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Daughters of the Dust with Kenice Mobley · The Bechdel Cast

• 0:00
  Speaker 1: On the Bechdel Cast, The questions asked if movies have
• 0:04
  Speaker 1: women and them, are all their discussions just boyfriends and husbands,
• 0:08
  Speaker 1: or do they have individualism? It's the patriarchy, zeph and
• 0:12
  Speaker 1: best start changing it with the Bechdel Cast.
• 0:16
  Speaker 2: Hello, and welcome to the Bechdel Cast.
• 0:18
  Speaker 3: Hello.
• 0:19
  Speaker 2: My name is Caitlin Dernte.
• 0:21
  Speaker 4: My name is Jamie Loftus, and this is our podcast
• 0:24
  Speaker 4: where for ten years we have taken a look at
• 0:28
  Speaker 4: your favorite movies using an intersectional feminist lens, using the
• 0:34
  Speaker 4: Bechdel Test as a jumping off point for discussion. The Caitlin,
• 0:38
  Speaker 4: what is it? I do think like sometimes I'm like, ugh,
• 0:42
  Speaker 4: I can describe the Bechdel Test with ease. But then
• 0:45
  Speaker 4: every once in a while, if I'm having an off day,
• 0:47
  Speaker 4: I'm like, wait, what is it? And today's one of
• 0:50
  Speaker 4: those days? So what is it?
• 0:52
  Speaker 2: Sure? Well, you're you're feeling sick? Is that true?
• 0:55
  Speaker 4: Yes, I'm at my most vulnerable.
• 0:58
  Speaker 2: We'll take care of you, you, thank you, but yes.
• 1:02
  Speaker 2: The Bechtel Test is a media metric created by our
• 1:06
  Speaker 2: dear dear friend, Alison Bechtel. It have appeared in her
• 1:11
  Speaker 2: comic Dyke's Watch Out for in the eighties. Originally, it
• 1:15
  Speaker 2: has since been used as a more mainstream medium metric
• 1:21
  Speaker 2: that has many versions of it. The one that we
• 1:24
  Speaker 2: use requires that two characters of a marginalized gender have names,
• 1:29
  Speaker 2: they speak to each other, and their conversation has to
• 1:32
  Speaker 2: be about something other than a man, and ideally it's
• 1:37
  Speaker 2: a narratively relevant and meaningful conversation and not just throwaway dialogue.
• 1:42
  Speaker 4: Yeah, not really an issue we're going to be having
• 1:46
  Speaker 4: with the movie we are discussing today. Spoiler alert. If
• 1:50
  Speaker 4: you've seen it, you know, if you haven't, get excited.
• 1:54
  Speaker 4: This is a movie that well, first of all, we
• 1:56
  Speaker 4: had to bring in our all time guests are all timer.
• 2:01
  Speaker 4: We haven't made the jacket, but we will. We will
• 2:05
  Speaker 4: working on it to discuss the movie that we have
• 2:07
  Speaker 4: been and this is there's a whole conversation to be
• 2:10
  Speaker 4: had around this. A movie we've been trying to cover
• 2:12
  Speaker 4: on the show for years but has only recently become
• 2:16
  Speaker 4: easy to stream and access. So we are finally covering
• 2:21
  Speaker 4: Daughters of the Dust nineteen ninety one Julie Dash with
• 2:25
  Speaker 4: an incredible returning guest, Caitlyn.
• 2:27
  Speaker 2: Wanted to introduce her. You know her, you love her
• 2:29
  Speaker 2: she's a comedian. She is making her eighth appearance Holy
• 2:33
  Speaker 2: shit on the Bechdel Cast. Yeah it's Kenny S. Mowbley. Hello,
• 2:38
  Speaker 2: welcome back.
• 2:39
  Speaker 3: Thank you for having me.
• 2:40
  Speaker 5: I love being here, as evidenced by the fact that
• 2:42
  Speaker 5: I've been here seven times.
• 2:44
  Speaker 4: Before Welcome back.
• 2:46
  Speaker 2: I was wondering, if you recall the other episodes you've done.
• 2:51
  Speaker 5: I remember something new, And you know what I'm gonna say.
• 2:57
  Speaker 5: This is because I value our friendship so much and
• 2:59
  Speaker 5: we talk so regularly that I couldn't possibly remember one
• 3:03
  Speaker 5: specific conversation Caitlin. We've traveled the world together. I didn't
• 3:08
  Speaker 5: keep things like that in my mind. Okay, And so
• 3:10
  Speaker 5: now that I've said that, to make myself sound better,
• 3:12
  Speaker 5: what were my other episodes?
• 3:13
  Speaker 3: So sorry?
• 3:14
  Speaker 2: Okay?
• 3:15
  Speaker 4: The one I remember most vividly is the House Deella
• 3:18
  Speaker 4: got her Groove back episode fun episode.
• 3:21
  Speaker 2: Yep.
• 3:22
  Speaker 4: Wait, I'm going through the Wikipedia.
• 3:24
  Speaker 2: So I think your first episode with us, or one
• 3:28
  Speaker 2: of the very early ones was Casino Royale.
• 3:31
  Speaker 3: I love it. I'm so happy I got to discuss
• 3:33
  Speaker 3: that with you.
• 3:34
  Speaker 1: I love that.
• 3:34
  Speaker 5: And Max Michelson is still one of my all time crushes.
• 3:37
  Speaker 5: I want to make out with him.
• 3:39
  Speaker 3: Yesterday.
• 3:40
  Speaker 4: Well wait, wait, Caitlyn, I'm seeing that Kinese's first appearance
• 3:44
  Speaker 4: was perhaps on the Matreoon. Okay, that's what I was
• 3:46
  Speaker 4: wondering covering Back to the Future back in twenty eighteen.
• 3:50
  Speaker 3: I feel like you guys, I've known you guys since
• 3:52
  Speaker 3: you started this podcast. I feel like it was like.
• 3:54
  Speaker 4: Yeah, more then, since I don't understand why. Maybe it
• 3:57
  Speaker 4: was because we were mostly recording in person and that's
• 4:00
  Speaker 4: why it took its where for out of state guests,
• 4:02
  Speaker 4: that's what a because otherwise it doesn't make any sense.
• 4:05
  Speaker 3: Yeah.
• 4:06
  Speaker 5: I was like, that's bizarre because both of you guys
• 4:09
  Speaker 5: were on my podcast when I had a podcast, and
• 4:11
  Speaker 5: I like a joints.
• 4:15
  Speaker 2: Right, But yeah, no, I think it's because we did
• 4:17
  Speaker 2: it as a live show at Brown University. Ever heard
• 4:21
  Speaker 2: of it?
• 4:21
  Speaker 3: Oh?
• 4:22
  Speaker 4: Yeah? What wait? Why did that happen? Wow? Life is
• 4:25
  Speaker 4: so long? I was like, how did we end up
• 4:27
  Speaker 4: at Brown University talking about Back to the Future?
• 4:31
  Speaker 2: Right? And then the audio from that episode was not great,
• 4:35
  Speaker 2: so I had to like subtitle the whole thing, and
• 4:37
  Speaker 2: then we ended up because the audio was so bad,
• 4:39
  Speaker 2: we actually ended up taking that episode down, so it's
• 4:42
  Speaker 2: it has gone away. But it's still in our hearts.
• 4:46
  Speaker 4: Life is life is so long. Okay, So, but then
• 4:49
  Speaker 4: Casino Royale and then She's got to have It, yeah huh.
• 4:53
  Speaker 4: And then the most recent one before this current episode
• 4:56
  Speaker 4: is Zoolander. H oh, The Range, The Range.
• 5:01
  Speaker 2: And then you were also you also joined us for
• 5:03
  Speaker 2: an episode that we entitled Updates, Improvements and a discussion
• 5:07
  Speaker 2: with Cannis Mobley.
• 5:08
  Speaker 3: I don't know what I was talking about something.
• 5:12
  Speaker 2: If I recall correctly, it was during the George Floyd protests, Okay.
• 5:17
  Speaker 2: I do remember that we were basically realizing that we
• 5:21
  Speaker 2: needed to take a more intersectional approach to our analysis,
• 5:25
  Speaker 2: and so we were discussing that and what we were
• 5:28
  Speaker 2: going to do moving forward, and then you kind of
• 5:30
  Speaker 2: enough to join us for that discussion.
• 5:32
  Speaker 5: Thank you for genuinely. I remember you guys have been
• 5:36
  Speaker 5: going for ten years. I remember ten years ago in Boston.
• 5:40
  Speaker 5: For me, I think, Caitlyn, you already moved to LA
• 5:42
  Speaker 5: or did you not?
• 5:43
  Speaker 2: Yeah?
• 5:43
  Speaker 4: Yeah, I was a year behind Caitlyn. I was theory
• 5:46
  Speaker 4: for another year.
• 5:47
  Speaker 3: Yeah, wild But I'll look at us simpler times.
• 5:51
  Speaker 5: Yeah, you guys moved to a warmer place and have
• 5:54
  Speaker 5: been employed and stuff and I chose a frozen tundra
• 5:56
  Speaker 5: of unemployment.
• 5:58
  Speaker 3: But you know, we're all doing it. We're all doing our.
• 6:00
  Speaker 4: Better parties though better parties. Let's be honest.
• 6:02
  Speaker 3: Yes, I'm stale throwing parties. I love it. It makes
• 6:06
  Speaker 3: me really happy.
• 6:07
  Speaker 4: Well, welcome back the jacket. It just keeps getting held up.
• 6:12
  Speaker 4: It just keeps getting held up. Hard to say.
• 6:14
  Speaker 3: Why if there's.
• 6:15
  Speaker 5: Someone who's Bechdel class listener who loves sewing and giving
• 6:19
  Speaker 5: away jackets, you know what to do.
