 1: not what happens in real life. That's true. Yeah, touching
• 38:48
  Speaker 1: it made like has a lava and everything rupting. Maybe
• 38:50
  Speaker 1: it took a periods unless also that's a metaphor for
• 38:54
  Speaker 1: an orgasm. Oh no, the vagina was very upset and
• 39:01
  Speaker 1: trapped them permanently and finally is not what happens every
• 39:05
  Speaker 1: time he works, Okay, and I love like I would
• 39:08
  Speaker 1: like to propose, Uh, let's just like a body hack
• 39:13
  Speaker 1: ourselves and figure out how to get our vagins to
• 39:16
  Speaker 1: flood with lava when when unhappy? I think that that's
• 39:20
  Speaker 1: great that it like whoa and then last cave of
• 39:27
  Speaker 1: wonder question promised by those rules like when, because we're
• 39:31
  Speaker 1: led to believe that the guy at the very beginning
• 39:34
  Speaker 1: Gazine dies, but wouldn't he just still be there if
• 39:39
  Speaker 1: Aladdin was still in there? Gazine in there somewhere. I
• 39:43
  Speaker 1: think the carpet kind of saved Aladdin because like like
• 39:46
  Speaker 1: when Aladdin was following, the carpet kind of like like
• 39:49
  Speaker 1: lifted him up. So I think Gazine didn't have a
• 39:51
  Speaker 1: happy fall. I always got the impression that he got
• 39:56
  Speaker 1: like trapped in the sand, like he got crushed by
• 39:59
  Speaker 1: like he's fagated because suffocated, because he was just like
• 40:02
  Speaker 1: in the sand, the thing collapsing. Don't erase the gigantic vagina,
• 40:07
  Speaker 1: you will die. Right And on that note, let's take
• 40:11
  Speaker 1: a quick break and we are back from the Cave
• 40:19
  Speaker 1: of Wonders where we did go. During our break, we
• 40:23
  Speaker 1: tricked the genie. Yeah, I mean, just a little bit
• 40:28
  Speaker 1: more on Jasmine and sort of her characterization. She's constantly
• 40:33
  Speaker 1: saying things like I'm not going to stand around while
• 40:35
  Speaker 1: you make choices for me. I'm not apprized to be one.
• 40:39
  Speaker 1: Because there's a scene where like the Saltan and Prince
• 40:42
  Speaker 1: Aly and Jaffar are all like hanging out. Prince Aly's like,
• 40:46
  Speaker 1: just let her meet me, like she's gonna freaking love me.
• 40:49
  Speaker 1: I'm so cool. But he also knows that he already
• 40:53
  Speaker 1: Like I held that against him too, but it's like
• 40:55
  Speaker 1: he already knows that she will like him because she's
• 40:58
  Speaker 1: they've met. Yeah, that that's true, But I don't know.
• 41:02
  Speaker 1: I think he could have he could have handled it
• 41:04
  Speaker 1: better because he now that he's a prince, he's like
• 41:06
  Speaker 1: all cocky and he's not behaving well uh, and then
• 41:11
  Speaker 1: you know, Jasmine's like, I am not apprized to be one.
• 41:15
  Speaker 1: He does win her over in the next scene, so
• 41:20
  Speaker 1: not really. Yeah, he invades her personal space and he's
• 41:26
  Speaker 1: like she does tell him to kill himself, go jump
• 41:30
  Speaker 1: off that balcony. But I was trying to like make
• 41:33
  Speaker 1: sense of this because I was like, well, you know,
• 41:36
  Speaker 1: he's still kind of acting like he's entitled to her.
• 41:39
  Speaker 1: She should be like instantly falling in love with Prince Ali,
• 41:45
  Speaker 1: but I think it's because she senses that he is
• 41:48
  Speaker 1: this boy from the marketplace that she already likes him.
• 41:51
  Speaker 1: So I don't know. I don't know if I would
• 41:53
  Speaker 1: have figured all that out is a kid, I can't
• 41:56
  Speaker 1: remember well, because after the whole match of Carpet Ride,
• 41:59
  Speaker 1: he admits that he is the same person, but he
• 42:02
  Speaker 1: but he still double staff. He doubles down the line,
• 42:07
  Speaker 1: and then Jasmine's like, well, I did that too, so
• 42:09
  Speaker 1: I guess it makes sense. I don't know. And then
• 42:13
  Speaker 1: Jasmine at most points where she needs to be confronting
• 42:17
  Speaker 1: a man who's trying to lie to or disenfranchise her
• 42:21
  Speaker 1: in some way, she usually does, which is cool and
• 42:24
  Speaker 1: I don't think we see a lot of princesses do
• 42:26
  Speaker 1: that either, where even though she does go back to
• 42:28
  Speaker 1: the palace right away, she goes back to confront Jaffar
• 42:31
  Speaker 1: right away and be like, Hey, what the funk are
• 42:34
  Speaker 1: you doing? And he's like, sorry, I had him killed.