• 6:21
  Speaker 4: Truth to me, I'm like, I've been thinking. It was
• 6:23
  Speaker 4: like we should do a ten year photo shoot and
• 6:25
  Speaker 4: we should just get jackets and also get Kidney's a jacket.
• 6:29
  Speaker 4: Like I want a podcast themed letterman jacket. I don't
• 6:33
  Speaker 4: care if it's cringe. I want it.
• 6:37
  Speaker 2: We deserve it.
• 6:38
  Speaker 4: I don't know. I mean, I think I think like
• 6:40
  Speaker 4: block color, like going full nineties block block colors. I'll
• 6:45
  Speaker 4: draw some stuff up. We'll discuss. We'll discuss great, quick great.
• 6:49
  Speaker 2: In the meantime.
• 6:50
  Speaker 4: Oh yeah, we have to take the show.
• 6:52
  Speaker 2: Let's do the show. So we're talking about Daughters of
• 6:54
  Speaker 2: the Dust. Canise, what is your relationship with this movie?
• 6:58
  Speaker 3: So I first saw this movie.
• 6:59
  Speaker 5: I want to say in undergrad when we were discussing
• 7:03
  Speaker 5: black filmmakers, and I always thought it was cool, but
• 7:06
  Speaker 5: I didn't really think about it much again until Lemonade
• 7:10
  Speaker 5: came out in twenty sixteen and I was like, oh,
• 7:13
  Speaker 5: I see a lot of the visual similarities in this,
• 7:16
  Speaker 5: and then lately I've seen it, but I also saw
• 7:19
  Speaker 5: it in the context of like I saw the color
• 7:22
  Speaker 5: Purple for the first time last year and seeing this
• 7:27
  Speaker 5: and thinking about how this came five years after the
• 7:30
  Speaker 5: color Purple.
• 7:30
  Speaker 3: But it's so much there's so much more black joy.
• 7:34
  Speaker 5: In this film and conversations between black women that I
• 7:38
  Speaker 5: just really liked.
• 7:39
  Speaker 3: So that is my relationship with it. I'm not an expert,
• 7:43
  Speaker 3: but I do like it a lot.
• 7:45
  Speaker 5: Oh, I guess I should say. I'm from North Carolina.
• 7:48
  Speaker 5: This takes place off of the coast of South Carolina.
• 7:51
  Speaker 5: My family had a time share on Edisto Island. I
• 7:54
  Speaker 5: remember like Galla Gala Island and some other things talking
• 7:58
  Speaker 5: about Gulla culture and those islands specifically that were separated
• 8:03
  Speaker 5: from some of the mainland. And I find it fascinating
• 8:07
  Speaker 5: given that my forefathers I don't know, are from South Carolina,
• 8:13
  Speaker 5: how they're like so excited to go to the mainland
• 8:16
  Speaker 5: when the state of South Carolina sucks ass, and.
• 8:20
  Speaker 4: Then you're just like wow, after this, But that is
• 8:23
  Speaker 4: kind of there's an opportunity for Daughters of the Dust
• 8:26
  Speaker 4: Attorney to a completely different movie very quickly, when it's
• 8:29
  Speaker 4: like this beautiful, like painful departure, comings, goings, all this,
• 8:34
  Speaker 4: and then you know, shortly after they get to the mainland,
• 8:37
  Speaker 4: they're like, well, this fucking blows.
• 8:40
  Speaker 5: And that's like, that's how I viewed the film, where
• 8:43
  Speaker 5: I was like, they're so excited to go and I
• 8:45
  Speaker 5: know where they're going is garbage.
• 8:48
  Speaker 2: I'm just like, well, aren't they gonna aren't they planning
• 8:50
  Speaker 2: to migreat north Once they get to the main they
• 8:53
  Speaker 2: talk about like Nova Scotia and stuff.
• 8:56
  Speaker 5: Because goddamn South Caro And if you're a listener of
• 9:00
  Speaker 5: this show and you live in South Carolina, I'm sorry.
• 9:02
  Speaker 5: And also we will exist and you can move because
• 9:06
  Speaker 5: that state is awful. They have a horrible education system,
• 9:09
  Speaker 5: there's culture where I just it's not a good state
• 9:14
  Speaker 5: and you should leave that.
• 9:16
  Speaker 4: Issay yisde Oh goodness, Jamie, what's your history with the movie?
• 9:25
  Speaker 4: Kind of similar? I mean, I I was not. I mean,
• 9:29
  Speaker 4: my film program failed me in so many ways, and
• 9:32
  Speaker 4: I did not learn of this in college, although I
• 9:38
  Speaker 4: was forced to take a course I've brought up on
• 9:41
  Speaker 4: the show many times. Allen. Course, that's where they were like,
• 9:45
  Speaker 4: this is how we're going to spend our time. But
• 9:47
  Speaker 4: so I think I was not. I mean, it is
• 9:49
  Speaker 4: really interesting how Beyonce has had a hand in giving
• 9:53
  Speaker 4: this movie a second life for people who hadn't seen
• 9:58
  Speaker 4: it because it was a very difficult movie to see
• 10:00
  Speaker 4: you for some time. I yeah, I think we started
• 10:02
  Speaker 4: talking about covering this movie on the Bechdel Cast in
• 10:05
  Speaker 4: like twenty nineteen. There was I tried to get a
• 10:09
  Speaker 4: ticket to see it at Vidiots last year, but it
• 10:11
  Speaker 4: sold out. Like it's just been a very difficult movie,
• 10:14
  Speaker 4: at least for me to find. I know we've tried
• 10:16
  Speaker 4: to because whatever show policy is, like, we want our
• 10:19
  Speaker 4: listeners to be able to watch the movie we're talking about.
• 10:22
  Speaker 4: And so finally, I think fairly recently it was added
• 10:26
  Speaker 4: to the Criterion Channel and I am engaged to a man,
• 10:31
  Speaker 4: so I have access to a Criterion Channel subscription, of course.
• 10:35
  Speaker 5: So rats on your engagement. I don't think I said
• 10:37
  Speaker 5: that before.
• 10:38
  Speaker 4: Yeah, look, just slipping it in there.
• 10:41
  Speaker 2: Wow, brag. It's also on Canopy.
• 10:44
  Speaker 4: That's how I watched it. Excellent. Then you don't need
• 10:48
  Speaker 4: a man to watch.
• 10:49
  Speaker 2: Doctors of the You just need a library card.
• 10:52
  Speaker 4: You need a library card.
• 10:53
  Speaker 5: The Brooklyn Library does not have Canopy, which is fucked up.
• 10:56
  Speaker 5: But I was able to get it on Amazon. I
• 10:59
  Speaker 5: know Amazon's been no, Yeah, it was Amazon and it
• 11:02
  Speaker 5: was three dollars and ninety nine cents.
• 11:03
  Speaker 4: So everyone, it is an accessible movie for you to
• 11:07
  Speaker 4: watch now, no excuses. But yeah, it was really fun
• 11:10
  Speaker 4: to finally get to watch it, and then even more
• 11:14
  Speaker 4: fun to listen to a lot of Julie Dash interviews.
• 11:17
  Speaker 4: She's so fascinating and so cool and has done so
• 11:20
  Speaker 4: much like world building off of this. She's written two
• 11:23
  Speaker 4: books off of this story, including one with Belle Hooks. Like,
• 11:27
  Speaker 4: there's a lot of very interesting and often frustrating lore
• 11:31
  Speaker 4: that comes with this movie. So I'm very excited to
• 11:34
  Speaker 4: talk about it, Caitlyn. What's your history?
• 11:37
  Speaker 2: I hadn't seen it before. This was my first time
• 11:40
  Speaker 2: watching it, and I am excited to talk about it.
• 11:47
  Speaker 2: My history is is it's four days long, so there's
• 11:51
  Speaker 2: not much to say, but I'm delighted that we're finally
• 11:54
  Speaker 2: covering it. Yeah, like you said, Jamie, we've been trying
• 11:57
  Speaker 2: to for years, and now it's the time, and I'm
• 12:01
  Speaker 2: excited that it's here. So let's take a quick break
• 12:06
  Speaker 2: and then we'll come back for the recap. And we're back.
• 12:19
  Speaker 2: I'll place a content warning at the top for discussion
• 12:25
  Speaker 2: of rape. We don't see any rape or assault or
• 12:28
  Speaker 2: anything on screen, but the characters talk about a rape
• 12:34
  Speaker 2: that happened in the backstory, so just so everyone is aware,
• 12:39
  Speaker 2: we open on text on screen saying that at the
• 12:44
  Speaker 2: turn of the century, See Island Galas, descendants of African captives,
• 12:51
  Speaker 2: remained isolated from the mainland of South Carolina and Georgia,
• 12:56
  Speaker 2: and as a result of their isolation, the Gulla created
• 13:00
  Speaker 2: and maintained a distinct, imaginative and original African American culture.
• 13:05
  Speaker 2: Galah communities recalled, remembered, and recollected much of what their
• 13:09
  Speaker 2: ancestors brought with them from Africa. Then we open on
• 13:15
  Speaker 2: Ebo Landing, which is an area of I think Saint
• 13:19
  Speaker 2: Simon's Island. We're in nineteen oh two.
• 13:23
  Speaker 4: Also, not for nothing not to immediately center myself. I
• 13:27
  Speaker 4: need this incredible film about Black Joy. But this whole
• 13:33
  Speaker 4: movie takes place on my birthday. They were like August eighteenth,
• 13:36
  Speaker 4: and I was like August eighteenth, mentioned ye, that's right.
• 13:41
  Speaker 4: I was not around, but I felt immediately locked in.
• 13:45
  Speaker 4: I was like, all right, something amazing's gonna happen today.
• 13:47
  Speaker 4: I can feel it.
• 13:48
  Speaker 3: Okay.
• 13:49
  Speaker 5: It being August, I totally forgot that, Like, I know
• 13:52
  Speaker 5: how hot it gets in North Carolina and South Carolina
• 13:55
  Speaker 5: is worse.