• 42:37
  Speaker 1: And and then she later confronts a lad and when
• 42:40
  Speaker 1: she's like, why are you lying? Later because she doesn't
• 42:43
  Speaker 1: confront her dad, but her dad sees that she's upset
• 42:47
  Speaker 1: and does listen to her. And this also affects Jasmine's
• 42:51
  Speaker 1: first policy change, which is that Jafar can't be a dictator,
• 42:55
  Speaker 1: which is cool, even though he later ignores that very
• 42:59
  Speaker 1: very fashion character right. And then in the climactic sequence
• 43:06
  Speaker 1: which we've already touched on, where Jasmine pretends to love
• 43:10
  Speaker 1: Jafar in order to distract him, Jafar quickly figures out
• 43:13
  Speaker 1: what's going on, so he traps Jasmine in this giant hourglass,
• 43:16
  Speaker 1: which means that one she cannot participate in the climax
• 43:20
  Speaker 1: of the story, which we see over and over again,
• 43:22
  Speaker 1: which we already talked about a little bit, and it
• 43:24
  Speaker 1: means that she has to be saved by the male hero.
• 43:27
  Speaker 1: So it's all these tropes that we see in so
• 43:29
  Speaker 1: many classic hero tales chosen one, you know, adventure stories,
• 43:36
  Speaker 1: which is too bad because it's like Jasmine does more
• 43:40
  Speaker 1: and like advocates for herself more than most characters we'd
• 43:44
  Speaker 1: like seen up to that point in Disney, right, and then,
• 43:47
  Speaker 1: of course, because it's a Disney movie, they sell her
• 43:50
  Speaker 1: up the river by the end, because stories, because hero stories,
• 43:55
  Speaker 1: because fem that needs to be saved. To Aladdin's credit,
• 44:01
  Speaker 1: he does apologize to Jasmine for lying to her throughout
• 44:05
  Speaker 1: the whole movie, unlike movies like She's All That where
• 44:09
  Speaker 1: Freddy Prince Jr's like, you know how I lied to
• 44:12
  Speaker 1: you and manipulated you this entire movie. I'm not even
• 44:15
  Speaker 1: gonna bother to apologize. Yeah, so at least he apologizes,
• 44:22
  Speaker 1: But it's one of those things where it's like one
• 44:25
  Speaker 1: apology from a man U does oh the bad behavior.
• 44:30
  Speaker 1: I love, Yeah, he does, But like I'm giving that
• 44:37
  Speaker 1: was sarcasm. I mean, like, but like that wasn't interesting.
• 44:41
  Speaker 1: I was thinking she saw that during the sequence where
• 44:45
  Speaker 1: Aladdin kind of like gets a makeover too, but he
• 44:48
  Speaker 1: gets like the most empowered makeover of all time, like
• 44:52
  Speaker 1: one that would never be afforded to. Right, it's not
• 44:56
  Speaker 1: to make him more hot or appealing, not even a
• 45:00
  Speaker 1: change his personality, which is a big part of it.
• 45:02
  Speaker 1: It's like he still has Aladdin's personality. He's just like
• 45:05
  Speaker 1: wearing nicer clothes and lying about his idea. Yeah, it's so.
• 45:08
  Speaker 1: In movies where women have to be made over, it's
• 45:10
  Speaker 1: almost always to make them more attractive, usually to the
• 45:13
  Speaker 1: opposite sex, for very heteronormative reasons. In like Aladdin, he's
• 45:18
  Speaker 1: getting a makeover to assume a position of more power,
• 45:22
  Speaker 1: to assume like a leadership position where he's can you know,
• 45:26
  Speaker 1: have access to more power, access to her and access
• 45:31
  Speaker 1: to her. Yeah, so Aladdin's makeover is to make him
• 45:34
  Speaker 1: more dominant, whereas most female characters are made over to
• 45:37
  Speaker 1: be more submissive. Basically pretty much. Yeah, got it? Okay, Yeah,
• 45:41
  Speaker 1: very cool. We cracked it, hacked, we hacked storytelling. You've
• 45:47
  Speaker 1: done it. Um, can we talk about the queer coding
• 45:51
  Speaker 1: of Jaffar and Disney movies in general, and a lot
• 45:55
  Speaker 1: of movies where there's like kind of a classic villain. Yeah,
• 46:01
  Speaker 1: Parcella hades Radigan, a lot of people argue maleficent tons
• 46:07
  Speaker 1: of them. So basically, if you're not familiar with the
• 46:10
  Speaker 1: concept of queer coding, it's basically assigning harmful stereotypical troops
• 46:16
  Speaker 1: to characters, oftentimes they are villains, to vilify them further.