• 13:56
  Speaker 3: And for them to be wearing so many layers, yeah,
• 14:01
  Speaker 3: in August.
• 14:02
  Speaker 5: I'm surprised that they're not fainting, falling out like lots
• 14:06
  Speaker 5: of horrible things ever following them. That's all I wanted
• 14:08
  Speaker 5: to say.
• 14:08
  Speaker 2: They're not sweating. I'm like I would be drenched.
• 14:12
  Speaker 4: It was. It sounded like I was like I wish
• 14:15
  Speaker 4: I had time to get the book. But there was
• 14:17
  Speaker 4: like a lot of information about how this was made,
• 14:19
  Speaker 4: and there was because it would get like so hot
• 14:22
  Speaker 4: or there was like a hurricane that took place in
• 14:24
  Speaker 4: the middle of shooting because of where they were shooting
• 14:27
  Speaker 4: it that the actors kind of had to be just
• 14:30
  Speaker 4: like on call to be like, hey, it doesn't suck
• 14:32
  Speaker 4: out right, now, get your cost about it, like, yeah,
• 14:36
  Speaker 4: because it just sounds I wonder. I don't know what
• 14:39
  Speaker 4: time of the year they actually shot it. I hope
• 14:41
  Speaker 4: it wasn't actually August. That would that would be unfortunate.
• 14:44
  Speaker 2: Yeah, because there's all it's humid too, I imagine, right, Yeah, yeah,
• 14:49
  Speaker 2: I can't. I could not handle it.
• 14:52
  Speaker 5: I would I wouldn't wish I was about to say,
• 14:55
  Speaker 5: I wouldn't wish it on my worst enemy, on my
• 14:57
  Speaker 5: worst enemy, Yes, I would wish this.
• 14:59
  Speaker 4: A lot of lot of Yeah, just like mild but
• 15:02
  Speaker 4: intense discomfort is if I would love to wish that
• 15:04
  Speaker 4: on my enemy.
• 15:05
  Speaker 2: Yeah, right, Okay, So we get voiceover narration from an
• 15:11
  Speaker 2: unborn child will meet her parents soon. But this child
• 15:17
  Speaker 2: is talking about all these sort of conflicting identities she has.
• 15:23
  Speaker 2: She says, I am the first and the last, the
• 15:26
  Speaker 2: honored one and the scorned one, the whore and the
• 15:29
  Speaker 2: holy one, wife and virgin, the barren one, and many
• 15:32
  Speaker 2: are my daughters, which kind of sets up this like
• 15:35
  Speaker 2: poetic undercurrent of the whole movie. Because this is a story,
• 15:42
  Speaker 2: it's like a slice of life. We're getting a lot
• 15:44
  Speaker 2: of like voiceover and narration, we're getting some flashbacks it's
• 15:48
  Speaker 2: centering on this peasant family who are gearing up to
• 15:54
  Speaker 2: migrate from this island to the mainland and then head north.
• 16:00
  Speaker 2: But we start to meet members of the family. Mary
• 16:04
  Speaker 2: Pisant played by Barbara Oh Everyone knows her as yellow
• 16:09
  Speaker 2: Mary because of her lighter skin. She is joined by
• 16:14
  Speaker 2: her friend and possibly lover. I couldn't get a handle
• 16:19
  Speaker 2: on their relationship exactly.
• 16:21
  Speaker 4: I was like, you know what, none of my business. Yeah,
• 16:24
  Speaker 4: none of my business.
• 16:25
  Speaker 3: Also, I have to ask, like, both of you are white.
• 16:28
  Speaker 2: I've noticed, Oh, yes, yes, yes.
• 16:30
  Speaker 5: Are you familiar with high yellow and yellow like black
• 16:35
  Speaker 5: people calling lighter skin black people yellow?
• 16:38
  Speaker 2: No, I hadn't come across that before.
• 16:39
  Speaker 5: No, okay, because that is like a very common thing.
• 16:43
  Speaker 5: That is like it's not just like, oh we picked
• 16:46
  Speaker 5: that name out of the hat calling someone yellow or
• 16:48
  Speaker 5: high yellow. We my mom's not listening to this podcast.
• 16:52
  Speaker 5: We joke because my mom is much lighter skin.
• 16:54
  Speaker 3: Than I am.
• 16:54
  Speaker 5: We always call her high yellow and she hates it.
• 16:57
  Speaker 5: She's like, leave me alone. No, I'm like regular dark.
• 17:00
  Speaker 5: Were like whatever, like, can you even use band aids?
• 17:04
  Speaker 5: Liked the color that she is and we joke about that.
• 17:08
  Speaker 4: So yes, Wow, I did. Yeah, I had never heard
• 17:12
  Speaker 4: it before.
• 17:13
  Speaker 2: H Anyway, So Yellow Mary. She's got a companion named Trula,
• 17:20
  Speaker 2: and they are traveling by boat from the mainland to
• 17:25
  Speaker 2: the island to kind of reconvene with the family. They
• 17:28
  Speaker 2: link up with Mary's cousin, Viola, played by Cheryl Lynn Bruce,
• 17:34
  Speaker 2: as well as a photographer named mister Snead, who Viola
• 17:38
  Speaker 2: had hired to document the family crossing over to the mainland.
• 17:43
  Speaker 3: Who guess what we saw? And she's not habit.
• 17:46
  Speaker 2: Wait oh, I forgot about that.
• 17:48
  Speaker 3: He's the boyfriend at the end to assault her.
• 17:52
  Speaker 4: Oh wow, Okay, Well, far more likable character in Yeah Yeah.
• 18:02
  Speaker 2: Other members of the family include Iona Pizzant played by
• 18:08
  Speaker 2: Bonnie Turpin. She receives a letter from Saint Julian last Child,
• 18:15
  Speaker 2: a man from the Cherokee Nation who loves Iona and
• 18:19
  Speaker 2: asks her not to leave with her family and to
• 18:21
  Speaker 2: stay behind on the island to be with him, and.
• 18:24
  Speaker 4: Is so handsome he's really hot.
• 18:27
  Speaker 2: Yeah. We then meet the parents of the unborn child
• 18:32
  Speaker 2: narrator This is Ula and Eli, played by Alva Rogers
• 18:37
  Speaker 2: and Adisa Anderson, respectively. Ula had recently been raped and
• 18:44
  Speaker 2: she is pregnant and they are not sure if Eli
• 18:47
  Speaker 2: is the father of the baby that Ula is carrying,
• 18:51
  Speaker 2: and Eli is really struggling with that. We meet Nana
• 18:57
  Speaker 2: played by Cora Lee Day. She is the elder family matriarch.
• 19:03
  Speaker 2: She is visiting the grave of her late husband. She
• 19:07
  Speaker 2: intends to stay behind on the island while the rest
• 19:11
  Speaker 2: of the family migrates north. Eli, who is her I
• 19:16
  Speaker 2: believe great grandson, comes by looking to Nana for guidance
• 19:23
  Speaker 2: because he feels that his wife has been like tainted
• 19:28
  Speaker 2: or ruined by this rape. And basically Nana is like,
• 19:35
  Speaker 2: quit victim blaming your wife.
• 19:37
  Speaker 4: Be supportive, and also like, don't push her for information
• 19:42
  Speaker 4: because that seems like part of what is like torturing.
• 19:45
  Speaker 4: Eli is like who did this? And she's like, shut up,
• 19:49
  Speaker 4: you know.
• 19:49
  Speaker 3: It's not going to help you to know who did this?
• 19:51
  Speaker 4: Yeah, right, And it's also just yeah, like whatever. Centering himself,
• 19:55
  Speaker 4: he learns his lesson, he does. He does, I appreciate you.
• 20:00
  Speaker 4: You never see men grow on screen. You just see
• 20:02
  Speaker 4: them repeat the behavior and then eventually be told all right, whatever.
• 20:06
  Speaker 4: So it was nice that he grows.
• 20:10
  Speaker 2: But before he grows, he's lashing out. He trashes some stuff,
• 20:17
  Speaker 2: there's this kind of push and pull in the story
• 20:20
  Speaker 2: about the characters, and it's mostly Nana, who has like
• 20:26
  Speaker 2: religious practices that derive from her African ancestors. I think
• 20:31
  Speaker 2: she's practicing who do and Eli and various other characters
• 20:36
  Speaker 2: are like, that's not gonna help, Like it doesn't do anything.
• 20:39
  Speaker 2: I thought you were gonna protect me, but it never
• 20:40
  Speaker 2: seems to work and all this stuff. So he's carrying
• 20:43
  Speaker 2: on about that. Then Mary arrives on the boat and
• 20:48
  Speaker 2: reunites with her family, some of whom are happy to
• 20:51
  Speaker 2: see her, though others like Auntie Hagar and Viola, who
• 20:57
  Speaker 2: are both very very Christian.
• 20:59
  Speaker 3: Yeah, they are mean.
• 21:03
  Speaker 2: They think that Mary is quote unquote ruined, and we'll
• 21:07
  Speaker 2: talk more about this. But Mary goes to visit with Nana.
• 21:12
  Speaker 2: Seems like they have a close bond. We also see
• 21:15
  Speaker 2: Mary hanging out with Trula and Yula. Oh, I don't
• 21:20
  Speaker 2: even realize those name is rhyme, and we get more
• 21:24
  Speaker 2: insight into why the family thinks that Mary is ruined.
• 21:29
  Speaker 2: She tells them about having a stillborn birth, how she
• 21:34
  Speaker 2: became a servant slash wet nurse for a rich family
• 21:40
  Speaker 2: who wouldn't let her leave for a while they took
• 21:43
  Speaker 2: her to Cuba with them, but eventually Mary was able
• 21:48
  Speaker 2: to leave and come back home.
• 21:51
  Speaker 3: I had a lot of questions about that story.