• 46:21
  Speaker 1: And it's a very harmful thing in general, and especially
• 46:24
  Speaker 1: when young children are seeing it, because they're like, you know,
• 46:27
  Speaker 1: their subconscious brains see these characteristics in these villains, so
• 46:32
  Speaker 1: they think, oh, those characteristics must be bad if a
• 46:35
  Speaker 1: person in real life displays them. So it just kind
• 46:38
  Speaker 1: of perpetuates homophobia, and it equates stereotypically queer traits to
• 46:44
  Speaker 1: being bad or negative in some way. And lots of
• 46:49
  Speaker 1: Disney movies do this to their villains and they I mean,
• 46:54
  Speaker 1: it existed prior to that and st but like, yeah,
• 46:57
  Speaker 1: it's like especially harmful to it in children's movies over
• 47:01
  Speaker 1: and over, especially because there are no queer characters in
• 47:06
  Speaker 1: those Disney movies that are good the heroes or at all. Yeah,
• 47:12
  Speaker 1: at all. Right, So yeah, it's just a really bad
• 47:15
  Speaker 1: thing that keeps happening because you could argue that, like
• 47:19
  Speaker 1: the crab in Moanna is sort of coded queer like
• 47:24
  Speaker 1: some other like the record Ralph pretty recent movie. The
• 47:28
  Speaker 1: villain in that movie is coded queer. So yeah, they
• 47:33
  Speaker 1: have not stopped doing this, even though surely they know
• 47:36
  Speaker 1: it's problematic, but they just keep at it. Well, I
• 47:40
  Speaker 1: think maybe they tried to make Jafar when he when
• 47:43
  Speaker 1: he was like, I'll have her fall in love with me.
• 47:45
  Speaker 1: I'll have Javans fall in love with me. That was like,
• 47:47
  Speaker 1: I feel like it was Disney attempt to be like
• 47:49
  Speaker 1: see like he's yeah, but then before that happens, actually
• 47:53
  Speaker 1: before he's made sultan, when he's thinking of marrying Jasmine anyway,
• 47:57
  Speaker 1: just to become sultan, his next ideas so then I'll
• 48:00
  Speaker 1: throw both her dad and her off a cliff. Yeah,
• 48:03
  Speaker 1: So it's like it's not yeah. He's like, Okay, I
• 48:06
  Speaker 1: guess I'll marry a woman, but only so I can
• 48:09
  Speaker 1: immediately kill her. He's like, oh, I guess I'll marry
• 48:12
  Speaker 1: this shrew he calls jasmina's true and then later in
• 48:15
  Speaker 1: the movie whenever he's like, yeah, we're gonna get married,
• 48:18
  Speaker 1: and Jasmine's like and he's like speechless, I see a
• 48:22
  Speaker 1: fine quality and a wife, Like wow, the far feminist
• 48:26
  Speaker 1: I cond villain Yeah, it's it's harmful for children. I
• 48:33
  Speaker 1: feel like it's it just like pumps you up with
• 48:35
  Speaker 1: all the wrong ideas about queerness at a very very
• 48:39
  Speaker 1: young age. The one thing that at least seems like
• 48:44
  Speaker 1: a semi positive is that there are like portions of
• 48:47
  Speaker 1: the queer community that have reclaimed these characters and there's
• 48:50
  Speaker 1: like festivals around them and like they've been re embraced
• 48:54
  Speaker 1: in retrospect. But it's okay to have queer villains if
• 48:58
  Speaker 1: you also have queer heroes. Yeah, that's completely absent from
• 49:05
  Speaker 1: and it just all of children's entertainment. It sucks for
• 49:08
  Speaker 1: the queer community. Even if they have like reclaimed these
• 49:12
  Speaker 1: villains and like celebrate them, it still sucks that like
• 49:15
  Speaker 1: that's pretty much the only representation of First of all,
• 49:18
  Speaker 1: they're not even explicitly queer, they're just like coded that way.