• 21:53
  Speaker 2: Same I had to watch it two or three times
• 21:57
  Speaker 2: that scene before I started to kind of understand what
• 21:59
  Speaker 2: was being talked about.
• 22:01
  Speaker 5: I watched the whole thing with subtitles, and I'm from
• 22:04
  Speaker 5: the South when I was like, nah, this guy be
• 22:06
  Speaker 5: subtitled deep. And she talks about nursing the child via
• 22:12
  Speaker 5: this wet nursing job that kidnapped her, but she also
• 22:15
  Speaker 5: talks about like I fixed the titty, and I was like, wait.
• 22:19
  Speaker 3: What what wha what? What? What? What? What are we saying?
• 22:21
  Speaker 2: What does that mean?
• 22:22
  Speaker 3: What did you do to tits?
• 22:23
  Speaker 4: I wasn't sure if it was possible that that was
• 22:26
  Speaker 4: like shorthand for something else, because I was like, was
• 22:30
  Speaker 4: she talking Because if she was talking about an actual titty,
• 22:34
  Speaker 4: I'm very confused. And I think that was like one
• 22:36
  Speaker 4: of the times where I'm like, I'm assuming this is
• 22:38
  Speaker 4: like shorthand that I don't know about.
• 22:41
  Speaker 2: I don't know.
• 22:41
  Speaker 4: It's like interesting because Julie Dash like in all of
• 22:44
  Speaker 4: her interviews about this, like was very and like I like,
• 22:48
  Speaker 4: rightfully so it was like I did not want to
• 22:52
  Speaker 4: like over explain the world in a way that the
• 22:54
  Speaker 4: characters wouldn't have had the need to do. But it's
• 22:57
  Speaker 4: but there are moments where I was like, wait a second,
• 23:00
  Speaker 4: I don't know, like, not only do I not understand
• 23:02
  Speaker 4: the context, I don't even know where I would look
• 23:05
  Speaker 4: for the context. I don't know where I would look
• 23:07
  Speaker 4: to try to understand this.
• 23:08
  Speaker 5: But I took it literally because as a wet nurse,
• 23:11
  Speaker 5: like especially if you had a stillborn birth, your body
• 23:14
  Speaker 5: is producing a lot of milk and you are the
• 23:16
  Speaker 5: wet nurse to someone else, and I guess if you're
• 23:18
  Speaker 5: if you're forced to continue doing that. To say fix
• 23:21
  Speaker 5: the titty to me would mean she did something to
• 23:24
  Speaker 5: make it so that she.
• 23:25
  Speaker 3: No longer was producing milk, right, And in that case,
• 23:29
  Speaker 3: I'm like, oh no, what did you do to your boobs?
• 23:31
  Speaker 5: Like I'm like, I'm like concerned from like a self
• 23:35
  Speaker 5: harm perspective, I don't know.
• 23:38
  Speaker 4: Yeah, well, And also just like for the time, it's
• 23:41
  Speaker 4: just so it's so setting after yeah, after you know,
• 23:45
  Speaker 4: however much time in the movie, like hearing that Mary
• 23:48
  Speaker 4: is ruined and then hearing the reason, like you can
• 23:51
  Speaker 4: you can tell just because it's nineteen oh two, You're like,
• 23:53
  Speaker 4: whatever the reason is is not going to be her fault. Yeah,
• 23:56
  Speaker 4: but that was that was an incredibly traumatic thing to
• 23:59
  Speaker 4: not be her faults. Well, I was. She was like
• 24:02
  Speaker 4: trafficked basically, like it just yeah, for sure.
• 24:05
  Speaker 2: Well that's what also was a little confusing to me
• 24:08
  Speaker 2: is that I didn't understand exactly why other characters would
• 24:13
  Speaker 2: perceive her experience as being the thing that ruined her.
• 24:19
  Speaker 2: But I was just like, it must just be like
• 24:21
  Speaker 2: old timey religious.
• 24:23
  Speaker 3: Well, was she married when she got pregnant?
• 24:27
  Speaker 4: Oh? Maybe.
• 24:28
  Speaker 5: I don't think she had a husband at that time,
• 24:31
  Speaker 5: which is probably why she ended up needing to go
• 24:34
  Speaker 5: be a wet nurse because she didn't have someone to
• 24:37
  Speaker 5: support her. So she might have been a victim of
• 24:40
  Speaker 5: sexual assault. But also she might have just slept with
• 24:43
  Speaker 5: someone but got pregnant and then had to leave the
• 24:47
  Speaker 5: island essentially.
• 24:48
  Speaker 2: And that's why she is perceived to be ruined.
• 24:53
  Speaker 3: Yes, okay, okay, okay, that's how I took it.
• 24:55
  Speaker 2: Yeah, no, I think that that makes sense. Yeah, yeah, yeah,
• 24:58
  Speaker 2: So we learn all of that. We also see other
• 25:02
  Speaker 2: family members throughout the movie kind of going about their day.
• 25:06
  Speaker 2: They're preparing food, they're packing up their belongings for this migration.
• 25:11
  Speaker 2: They're playing on the beach. We also occasionally get voiceover
• 25:15
  Speaker 2: from the unborn child, as well as like flashes of
• 25:19
  Speaker 2: her running around the island. She's sort of like watching
• 25:23
  Speaker 2: over different family members, almost like a specter who is
• 25:30
  Speaker 2: not born.
• 25:31
  Speaker 5: Yet, like a helpful prespector a prespector.
• 25:37
  Speaker 3: I mean, aren't we all prespectors?
• 25:39
  Speaker 4: But yeah, yeah, babies are future ghosts as well.
• 25:42
  Speaker 1: So.
• 25:45
  Speaker 2: Exactly so we see that. You can tell because I'm like,
• 25:50
  Speaker 2: which child is which child because we never like really
• 25:53
  Speaker 2: meet any of the children, But she's the one with
• 25:56
  Speaker 2: like the blue bow in her hair. And you could
• 25:57
  Speaker 2: also tell that it's her because the movie slows down
• 26:01
  Speaker 2: into like a really slow frame rate every time she's
• 26:05
  Speaker 2: on screen, so you're like, Okay, that's the ghost baby.
• 26:09
  Speaker 3: Yeah.
• 26:10
  Speaker 5: I thought about that frame rate so often because it's
• 26:13
  Speaker 5: clear that they shot it at regular speed and then
• 26:15
  Speaker 5: just essentially repeated every frame twice, or even if they
• 26:18
  Speaker 5: did slow it down a little bit, it's the amount
• 26:20
  Speaker 5: of slowing down you can do within the camera, So
• 26:22
  Speaker 5: that's like maybe like half speed, but even that doesn't
• 26:26
  Speaker 5: give the visual effect that you're looking for. So it's
• 26:29
  Speaker 5: like kind of choppy in this way that was very
• 26:31
  Speaker 5: popular in the early nineties.
• 26:33
  Speaker 4: Because reminded, Yeah, it felt very nineties.
• 26:36
  Speaker 2: Yes, and lo and behold it's a movie from the nineties,
• 26:38
  Speaker 2: so you can believe imagine that anyway. So we see
• 26:43
  Speaker 2: all these things. We also see mister Sneed taking photos
• 26:47
  Speaker 2: of different family members Throughout the film. There's a scene
• 26:52
  Speaker 2: where various women in the family talk about Nana, how
• 26:56
  Speaker 2: she is staying behind on the island, and how different
• 27:00
  Speaker 2: characters feel about that. Hagar criticizes Nana's spiritual practices and
• 27:07
  Speaker 2: thinks they're archaic. Again, it's that like push and pull
• 27:11
  Speaker 2: between Christianity and who do there's also at least one
• 27:16
  Speaker 2: Muslim member of the family, perhaps more than one. I
• 27:19
  Speaker 2: was also kind of losing track of the men because
• 27:23
  Speaker 2: they're rarely properly introduced.
• 27:25
  Speaker 5: Yes, you're like, who is that whatever, there's the brother
• 27:31
  Speaker 5: and the guy he fights with that those those are
• 27:33
  Speaker 5: the black men, and everyone else is kind.
• 27:36
  Speaker 4: Of there Eli and mister Sneed ye.
• 27:40
  Speaker 2: And then there's a character named Ballal he one of
• 27:43
  Speaker 2: the Muslim characters. Man. Yeah, yeah, so we we like
• 27:47
  Speaker 2: get glimpses of some men, but it really is mostly
• 27:50
  Speaker 2: just aside from Eli and to a lesser extent, mister
• 27:53
  Speaker 2: Sneed the photographer, all the other men. I'm like, I
• 27:57
  Speaker 2: don't know who that is?
• 27:59
  Speaker 3: Yeah.
• 27:59
  Speaker 4: And also I mean again, just like the rare movie
• 28:02
  Speaker 4: where we mostly only know who the men are in
• 28:05
  Speaker 4: relation to the women. Yes, because it's like we really
• 28:08
  Speaker 4: don't know anything about Saint Julian last child other than
• 28:14
  Speaker 4: he is in love with one of the women. Like there,
• 28:18
  Speaker 4: I like that. I don't know, so rare, so rare.
• 28:22
  Speaker 2: Yeah, what a treat, Yeah.
• 28:23
  Speaker 4: To be like who is that? Oh that's someone's boyfriend.
• 28:26
  Speaker 4: I don't know.
• 28:27
  Speaker 2: I yes.
• 28:28
  Speaker 4: Great.
• 28:29
  Speaker 2: We also get voiceover from various characters talking about the
• 28:34
  Speaker 2: names they give their babies and what the names mean,
• 28:38
  Speaker 2: about how during slavery, enslavers did not keep good records
• 28:43
  Speaker 2: of black people's births, deaths, marriages, so enslaved Africans had
• 28:49
  Speaker 2: to keep track of their own family ties, and they
• 28:51
  Speaker 2: talk about how it's important that they keep up those
• 28:55
  Speaker 2: ties and the family and cultural traditions wherever they go.
• 29:00
  Speaker 2: Then Yula tells a story about how when their ancestors
• 29:05
  Speaker 2: were trafficked to North America, they got off the ship,
• 29:09
  Speaker 2: looked around, and then turned right back around and started
• 29:12
  Speaker 2: walking on the water back to Africa, a story that
• 29:16
  Speaker 2: later gets like obviously this is like folklore. But then
• 29:21
  Speaker 2: one of the men, again ruining the party, says like,
• 29:25
  Speaker 2: actually that didn't happen, and actually they all drowned, and
• 29:28
  Speaker 2: it's like, well yeah, but like you're ruining it at them.
• 29:33
  Speaker 5: Well, it's so much more romantic you think that they
• 29:35
  Speaker 5: walk back to Africa than they just drowned to death.
• 29:37
  Speaker 3: Come on, I.
• 29:38
  Speaker 4: Mean, that was that was something that I mean, I
• 29:41
  Speaker 4: guess again just like how poorly educated we are on
• 29:44
  Speaker 4: black history in American public schools. But yeah, the story
• 29:49
  Speaker 4: about the I mean they refer to it as a
• 29:52
  Speaker 4: mass suicide on Ego landing. I'd never heard about it
• 29:55
  Speaker 4: before I had it, and that like, I mean, it's
• 29:59
  Speaker 4: it's sounds bad because it is bad, but also that
• 30:01
  Speaker 4: it was this act of like mass resistance toward enslavement,
• 30:05
  Speaker 4: like as people should learn about it. Yeah, I bravely said, wow.
• 30:13
  Speaker 5: In case you didn't know, people should learn about the
• 30:15
  Speaker 5: history of the country they live in, and this includes.
• 30:18
  Speaker 4: I mean we've recently come to this conclusion.
• 30:22
  Speaker 5: Yeah, yeah, yeah, right now in twenty twenty six, we
• 30:26
  Speaker 5: value history, I'm kidding, we don't.
• 30:30
  Speaker 4: It turns out if you don't preserve it, people will
• 30:33
  Speaker 4: just make shit up. Bro.
• 30:35
  Speaker 3: I'm sorry.
• 30:36
  Speaker 5: I read the news today and that was on me
• 30:38
  Speaker 5: because I was like, oh, so these people dumb?
• 30:40
  Speaker 3: Then, okay, so we just believe in anything they say? Okay, okay.
• 30:45
  Speaker 2: Oh sad but true.
• 30:46
  Speaker 3: Yeah, it's scary, but let's think about this movie. That's nice,
• 30:50
  Speaker 3: it's pretty yes.
• 30:51
  Speaker 2: Yes. Nana tells the other women about the family connection
• 30:57
  Speaker 2: they have to maintain after they migrate Worth. She's growing
• 31:02
  Speaker 2: more and more upset that everyone is leaving the island.
• 31:07
  Speaker 2: Mary starts crying, saying that she wants to stay on
• 31:10
  Speaker 2: the island with Nana, and then Hagar butts in it's
• 31:15
  Speaker 2: always talking about Mary being quote unquote ruined, and so
• 31:20
  Speaker 2: Ula is like, well, you must think that I'm ruined too, yea,
• 31:24
  Speaker 2: And she gives this great monologue about how maybe all
• 31:29
  Speaker 2: the women on the island are ruined. She says, we
• 31:33
  Speaker 2: live our lives always expecting the worst because we feel
• 31:36
  Speaker 2: we don't deserve any better. She talks about their generational
• 31:40
  Speaker 2: trauma that even God can't protect or heal them from.
• 31:45
  Speaker 2: She says, maybe they're migrating because they're trying to run
• 31:48
  Speaker 2: away from their pain and their past and their scars.
• 31:52
  Speaker 2: But they need to face these things head on and
• 31:56
  Speaker 2: change their way of thinking, and they need to excite
• 32:00
  Speaker 2: and love Mary and the family ponders this. We see
• 32:06
  Speaker 2: a flashback with young Nana and her husband, her husband
• 32:11
  Speaker 2: talking about planting things in the dust, hence the title
• 32:17
  Speaker 2: of the movie Daughters of the Dust, and then back
• 32:20
  Speaker 2: in the present, Nana says that she will remain on
• 32:23
  Speaker 2: the island and continue planting things while she's still alive.
• 32:28
  Speaker 2: And she's like, by the way, when I die, I
• 32:30
  Speaker 2: am not going to heaven because I don't believe in
• 32:33
  Speaker 2: all that.
• 32:33
  Speaker 4: Yeah, and this, I mean, Nana is such a wonderful
• 32:37
  Speaker 4: character for so many reasons. But I do like that
• 32:40
  Speaker 4: she is like not afraid to She's like, and while
• 32:43
  Speaker 4: you're on your way out, God is made up. God
• 32:46
  Speaker 4: is a fantasy. You're like, oh, awesome, awesome.
• 32:51
  Speaker 2: She has made this object. I don't know quite how
• 32:54
  Speaker 2: to describe it, but she has bound a book and
• 32:59
  Speaker 2: a pouch full of her hair and her mother's hair.
• 33:03
  Speaker 2: There are some roots and possibly herbs like she's bound
• 33:07
  Speaker 2: all these things together again, like a religious artifact kind
• 33:10
  Speaker 2: of thing, and she wants all the members of the
• 33:12
  Speaker 2: family to kiss it as a way of like saying farewell,
• 33:16
  Speaker 2: and she's like that's how she's sending them off, and
• 33:19
  Speaker 2: most of the family does it, although Viola and Hagar
• 33:24
  Speaker 2: again the very Christian characters are like, this is blasphemy,
• 33:27
  Speaker 2: this is devilry, blah blah blah.
• 33:28
  Speaker 4: It's like a lovely, a lovely gesture she makes that.
• 33:32
  Speaker 4: Of course, the hyper Christian characters are unforgivably weird about yeah,
• 33:36
  Speaker 4: have you heard this one right?
• 33:40
  Speaker 5: It's like you don't have to believe in who doo
• 33:43
  Speaker 5: to just be like, hey, this is a nice moment
• 33:46
  Speaker 5: for us to be able to say goodbye. And then
• 33:48
  Speaker 5: these two ladies come and ruin shit, starting yelling at.
• 33:51
  Speaker 3: Everybody, being like, don't do this.
• 33:53
  Speaker 5: We're upset, and it's like, oh my gosh, if you
• 33:56
  Speaker 5: had like a slightly looser corset gathering thing, maybe you'd
• 34:01
  Speaker 5: be happier, because this is some bullshit. Also, they're the
• 34:04
  Speaker 5: ones with their hair pinned up in this very tight way.
• 34:06
  Speaker 5: It's like when someone's braids are too tight, and it's like, oh, boo.
• 34:10
  Speaker 5: You just need to relax, like just let those things
• 34:13
  Speaker 5: get loose and calm down.
• 34:14
  Speaker 4: It is cool though that how like throughout there's no
• 34:17
  Speaker 4: like clean I sort of, I think, just because I'm
• 34:20
  Speaker 4: so like movie brained aka smooth brained, I was waiting
• 34:26
  Speaker 4: for smooth smoothie brainedmoovie. But I was I was waiting
• 34:31
  Speaker 4: for like the moment in the movie where everyone puts
• 34:33
  Speaker 4: aside their differences and has a nice moment, and like,
• 34:36
  Speaker 4: of course that does not happen like there. Instead, it's
• 34:41
  Speaker 4: like truer to life and there's a moment where everyone
• 34:44
  Speaker 4: sort of is like, all right, we gotta we gotta
• 34:47
  Speaker 4: muscle through this, you know, like there's not a clean
• 34:50
  Speaker 4: solution anything, which makes total sense given the situation. But
• 34:54
  Speaker 4: I was, I like wrote it down. I was like,
• 34:56
  Speaker 4: oh right, not every movie features like and then we
• 35:01
  Speaker 4: put our differences aside so the movie could end. It's
• 35:04
  Speaker 4: like no, of course not totally.
• 35:06
  Speaker 3: Yeah, that's a difference between this and a Tyler Perry movie.
• 35:10
  Speaker 4: I mean, that's that's that's the smooth brain I'm operating.
• 35:12
  Speaker 3: And I mean the direction and the writing and like
• 35:15
  Speaker 3: everything else.
• 35:15
  Speaker 2: But also because also the narrative structure. Yes, yes, yeah,
• 35:21
  Speaker 2: so yeah, we have the very Christian characters being like ah,
• 35:25
  Speaker 2: except Viola does come around and she kisses Nana's object.
• 35:30
  Speaker 4: Yes.
• 35:31
  Speaker 2: We then cut to most of the family on a
• 35:36
  Speaker 2: dock waiting for the boat to take them to the mainland,
• 35:40
  Speaker 2: although Iona decides to stay on the island to be
• 35:44
  Speaker 2: with her beloved saint Julia Laschild.
• 35:46
  Speaker 4: Awesome. That moment was not to bring Titanic into it,
• 35:49
  Speaker 4: but was very rose jumping off the Oh my gosh.
• 35:53
  Speaker 4: I was like, yeah, jumping off the boat to be
• 35:56
  Speaker 4: with your hot boyfriend. I love it on a whole course. Yeah,
• 36:03
  Speaker 4: very romantic.
• 36:04
  Speaker 5: Yes, they did those visuals nice because he comes across
• 36:07
  Speaker 5: a field and then she hops on with her long
• 36:10
  Speaker 5: dress from nineteen oh two or whatever, and I'm like,
• 36:13
  Speaker 5: so yeah, you're like exactly.
• 36:17
  Speaker 2: So Iona stays behind, and so do Yula and Eli.
• 36:23
  Speaker 2: They stay with Nana Pizzant to raise their baby aka
• 36:28
  Speaker 2: the Unborn Child Narrator on the island. And that's the end.