• 49:21
  Speaker 1: And then they're also villains, and it just sucks that
• 49:24
  Speaker 1: that's like the only representation representation that the queer community
• 49:27
  Speaker 1: has in at least children's movies. I mean, I identify
• 49:32
  Speaker 1: as queer, and I think I mean that I think
• 49:34
  Speaker 1: about it. I think maybe that's why I like The
• 49:35
  Speaker 1: Animal Movie so much, And that sounds like like a
• 49:38
  Speaker 1: weird thing to relate that to. But like I related
• 49:41
  Speaker 1: more to Raja than I did the princesses, or like
• 49:44
  Speaker 1: I related more to the movie Dumbo than I did
• 49:46
  Speaker 1: to any other princess. Yeah, because like I think whatever,
• 49:50
  Speaker 1: I think, seeing an animal, for whatever reason made me
• 49:54
  Speaker 1: feel more comforted than than seeing a woman or a
• 49:57
  Speaker 1: boy character. And I don't know if that's true for
• 50:00
  Speaker 1: everyone else. I mean for me, as like a queer kid,
• 50:03
  Speaker 1: I appreciated the animal characters because they were just like
• 50:07
  Speaker 1: they weren't explicitly a boy or a girl most of
• 50:10
  Speaker 1: the time, like Flounder like had like a boyish voice
• 50:13
  Speaker 1: or whatever, but like it was it was a little
• 50:14
  Speaker 1: fishy pretty genders or carpet even like it was more
• 50:19
  Speaker 1: just like these characters that didn't necessarily make me feel
• 50:24
  Speaker 1: that I was any less of a girl or anymore
• 50:26
  Speaker 1: you know what I mean, like genderless, that's what I'm saying,
• 50:29
  Speaker 1: But that carpet, So I mean, that's also sad though
• 50:32
  Speaker 1: to think that like that's what I related to versus
• 50:35
  Speaker 1: like actual character characters. But sorry, sorry to straight cis
• 50:43
  Speaker 1: plain queer coding. Oh no no, no, no no, I
• 50:46
  Speaker 1: thought what I was trying to get out, you know,
• 50:47
  Speaker 1: but I I fully recognize it. When I like do that,
• 50:50
  Speaker 1: I'm like, yeah, I'm a I'm a straight ciss lady.
• 50:53
  Speaker 1: I think I don't even know I mean like that later,
• 50:56
  Speaker 1: I do appreciate recognizing queer quoting for sure and stuff,
• 51:00
  Speaker 1: but there's also part of me that thinks, like, well,
• 51:02
  Speaker 1: even knowing, like oh, their voices or they're the way
• 51:05
  Speaker 1: they speak sometimes like even thinking, I mean like I
• 51:09
  Speaker 1: know that that that I'm fully aware that they intended
• 51:12
  Speaker 1: it to be queer coding, because like that's just like
• 51:14
  Speaker 1: they're trying to make a those queer traits seem unattractive orunflattering.
• 51:19
  Speaker 1: But at the same time, it's like, is it on
• 51:22
  Speaker 1: us also for thinking that way? I don't know, I
• 51:25
  Speaker 1: kind of give in my head about it too much.
• 51:26
  Speaker 1: That makes sense, And yeah, of like, well, it's it
• 51:30
  Speaker 1: takes two to tango kind of a thing. It's like,
• 51:33
  Speaker 1: or if they're sending out these messages, we have to
• 51:35
  Speaker 1: be like receiving them in a particular way or I
• 51:37
  Speaker 1: think I think I know what you're saying, but I
• 51:39
  Speaker 1: mean I do. I do blame Disney a lot for
• 51:42
  Speaker 1: in general, because I mean, they're they're they're so conservative
• 51:46
  Speaker 1: and and and you know see it until you're an adult. Yeah,
• 51:51
  Speaker 1: and as a kid, it's just subliminally just like accept
• 51:53
  Speaker 1: it all and like watching a load and or being
• 51:55
  Speaker 1: in the Beast or on any of those movies. Is
• 51:57
  Speaker 1: that adult is so different. Dome is Park as Fun
• 52:01
  Speaker 1: is so dark, so dark the whole fucking like Admilla
• 52:04
  Speaker 1: to be like like that, what's his face of villain
• 52:07
  Speaker 1: desiring her? And like it's so dark. As a kid,
• 52:11
  Speaker 1: it goes over your head. So I think Disney sometimes,
• 52:15
  Speaker 1: I don't know, their agenda is a little wacky. I
• 52:18
  Speaker 1: don't know, it's all for the place. Yeah, and then
• 52:23
  Speaker 1: and then that's that's another movie where like I cannot
• 52:27
  Speaker 1: think of and and correct me if I'm wrong, but
• 52:30
  Speaker 1: I can't think of a movie with like, oh, white
• 52:34
  Speaker 1: Princess where she has to like kiss the villain because
• 52:40
  Speaker 1: that happens in Hunchback of Notre Dame and Aladdin, and
• 52:43
  Speaker 1: it's just like, I don't know, it's just that's totally
• 52:46
  Speaker 1: it's so true. And it's really unfortunate because because women
• 52:51
  Speaker 1: of color are more often sexualized than white woman just
• 52:55
  Speaker 1: across the board, whether it's in live action stuff or cartoons. Um,
• 52:58
  Speaker 1: And it's just unfortunate that it's even the children cartoons,
• 53:01
  Speaker 1: Like even like the dark skinned lead female will be sexualized,
• 53:05
  Speaker 1: and that just like plays into a child's idea of
• 53:09
  Speaker 1: what those women are like, and what those women are
• 53:12
  Speaker 1: like dress like, and what those women will do to
• 53:15
  Speaker 1: with them or whatever. So it's like it's so damaging,
• 53:18
  Speaker 1: it's so yeah. And then like her body type to um.
• 53:22
  Speaker 1: We talked about this a little bit in the episode
• 53:24
  Speaker 1: we did on Frozen, but her body type of like
• 53:29
  Speaker 1: this tiny, tiny, tiny waist that does not adhere to
• 53:33
  Speaker 1: anything that you would see in the natural world and
• 53:36
  Speaker 1: reminded me of aerials body type of she they are
• 53:40
  Speaker 1: animated and like drawn the same way in that they
• 53:44
  Speaker 1: like are the most scantily clad and they have these
• 53:48
  Speaker 1: just tiny, tiny frames and adhered to this like very
• 53:52
  Speaker 1: unrealistic Western beauty standard. I mean her her head is
• 53:56
  Speaker 1: wider than her waist, Like it's insane, Let please photoshop ourselves.
• 54:04
  Speaker 1: So it's just so harmful for little girls to see
• 54:07
  Speaker 1: this and and and think, oh, that's I guess the
• 54:10
  Speaker 1: ideal that I have to strive to. And everyone thinks
• 54:13
  Speaker 1: she's beautiful. And like right, and she like her beauty
• 54:16
  Speaker 1: is so coveted. And we see this again and again
• 54:19
  Speaker 1: in so many Disney movies where it's this same body type.
• 54:22
  Speaker 1: We don't get any differentiation really in like the female
• 54:26
  Speaker 1: leads of these Disney movies and in just media in general,
• 54:30
  Speaker 1: video games, live action movies, like everything that's like this
• 54:33
  Speaker 1: very you know, the most desirable women has the same
• 54:37
  Speaker 1: you know, body type, and it's this very unrealistic, very virginal.
• 54:43
  Speaker 1: I mean, Jasmine is another, like the movie goes out
• 54:45
  Speaker 1: of its way to be like she's literally never left
• 54:48
  Speaker 1: her house. Don't worry if she's pure like that kind
• 54:51
  Speaker 1: of thing. Yeah, so very harmful. Yes, oh early on,
• 54:57
  Speaker 1: Like we said, like Jasmine is a pretty cool character
• 55:01
  Speaker 1: if you just isolate her. She's smart, she's capable. She
• 55:05
  Speaker 1: does make some active choices in this story. But then
• 55:07
  Speaker 1: you'll have a scene where the Sultan is like, yeah,
• 55:11
  Speaker 1: I'm trying to marry you off and it is because
• 55:14
  Speaker 1: of this law that I have control over changing but
• 55:17
  Speaker 1: I'm not going to do that. I'm instead just going
• 55:19
  Speaker 1: to make sure you get married in three days or less.
• 55:21
  Speaker 1: And he says, like, I need to make sure you're
• 55:23
  Speaker 1: taking care of because you can't take care of yourself, right, Like,
• 55:25
  Speaker 1: I'm not gonna be around forever. I just want to
• 55:27
  Speaker 1: make sure you're taking care of provided for because of course.
• 55:31
  Speaker 1: I mean, I guess you can consider the era that
• 55:33
  Speaker 1: this movie takes place in, in this you know, fictional world,
• 55:38
  Speaker 1: but like, let's just subscribe to the patriarchy in this
• 55:41
  Speaker 1: world that doesn't exist. That's cool too. So yeah, Jasmine,
• 55:45
  Speaker 1: just like overall, she does have a little bit more agency,
• 55:49
  Speaker 1: a little bit more personality than we are used to
• 55:52
  Speaker 1: seeing in Disney Princess characters, but the narrative still makes
• 55:57
  Speaker 1: sure that she doesn't really to do anything, doesn't really
• 56:02
  Speaker 1: get to take any action to influence the direction of
• 56:04
  Speaker 1: the story, doesn't really get to exist in the story
• 56:08
  Speaker 1: outside of just being the romantic interest, and it really
• 56:12
  Speaker 1: kind of screws her over again and again. And unless
• 56:17
  Speaker 1: I am missing something, and all white cast to this movie,
• 56:22
  Speaker 1: the voices, voice actors all white, and some of them
• 56:28
  Speaker 1: sometimes written and directed. Just yeah, there is that scene
• 56:34
  Speaker 1: in the very beginning before we get into Agriba where
• 56:38
  Speaker 1: Robin Williams does this voice too, where he's like trying
• 56:41
  Speaker 1: to sell you like a bong that makes Julian fries
• 56:45
  Speaker 1: or whatever. Um, and he's doing an accent. So it's
• 56:49
  Speaker 1: like this white guy doing like a vaguely Arabic sounding accent,
• 56:54
  Speaker 1: and it's like, yeah, it's just it's the problem piling up. Yeah,
• 56:59
  Speaker 1: it's offensive. Also realized that was Robin Williams until this
• 57:04
  Speaker 1: vieeling really I think I think I probably knew, and
• 57:08
  Speaker 1: then I forgot probably and I had to I had
• 57:10
  Speaker 1: to listen to really carefully, and I was like, oh yeah, like,
• 57:12
  Speaker 1: oh yes, you can't. That wasn't necessary, but it is
• 57:16
  Speaker 1: a choice that they made. Yeah, like so many things
• 57:19
  Speaker 1: in this movie. Um. Towards the end of the movie,
• 57:23
  Speaker 1: it's like after they've defeated sorry, after a Laddin his
• 57:27
  Speaker 1: defeated ja'far, and he's like debating whether or not to
• 57:31
  Speaker 1: free the genie, and the genie's like, it's fine, it's
• 57:33
  Speaker 1: just you know, an eternity of servitude. But this is love,