• 36:35
  Speaker 2: So let's take a quick break and we'll come back
• 36:37
  Speaker 2: to discuss, and we're back.
• 36:50
  Speaker 4: And we're back, Canise.
• 36:51
  Speaker 2: Where would you like to start?
• 36:53
  Speaker 5: Okay, I think for people who haven't seen this, which
• 36:56
  Speaker 5: is I think a lot of people have not seen this.
• 36:58
  Speaker 5: They may have heard it in to Lemonade, but it
• 37:01
  Speaker 5: isn't as widely seen as say The Color Purple and
• 37:04
  Speaker 5: other movies that have been available consistently. For those of
• 37:07
  Speaker 5: you who are thinking of watching this movie, I think
• 37:09
  Speaker 5: it's really important that you know that it's only one
• 37:11
  Speaker 5: hundred and thirteen minutes. I'm like, I know that that's
• 37:13
  Speaker 5: silly and specific, but like truly, when I sat down
• 37:17
  Speaker 5: last night to rewatch this and was like, is this
• 37:20
  Speaker 5: going to be the rest of my night? And I
• 37:21
  Speaker 5: saw that one hundred thirteen minutes, I was like, yes,
• 37:26
  Speaker 5: I have time, So you have time, and you should
• 37:28
  Speaker 5: watch this movie.
• 37:30
  Speaker 4: Absolutely. I was also, as, this is very silly and
• 37:34
  Speaker 4: somewhat unrelated, but I know that there's like a lot
• 37:36
  Speaker 4: of historical context to talk about that is also like
• 37:39
  Speaker 4: related to Julie Dash's family specifically, and this is sort
• 37:42
  Speaker 4: of like a I don't know if this I never
• 37:45
  Speaker 4: quite understand what auto fiction is supposed to mean, but
• 37:48
  Speaker 4: like it is, it is sort of a fictionalized history
• 37:52
  Speaker 4: of her family that is based in her actual family history, right,
• 37:57
  Speaker 4: But you know, early in the movie where we're talking
• 38:00
  Speaker 4: about like this specific setting and Gulla culture in general.
• 38:04
  Speaker 4: I was like, wait a second, why do I sort
• 38:07
  Speaker 4: of know about this? And it's because there was a
• 38:09
  Speaker 4: chill Yes, okay, canis There was a children's show that
• 38:13
  Speaker 4: was on Nickelodeon in the nineties that they would show
• 38:16
  Speaker 4: reruns of called Gulla Gala Island. That it was like
• 38:20
  Speaker 4: the best show ever. I remember it so clearly and
• 38:23
  Speaker 4: so obviously like it was whatever. My brain was very
• 38:27
  Speaker 4: squishy when I was watching it, but there was like
• 38:29
  Speaker 4: a like really successful children's show that there's weirdly a
• 38:34
  Speaker 4: lot of millennials walking around with a very very slight
• 38:38
  Speaker 4: but memorable knowledge of this culture. I just wanted to
• 38:42
  Speaker 4: shout that out because I hadn't thought about it in years.
• 38:44
  Speaker 4: But it was made by this couple, Ron Days and
• 38:48
  Speaker 4: Natalie Day's real life couple. Ron also, I think, similar
• 38:52
  Speaker 4: to Julie dash had, you know, he'd actually grown up
• 38:56
  Speaker 4: there and in college, I mean there was like a
• 38:59
  Speaker 4: whole short I watched about it, but in college, you know,
• 39:02
  Speaker 4: he was had a lot of internalized shame, specifically about
• 39:06
  Speaker 4: the language and dialect, and then with time was able
• 39:11
  Speaker 4: to realize that it was like the college's problem, not his,
• 39:14
  Speaker 4: and then he sort of devoted his life to storytelling
• 39:18
  Speaker 4: and historical preservation of his culture, and it ended up
• 39:23
  Speaker 4: being on Nick Junior for like ten years. Yes, it's
• 39:26
  Speaker 4: a great, great show. I feel like they're truly not
• 39:29
  Speaker 4: making them like that anymore.
• 39:31
  Speaker 2: I did not know about this at all. You didn't, well,
• 39:34
  Speaker 2: I grew up without cable, so I missed out so much.
• 39:40
  Speaker 5: Sounded so bad for her, like, oh, like like you
• 39:44
  Speaker 5: didn't have cable. Oh my gosh, that's the most classest
• 39:50
  Speaker 5: nonsense I've ever said. I'm sorry, don't come at me.
• 39:53
  Speaker 5: Lots of people don't have cable.
• 39:54
  Speaker 4: I'm sorry, but this, I mean in this case, there
• 39:57
  Speaker 4: was like I mean again, I'm like, I don't hang
• 40:00
  Speaker 4: out with small children currently. I did nieces and nephews,
• 40:03
  Speaker 4: but like, I just don't think that there's like shows
• 40:06
  Speaker 4: this like culturally specific that are really around anymore. And
• 40:11
  Speaker 4: I loved it. I loved there. They also had like
• 40:13
  Speaker 4: a muppet, of course, because it was the nineties on Nickelodeon,
• 40:16
  Speaker 4: they had a muppet named Binya Binya and I had
• 40:20
  Speaker 4: a backpack and I was just like, wait a second,
• 40:23
  Speaker 4: I just I because I just hadn't seen this movie before.
• 40:26
  Speaker 4: I was like, I know, like two whole things, which
• 40:29
  Speaker 4: is more than I thought I would know. So for
• 40:32
  Speaker 4: fellow millennials that remember watching Gullagala Island, shout out to
• 40:36
  Speaker 4: all of you. Hell yeah, And I guess with that,
• 40:40
  Speaker 4: let's get into some more historical context.
• 40:44
  Speaker 2: Yeah, I did some research on Julie dash Yes, that
• 40:49
  Speaker 2: I'd like to share.
• 40:51
  Speaker 4: So it's so interesting.
• 40:53
  Speaker 5: I know, I didn't do any reading, and I'm so
• 40:55
  Speaker 5: excited to find all this out.
• 40:56
  Speaker 4: Yeah.
• 40:57
  Speaker 2: So one of the reasons this movie is so significan
• 41:00
  Speaker 2: is that it was the first feature length film directed
• 41:03
  Speaker 2: by a black American woman to get a general theatrical
• 41:08
  Speaker 2: release in the US.
• 41:09
  Speaker 4: And just a reminder, this was in nineteen ninety two. Yeah,
• 41:14
  Speaker 4: well two's when it was like actually released. Like it
• 41:17
  Speaker 4: also took a full year to get distribution, even after
• 41:20
  Speaker 4: it did great at Sundance.
• 41:22
  Speaker 3: Okay, so there were films for eighty years, yes.
• 41:25
  Speaker 4: And other films by black American women, but like nothing
• 41:28
  Speaker 4: that actually got distributed before. I'm just like, that is
• 41:34
  Speaker 4: such a depressing fact, truly, But there.
• 41:36
  Speaker 2: It is so very monumental film for many reasons, and
• 41:40
  Speaker 2: that being one of them. And then to kind of
• 41:43
  Speaker 2: flash back a little bit into Julie Dash's early career.
• 41:48
  Speaker 2: So she received a master's degree, and I'm sure she
• 41:51
  Speaker 2: never wants to talk about it or bring it up,
• 41:54
  Speaker 2: but she got an MFA from UCLA Film School. Oh
• 41:58
  Speaker 2: and she's one of the members of what is called
• 42:01
  Speaker 2: the La Rebellion, which I didn't know about, so thank
• 42:05
  Speaker 2: you Wikipedia for telling me. But the La Rebellion was
• 42:10
  Speaker 2: a group of black students who studied at specifically UCLA
• 42:15
  Speaker 2: Film School from the late nineteen sixties to the late nineties,
• 42:20
  Speaker 2: and their mission was to basically create original black cinematic stories.
• 42:26
  Speaker 2: They often made experimental and unconventional films that rebel, hence
• 42:33
  Speaker 2: the name La Rebellion against what against the racial stereotypes
• 42:42
  Speaker 2: and prejudices present in Hollywood films.
• 42:45
  Speaker 4: Yes, she has like a bunch of interviews like to
• 42:48
  Speaker 4: this effect about how when she was going to college
• 42:52
  Speaker 4: and also just like growing up in general, like most
• 42:55
  Speaker 4: of the black art sing was blaxploitation movies, Like it
• 43:00
  Speaker 4: was an early goal of hers that is like very
• 43:03
  Speaker 4: clearly reflected in this movie to show a black experience
• 43:08
  Speaker 4: that is not a black exploitation movie, but like specifically
• 43:11
  Speaker 4: a gentler, more feminine story.
• 43:14
  Speaker 3: Hell yeah.
• 43:15
  Speaker 2: And she was inspired by the works of authors like
• 43:19
  Speaker 2: Toni Morrison, Tony kid Bambara, and Alice Walker. And she
• 43:23
  Speaker 2: was basically like, I want to make movies like those stories. Yeah,
• 43:28
  Speaker 2: And so she began making short films. There's a small
• 43:31
  Speaker 2: handful that she made in the seventies and eighties, and
• 43:36
  Speaker 2: then she started working on Daughters of the Dust, where,
• 43:39
  Speaker 2: like you said, Jamie, she was inspired by her father's
• 43:43
  Speaker 2: Gola family, who migrated from a similar place around the
• 43:49
  Speaker 2: same time as the characters in the movie. She originally
• 43:54
  Speaker 2: planned it as a short film with no dialogue, basically
• 43:57
  Speaker 2: just like a visual account of this family's preparation to migrate.
• 44:03
  Speaker 2: But then she's like, well, what if I make it
• 44:05
  Speaker 2: into a feature and what if I include dialogue? And
• 44:07
  Speaker 2: so she wrote the screenplay for Daughters of the Dust.