• 57:36
  Speaker 1: so make sure you do that. And then he says,
• 57:39
  Speaker 1: you're not going to find another girl like her in
• 57:41
  Speaker 1: a million years. Believe me, I've looked. And that's basically
• 57:44
  Speaker 1: saying she's not like the other girls, so you know,
• 57:49
  Speaker 1: stick with this one and then against all odds, Aladdin's like, no, Genie,
• 57:53
  Speaker 1: you're not my slave anymore. What a hero I am? Yeah,
• 57:58
  Speaker 1: it's like, oh he's the like should he truly get
• 58:01
  Speaker 1: credit for doing that? But it doesn't seem like something
• 58:05
  Speaker 1: that should occur. The Jenny looks like goofy And that's
• 58:11
  Speaker 1: the Disney World slavery is solved. Does anyone have any
• 58:15
  Speaker 1: other thoughts about Aladdin? I did find it strange that
• 58:20
  Speaker 1: there's a monkey in the Middle East, because I've never
• 58:22
  Speaker 1: seen a monkey in the Middle East. I mean, then
• 58:25
  Speaker 1: to get a tiger either, I mean, like, I don't know,
• 58:27
  Speaker 1: it's it's ancient times. What am I talking about? Everything
• 58:29
  Speaker 1: is possible, but but it is. I find it interesting
• 58:34
  Speaker 1: that she has no friends, that Jasmine has no friends,
• 58:37
  Speaker 1: and just like her female pet tiger, and she's still
• 58:40
  Speaker 1: like very competent about the world other than not knowing
• 58:44
  Speaker 1: that Apple needs money, I guess, but like, yeah, right,
• 58:47
  Speaker 1: you think she'd be a little more like if she
• 58:50
  Speaker 1: has never stepped outside the palace, like she's only interacted
• 58:53
  Speaker 1: with her father and like the guards in Jafar and stuff. Right, Yeah,
• 58:57
  Speaker 1: that's something that I don't know. If there's like a
• 58:59
  Speaker 1: tech nicole term for what exactly that is. But I
• 59:03
  Speaker 1: feel like that comes up sometimes with female characters, but
• 59:06
  Speaker 1: like a yes queen kind of femine, like women can
• 59:09
  Speaker 1: do anything, it's like that they need to learn. It's
• 59:11
  Speaker 1: like a naivete that's like very she's naive, but it's
• 59:15
  Speaker 1: not unattractive, and it's like I want to show you
• 59:18
  Speaker 1: the world, like I want to like introduce you to everything,
• 59:21
  Speaker 1: and like it's almost like is it kind of like
• 59:24
  Speaker 1: the born Sexy Yesterday trope? A little literarient of that.
• 59:28
  Speaker 1: I think it's also like it plays into the fact
• 59:30
  Speaker 1: that like she's a version. He's going to show her
• 59:32
  Speaker 1: how to have sex. Like it's kind of because like, yeah, exactly,
• 59:36
  Speaker 1: it's like there's a trope where it's like you're a pure, untouched,
• 59:40
  Speaker 1: unknowing person and there's a certain sexiness about someone teaching
• 59:44
  Speaker 1: you for the first time or like showing you the
• 59:46
  Speaker 1: way for the first time. So either shot that little
• 59:49
  Speaker 1: interesting on this viewing then, and also along the lines
• 59:52
  Speaker 1: of like her lack of female friends or interactions with
• 59:56
  Speaker 1: any women, like Disney movies do this all the time,
• 59:59
  Speaker 1: where if there are other female characters who are around whatever,
• 1:00:02
  Speaker 1: like princess. It is they're either evil stepmother's, evil step sisters, animals,
• 1:00:09
  Speaker 1: or some other villainous set people props. Basically, um, and
• 1:00:15
  Speaker 1: there's almost never anyone that she can actually like talk
• 1:00:18
  Speaker 1: to and interact with in a meaningful way until like Frozen,
• 1:00:21
  Speaker 1: and then you know, you can listen to our episode
• 1:00:23
  Speaker 1: on that for that whole discussion. But um, yeah, there's
• 1:00:26
  Speaker 1: just it's so rare to see women interacting in a
• 1:00:29
  Speaker 1: Disney movie. Hey, that brings us to whether or not
• 1:00:33
  Speaker 1: this movie passes. The test doesn't even come close. There's
• 1:00:39
  Speaker 1: no opportunity. The closest it comes is that, as we
• 1:00:43
  Speaker 1: talked about, the like group of three like belly dancer
• 1:00:46
  Speaker 1: dressed women are in a couple of songs one jump ahead,
• 1:00:51
  Speaker 1: and they show up again in the Prince Ali song,
• 1:00:54
  Speaker 1: and in one of them they're like singing near each
• 1:00:57
  Speaker 1: other and the other one they are sort of looking
• 1:00:59
  Speaker 1: each other while they're singing. But in both songs they
• 1:01:01
  Speaker 1: are singing about Aladdin and I not have names. I
• 1:01:05
  Speaker 1: was gonna say the closest thing is when Jasmine is
• 1:01:08
  Speaker 1: talking to Raja at the beginning, but I don't know
• 1:01:09
  Speaker 1: if that does not respond, she does not verbally respond
• 1:01:13
  Speaker 1: in human language. So but she is named, so there's
• 1:01:18
  Speaker 1: a few close calls, but nope, not at all. So
• 1:01:26
  Speaker 1: with that, let us rate the movie on our nipple
• 1:01:29
  Speaker 1: scale zero to five nipples based on its portrayal of women.
• 1:01:34
  Speaker 1: I'm gonna go with one and a half for Aladdin.
• 1:01:38
  Speaker 1: I do like, as we've said, if you isolate Jasmine
• 1:01:41
  Speaker 1: as a character and the intelligence she displays, the stances
• 1:01:46
  Speaker 1: she has on things, she does have some degree of agency,
• 1:01:51
  Speaker 1: and you know she's always saying like, I'm not going
• 1:01:53
  Speaker 1: to let people decide my future for me. I'm not
• 1:01:56
  Speaker 1: a prized to be one. So in that regard, she
• 1:01:59
  Speaker 1: is maybe a proto feminist icon. But because the narrative
• 1:02:05
  Speaker 1: doesn't care about her really except to make sure that
• 1:02:08
  Speaker 1: she is the romantic interest of Aladdin, she doesn't really
• 1:02:12
  Speaker 1: get to do all that much or make that many
• 1:02:14
  Speaker 1: active choices or existing story outside of her relationship to Aladdin.
• 1:02:19
  Speaker 1: So the movie gets a lot of nipples taken away
• 1:02:22
  Speaker 1: for that. It is nice to see a woman of
• 1:02:25
  Speaker 1: color be a Disney princess. Um. This is one of
• 1:02:29
  Speaker 1: the earlier ones, if not I think the first first one.
• 1:02:35
  Speaker 1: So it is like, you know, Sharine for you when
• 1:02:37
  Speaker 1: you're seeing this as a kid and you saw yourself
• 1:02:39
  Speaker 1: represented to some degree in Jasmine or Raja. So it
• 1:02:46
  Speaker 1: is nice for that, But because the movie doesn't really
• 1:02:49
  Speaker 1: handle like Arabic culture very responsibly, it doesn't do that
• 1:02:54
  Speaker 1: great of a job. Yeah, so one and a half nipples.
• 1:02:58
  Speaker 1: Jasmine is cool, but she doesn't get to display her
• 1:03:03
  Speaker 1: coolness all that much. And my nipples, I'll give one
• 1:03:07
  Speaker 1: and a half nipples to Raja. I'll go. I want
• 1:03:12
  Speaker 1: to go too, because I want to give a lot
• 1:03:14
  Speaker 1: of nipples for the first time in this life. But
• 1:03:16
  Speaker 1: I'll also do one and a half for for basically
• 1:03:19
  Speaker 1: all the reasons that you said. And I'll also attack
• 1:03:22
  Speaker 1: on losing points for overly sexualizing a non white female character,
• 1:03:29
  Speaker 1: a trend that they will continue to do with Pocohonas
• 1:03:31
  Speaker 1: and as Maria and like into Infinity as long as
• 1:03:37
  Speaker 1: these same five male directors are still directing every single
• 1:03:42
  Speaker 1: Disney movie. It's out to Ron Clements, John Musker, Ted Elliott,
• 1:03:47
  Speaker 1: and Terry Rassio look out. But yeah, I mean, other
• 1:03:52
  Speaker 1: than that, I could you summarized it very well, and
• 1:03:54
  Speaker 1: I'm going to give a nipple and a half so
• 1:03:57
  Speaker 1: close to a ladded. I think I will give. I
• 1:04:03
  Speaker 1: really do like Jasmine's character. I think I think her
• 1:04:06
  Speaker 1: personality is great. I like that they made her strong
• 1:04:09
  Speaker 1: and stuff. But I agree with everything you said as well,
• 1:04:12
  Speaker 1: and just it's it just doesn't handle the culture. Well,
• 1:04:16
  Speaker 1: it's sexualizes a woman of color and would have been
• 1:04:19
  Speaker 1: nice to just have another female character at all that
• 1:04:23
  Speaker 1: had speaking with live right. Yeah, um so yeah, I
• 1:04:27
  Speaker 1: think I'll give. I'm gonna give one namble to Jasmine. Great. Yeah, yeah,
• 1:04:31
  Speaker 1: because there's Jasmine's manly female character. But as far as
• 1:04:35
  Speaker 1: the male characters, we've got Aladdin, a Boo is gendered male,
• 1:04:40
  Speaker 1: the Genie, the Salton, Jafar Iago, all of Jafar's guards, like,
• 1:04:44
  Speaker 1: it's just like countless male characters, and just the I do.