• 44:10
  Speaker 4: And this all took place over the course of, like
• 44:12
  Speaker 4: I think, over a decade. She was trying to she
• 44:15
  Speaker 4: was like reconceiving what this movie could look like and
• 44:17
  Speaker 4: then trying to get money to make it. And that's like,
• 44:20
  Speaker 4: I don't know, stuff I find interesting and frustrating is
• 44:24
  Speaker 4: just like how many no's she got when and how
• 44:28
  Speaker 4: like uncompromising she was and what she wanted to do,
• 44:31
  Speaker 4: because a lot of the feedback she was getting was
• 44:34
  Speaker 4: like in relation to like how the screenplay is composed,
• 44:37
  Speaker 4: where it's like a nonlinear narrative that she said was
• 44:41
  Speaker 4: partially inspired by creole storytelling, and how like this ritual
• 44:46
  Speaker 4: and this remembrance would have actually gone versus like adhering
• 44:49
  Speaker 4: to like once upon a time narratives and then.
• 44:52
  Speaker 2: They live happily ever after kind of thing.
• 44:55
  Speaker 4: Right, like the thing I was expecting of, Like and
• 44:57
  Speaker 4: then they're gonna put aside their religious differences whatever the hell.
• 45:02
  Speaker 4: But but she was very like adamant about like no,
• 45:04
  Speaker 4: this is this is like how this would have gone,
• 45:07
  Speaker 4: and this is like the lyrical way I want to
• 45:08
  Speaker 4: approach this, And so it just took a really long
• 45:11
  Speaker 4: time for her to get the funding to make it happen.
• 45:15
  Speaker 6: Huh.
• 45:15
  Speaker 5: It makes so much sense to me when you say
• 45:17
  Speaker 5: that it started off as like a silent short or
• 45:20
  Speaker 5: silent in the way that there's not dialogue, because there
• 45:24
  Speaker 5: are so many really beautiful shots in this so like
• 45:27
  Speaker 5: even at the beginning when the lady has placed under
• 45:31
  Speaker 5: her bed, like a glass and flowers in it that
• 45:35
  Speaker 5: looks like a painting. It's lit beautifully, and there's lots
• 45:38
  Speaker 5: of these Like it's something I noticed because it's so
• 45:42
  Speaker 5: pacing wise different than what we see today, where there
• 45:45
  Speaker 5: are these beautiful shots of people walking on the beach
• 45:47
  Speaker 5: or like dresses or silk and or not silk, what
• 45:51
  Speaker 5: is that lace? You can see the different fabricactures and stuff.
• 45:55
  Speaker 5: So she's really playing in the visuals in a nice
• 45:57
  Speaker 5: way where words aren't necessary.
• 46:00
  Speaker 3: But then on top of that, there is this.
• 46:03
  Speaker 5: Story where these people are saying sometimes silly things to
• 46:07
  Speaker 5: each other.
• 46:08
  Speaker 3: I'm sorry I say it that way.
• 46:10
  Speaker 5: But her speech at the end where she's like, ah,
• 46:13
  Speaker 5: like very upset, I was like, okay, all right, somebody's
• 46:16
  Speaker 5: someone's getting their capital a acting on and I see that.
• 46:20
  Speaker 4: Okay, we're submitting for awards, got it?
• 46:22
  Speaker 3: Yeah?
• 46:23
  Speaker 4: Just one word. So this is from the book on
• 46:26
  Speaker 4: the production of this movie and also featured on scholarly
• 46:31
  Speaker 4: journal Wikipedia. Julia Dash talking about the structure of this
• 46:36
  Speaker 4: movie and like why she chose to do that. She says, quote,
• 46:39
  Speaker 4: I didn't want to tell a historical drama about African
• 46:41
  Speaker 4: American women in the same way I had seen other dramas,
• 46:44
  Speaker 4: I decided to work with a different type of narrative
• 46:47
  Speaker 4: structure and that the typical male oriented Western narrative structure
• 46:51
  Speaker 4: was not appropriate for this particular film. So I let
• 46:54
  Speaker 4: the story unravel and reveal itself in a way in
• 46:56
  Speaker 4: which an African Gullah would tell the story, because that's
• 46:59
  Speaker 4: part of our tradition. The story unfolds throughout this day
• 47:02
  Speaker 4: and a half in various vignettes. It unfolds and comes back.
• 47:05
  Speaker 4: It's a different way of telling a story. It's totally
• 47:07
  Speaker 4: different and new, which is great. And she's also I
• 47:11
  Speaker 4: mean I haven't heard her, and I mean this is
• 47:14
  Speaker 4: I've watched like three or four interviews, so maybe she does,
• 47:17
  Speaker 4: but I haven't heard her speak to specific movies that
• 47:22
  Speaker 4: did this. But I mean it's like you have to
• 47:25
  Speaker 4: imagine that the color purple is sort of on her
• 47:28
  Speaker 4: mind as she is like and other stories because that's
• 47:31
  Speaker 4: you know, like a story by Alice Walker that was
• 47:34
  Speaker 4: famously adapted by Steven Spielbe, and you know, like it
• 47:40
  Speaker 4: just I don't know, I really admire how much she
• 47:43
  Speaker 4: stuck to her guns and like, Nope, this is the
• 47:44
  Speaker 4: way the story is being told. And if it takes
• 47:47
  Speaker 4: longer to get it made that way, then fine, agreed.
• 47:50
  Speaker 4: But also this it drives me up a wall that
• 47:53
  Speaker 4: this is like another thing we talk about on the
• 47:55
  Speaker 4: show all the time that she has in the years since,
• 47:59
  Speaker 4: really struggled to get funding for a second big feature.
• 48:04
  Speaker 4: She's directed a lot of other things, she's directed a
• 48:06
  Speaker 4: lot for television, but they're really it's like she didn't
• 48:10
  Speaker 4: get the money and the opportunities that, you know, a
• 48:13
  Speaker 4: white guy in the same position would have gotten. Even
• 48:16
  Speaker 4: though this is like considered one of the best movies
• 48:18
  Speaker 4: of the twentieth century. I'm like, it's just it just
• 48:22
  Speaker 4: makes you want up bah yeah.
• 48:25
  Speaker 2: Yeah.
• 48:25
  Speaker 5: So I also recently saw The Color Purple for the
• 48:29
  Speaker 5: first time, and I read the book and I feel
• 48:32
  Speaker 5: like this is in direct conversation with that because it
• 48:36
  Speaker 5: is black people and they're not that far so these
• 48:38
  Speaker 5: people are in the islands off of South Carolina. That
• 48:42
  Speaker 5: story I think takes place Georgia, South Carolina, maybe into
• 48:45
  Speaker 5: North Carolina, I think is where it was filmed.
• 48:46
  Speaker 3: But both of.
• 48:48
  Speaker 5: These are groups of people whose lives are affected by
• 48:52
  Speaker 5: heavy segregation, racist policies all that. And in The Color Purple,
• 48:58
  Speaker 5: which is directed by aguish Man.
• 49:00
  Speaker 3: The white people are there.
• 49:02
  Speaker 5: It is a threat that they're constantly addressing here. I
• 49:06
  Speaker 5: love that there are no white people in this movie.
• 49:08
  Speaker 5: They're just not there. Like there's the mention that someone
• 49:11
  Speaker 5: potentially a white person raped someone, but you don't know
• 49:15
  Speaker 5: who it is and it's not their story. They're not
• 49:18
  Speaker 5: there for you to wonder about intent, nothing. It's just like,
• 49:22
  Speaker 5: this is a bad thing that has happened. We're not
• 49:24
  Speaker 5: skating over it. We're not acting as though this stuff
• 49:27
  Speaker 5: doesn't happen. But the main push of these people's lives
• 49:30
  Speaker 5: is not necessarily that white.
• 49:33
  Speaker 3: People are making it difficult. And I really appreciated that.
• 49:36
  Speaker 4: Absolutely.
• 49:37
  Speaker 2: Yeah, not a white person to be seen on screen.
• 49:40
  Speaker 2: I think someone mentions Teddy Roosevelt.
• 49:42
  Speaker 4: Ye in the background.
• 49:45
  Speaker 7: Yeah, but that's basically it, yeah, which is like part
• 49:48
  Speaker 7: of I mean so, And because the movie intentionally is
• 49:53
  Speaker 7: not going to give you the Wikipedia.
• 49:55
  Speaker 4: Page for the Calagichi people, we will. We probably will.
• 50:01
  Speaker 4: So in case you did not grow up watching Gallagala
• 50:04
  Speaker 4: Island or you received it and you also received a
• 50:09
  Speaker 4: poor American education, a brief primer on who the Gallagichi
• 50:13
  Speaker 4: people are. We are learning specifically about this island, Egbo Island.
• 50:18
  Speaker 4: This community came obviously from people in the slave trade
• 50:22
  Speaker 4: who sort of abandoned society and through demonstrations like that
• 50:29
  Speaker 4: mass suicide in resistance to being enslaved, the Gullagichi people
• 50:34
  Speaker 4: were quite secluded from the rest of American culture intentionally so,
• 50:41
  Speaker 4: which is like so much of what this movie is about,
• 50:43
  Speaker 4: to the point where they developed their own language, their
• 50:46
  Speaker 4: own dialects, their own food, just an entirely separate culture
• 50:50
  Speaker 4: that I feel like like a lot of cultures that
• 50:54
  Speaker 4: were not well educated on, including indigenous cultures, is still
• 50:57
  Speaker 4: very much around today. I feel like everybody you know
• 51:00
  Speaker 4: in the same way we talk about indigenous cultures is
• 51:03
  Speaker 4: definitely worth saying, and that the Goligichi people are still
• 51:06
  Speaker 4: fighting for funding and land protection and these narratives that
• 51:11
  Speaker 4: are frustrating and familiar, but that this period of time
• 51:17
  Speaker 4: that is reflected in Julie Dash's personal family history is
• 51:22
  Speaker 4: when you know there was a fair amount of Goligichi
• 51:25
  Speaker 4: people who decided to go to the mainland to seek
• 51:28
  Speaker 4: out different opportunities. And that's where you get all the
• 51:34
  Speaker 4: Christianity of it, all the tools of the colonizer of
• 51:37
  Speaker 4: it all. And this internalized you know that we see
• 51:42
  Speaker 4: in the characters that come with Yellow Mary, is this
• 51:45
  Speaker 4: internalized dislike for Goligichi culture. And yeah, so that's very
• 51:52
  Speaker 4: very very basic, but there it is.