• 1:04:47
  Speaker 1: I say, I love Aladdin and it's a fucking blast
• 1:04:52
  Speaker 1: of a time, and you even watching it as an adult,
• 1:04:56
  Speaker 1: it's still so fun. And I love Rob Williams and
• 1:04:58
  Speaker 1: miss Robin Williams and and still sad Robin Williams and
• 1:05:02
  Speaker 1: I will never be the same. There's there's a there's
• 1:05:07
  Speaker 1: a sentimental nous to Aladdin that I cannot ignore it
• 1:05:10
  Speaker 1: for me, and it reminds me of watching with my sister,
• 1:05:13
  Speaker 1: reminds me of playing the video game. It reminds me
• 1:05:15
  Speaker 1: of like just being a kid and not realizing it
• 1:05:18
  Speaker 1: was problematic. Yet I think like the ignorance is a
• 1:05:21
  Speaker 1: bliss thing is so true as a kid because you're
• 1:05:23
  Speaker 1: happy and you little things make you laugh, whether it's cheating,
• 1:05:27
  Speaker 1: doing something stupid or whatever, and it's just like reminds
• 1:05:30
  Speaker 1: you of when times we're simple. Definitely, Yeah, yeah, like
• 1:05:33
  Speaker 1: you can still love movies that we as adults realize
• 1:05:36
  Speaker 1: are problematic, but as long as we when you talk
• 1:05:38
  Speaker 1: about them on a podcast, there's so few that aren't. Right. Well, Sharine,
• 1:05:43
  Speaker 1: thank you so much for being here. Thank you so
• 1:05:46
  Speaker 1: much for having me. This was so fun. Do you
• 1:05:48
  Speaker 1: have anything you'd like to plug? Where can people follow
• 1:05:51
  Speaker 1: you online? You can follow me on Twitter at Sharine
• 1:05:55
  Speaker 1: y Sharne s h E R E n W h
• 1:05:59
  Speaker 1: Y and then on Instagram. I'm Shiro Hero. I don't
• 1:06:02
  Speaker 1: know if any of you guys are going to be
• 1:06:03
  Speaker 1: in New York on July nine, but I have a
• 1:06:05
  Speaker 1: short film screening at the MoMA. Yeah, I'm really excited
• 1:06:10
  Speaker 1: about it. There's going to be a Q and a
• 1:06:12
  Speaker 1: after the screening, So if you guys want to see
• 1:06:14
  Speaker 1: a cool movie, and it's in a collaboration with an
• 1:06:17
  Speaker 1: exhibition called the Future of Films Female. So if you
• 1:06:20
  Speaker 1: guys want to see some cool short films, it's me
• 1:06:24
  Speaker 1: and seven other filmmakers featured that night. So it will
• 1:06:28
  Speaker 1: be fun to have you guys there. And congratulations. I'm
• 1:06:32
  Speaker 1: super stoked and just kind of honored that I'm even
• 1:06:35
  Speaker 1: included in the line up because it's like people that
• 1:06:37
  Speaker 1: I really like. Um. But other than that, I have
• 1:06:42
  Speaker 1: a poetry book on Amazon if you guys want to read,
• 1:06:44
  Speaker 1: It's called Dime Peace. And Yeah, just follow me on
• 1:06:47
  Speaker 1: the interwebs and keep up and listen to ethnically and
• 1:06:51
  Speaker 1: I think made us that house stuff works. Yeah, your
• 1:06:54
  Speaker 1: co host being of course an a host, which was
• 1:06:57
  Speaker 1: on our all that episode, Great movie episode Solid. You
• 1:07:06
  Speaker 1: can follow us the back tol Cast on social media.
• 1:07:09
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• 1:07:13
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• 1:07:16
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• 1:07:19
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• 1:07:22
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• 1:07:26
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• 1:07:30
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• 1:07:33
  Speaker 1: And otherwise, what do you say we all go on
• 1:07:36
  Speaker 1: a magic carpet rise. Bye,