• 51:54
  Speaker 5: I like how they also demonstrated that in a lot
• 51:57
  Speaker 5: of the hairstyles. So the hairstyles the black women ranges
• 52:02
  Speaker 5: from short locks of the older grandmother character to like
• 52:07
  Speaker 5: I don't know what the style is called, and please
• 52:09
  Speaker 5: don't come for me, Jesus Christ.
• 52:10
  Speaker 3: They're gonna be so mad.
• 52:11
  Speaker 5: But it's like where it's like very thin and then
• 52:14
  Speaker 5: a puff at the end and lots of little spikes
• 52:16
  Speaker 5: around the head.
• 52:17
  Speaker 3: I think that was there. We had twists.
• 52:20
  Speaker 5: We had just all sorts of different styles from the
• 52:23
  Speaker 5: people who seemed like happy to be there, and then
• 52:26
  Speaker 5: the white Christian colonizers. Their hair was shaped in such
• 52:30
  Speaker 5: a way as to mimic the white styles of the time.
• 52:34
  Speaker 5: And I like that it's starting to come down when
• 52:37
  Speaker 5: and I can't remember her name, she was a Christian
• 52:39
  Speaker 5: lady on the boat at the beginning who was like,
• 52:41
  Speaker 5: oh's so prim and proper.
• 52:44
  Speaker 3: Viola viola.
• 52:45
  Speaker 5: I didn't like that bitch, but she at the end,
• 52:48
  Speaker 5: right before she kisses the grandmother's books slash who new thing,
• 52:54
  Speaker 5: you can see some of her hairs come out, and
• 52:56
  Speaker 5: I think that that was probably a choice to demonstrate
• 52:59
  Speaker 5: that she has instead of being so tightly wound up,
• 53:03
  Speaker 5: some of her hair is now coming out of this
• 53:05
  Speaker 5: very strong structure, and she will go now over to
• 53:08
  Speaker 5: the book and give it a kiss because she's letting
• 53:10
  Speaker 5: go of some of whatever.
• 53:12
  Speaker 3: The fuck was super tight. Okay, what I wanted to
• 53:17
  Speaker 3: say was shoved up her ass.
• 53:18
  Speaker 5: But it just like the tightness of the hair corresponds
• 53:22
  Speaker 5: to me with the tightness of these people being uptight
• 53:27
  Speaker 5: and high and mighty with their Christianity.
• 53:30
  Speaker 2: She's also wearing a dress that comes buttoned all the
• 53:35
  Speaker 2: way up to her neck.
• 53:36
  Speaker 3: It's oh, it's like ninety five degrees. What are you doing?
• 53:39
  Speaker 4: No, the hairstyling and costuming was like a big Julia
• 53:44
  Speaker 4: Dash did like this great interview kind of randomly. I
• 53:47
  Speaker 4: don't know like what the occasion was, but it was
• 53:49
  Speaker 4: like three years ago. She did this longer interview with
• 53:51
  Speaker 4: Vogue where she just sort of talked through the basics
• 53:54
  Speaker 4: of the production, specifically with styling because Vogue but was
• 53:59
  Speaker 4: talking about the wardrobe decisions they were making and the
• 54:03
  Speaker 4: criticism that she received at the time, specifically from white
• 54:08
  Speaker 4: reviewer if you can believe it. But it's clearly it's
• 54:11
  Speaker 4: something she brings up in a lot of interviews and
• 54:13
  Speaker 4: something that really stuck with her. So I'm going to
• 54:15
  Speaker 4: quote here from a film quarterly piece called Sisters Are
• 54:20
  Speaker 4: Doing It for Themselves The Contextual Labor of Black Women
• 54:23
  Speaker 4: by Garish Shamboo from two years ago. She writes, quote
• 54:29
  Speaker 4: addressing Daughters of the Dust sometimes obtuse critical reception, Dash
• 54:33
  Speaker 4: tells Belle Hooks of an early and widely read review
• 54:36
  Speaker 4: and Variety by a white male critic, Todd Carr, which
• 54:39
  Speaker 4: complained that the film, in her words quote, didn't explain
• 54:42
  Speaker 4: enough about the Gulla people, their culture, their religious traditions,
• 54:46
  Speaker 4: and also disparagingly liken the film to a Laura Ashley commercial.
• 54:50
  Speaker 4: Dash's book was partly a response to such blinkered and
• 54:52
  Speaker 4: incurious critical responses, but she expands in this Vogue piece,
• 54:57
  Speaker 4: saying that audiences and specifically like white critics of the
• 55:01
  Speaker 4: early nineties, were so used to, in her view, seeing
• 55:06
  Speaker 4: black women in a very particular way and styled in
• 55:10
  Speaker 4: a very particular way that the women in this period
• 55:13
  Speaker 4: piece wearing these flowy white dresses was viewed as inauthentic
• 55:17
  Speaker 4: and pandering. And this was a criticism that she mentions
• 55:20
  Speaker 4: getting a number of times curiating right, right, because it's like, no,
• 55:26
  Speaker 4: she did the research, this was what would have been worn,
• 55:29
  Speaker 4: and it's like and the costuming is so beautiful and specific,
• 55:33
  Speaker 4: and but she got a lot of pushback from it
• 55:36
  Speaker 4: at the time, and she you know, attributes it to
• 55:39
  Speaker 4: a bunch of different things. But she was just like
• 55:41
  Speaker 4: people were not willing to see black women as feminine.
• 55:46
  Speaker 5: As feminine, as dignified, Like there's something strong and dignified
• 55:50
  Speaker 5: and beautiful about the women that they're showing in this thing.
• 55:54
  Speaker 5: And for a white guy to be like, why isn't
• 55:56
  Speaker 5: this movie giving me a Wikipedia article on who the
• 55:59
  Speaker 5: Gullagichi people are. I'm upset and these black women look
• 56:03
  Speaker 5: too proud and put together. Clearly this is not like authentic.
• 56:07
  Speaker 5: I'm just I'm like really pissed up now, like.
• 56:11
  Speaker 4: Fuck, you know, right, So this piece continues. It's really
• 56:15
  Speaker 4: I don't know. The more I learn about Juliet Dash,
• 56:18
  Speaker 4: I'm like, God, we need more movies from her. Quote.
• 56:21
  Speaker 4: In the book, Dash traces the process she followed from
• 56:23
  Speaker 4: idea to script to production. Despite spending ten years researching
• 56:26
  Speaker 4: Gulla culture and traditions, Dash always envisioned Daughters of the
• 56:30
  Speaker 4: Dust as speculative fiction, not a piece of educational ethnography
• 56:33
  Speaker 4: to inform and enlighten a white audience. To take an example,
• 56:37
  Speaker 4: the hands of formerly enslaved people like Nana are blue black,
• 56:40
  Speaker 4: bearing the marks of past hard labor in an indigo
• 56:42
  Speaker 4: processing plant. In this the film deliberately flies against fact.
• 56:46
  Speaker 4: Authoritative sources told Dash that physical contact with indigo, however prolonged,
• 56:50
  Speaker 4: was not likely to leave permanent stands on human skin.
• 56:53
  Speaker 4: Yet Dash chose to emphasize this counterfactual statement in order
• 56:56
  Speaker 4: to create a new iconographic trope of slavery, one that
• 57:00
  Speaker 4: would join other more familiar ones. So it goes on
• 57:04
  Speaker 4: from there, but for any critic to accuse her of
• 57:07
  Speaker 4: not doing her research and not making very intentional choices
• 57:12
  Speaker 4: with how these characters are presenting and even with Nana's like,
• 57:17
  Speaker 4: Nana is one of the only women who isn't wearing
• 57:19
  Speaker 4: white throughout the movie, and it's because she's wearing indigo,
• 57:23
  Speaker 4: which was you know what she spent much of her
• 57:26
  Speaker 4: life planting and harvesting and anyways. We can link this
• 57:30
  Speaker 4: piece in the description, but it just is like so
• 57:33
  Speaker 4: frustrating hearing the amount of shit she had to go
• 57:37
  Speaker 4: through not only to get the movie made but also
• 57:39
  Speaker 4: to like defend it when it was out.
• 57:42
  Speaker 5: Sorry, this is this is a dumb question, but my
• 57:45
  Speaker 5: mind went there, what's.
• 57:46
  Speaker 3: The sissy spasic movie?
• 57:48
  Speaker 5: That's like a Terrence Malick movie and they're like wheat
• 57:51
  Speaker 5: fields and stuff like that.
• 57:53
  Speaker 4: I'm like the Unfortunately, when I think Sissy Space, I
• 57:56
  Speaker 4: think Tuck ever Lasting.
• 57:58
  Speaker 3: Wow, carry I I was like.
• 58:02
  Speaker 4: And Carrie close behind, but first and foremost Tuk ever Lasting. Unfortunately.
• 58:06
  Speaker 4: Wait what I like?
• 58:08
  Speaker 3: Is it bad lambs or wasteless or whatever.
• 58:10
  Speaker 2: I'm trying to look it up. Bad Lambs.
• 58:14
  Speaker 5: To me, that's like, this isn't a clear examination and
• 58:18
  Speaker 5: tutorial on white culture, so it's not good. Why isn't
• 58:23
  Speaker 5: bad Lands telling me enough about the history of migration
• 58:26
  Speaker 5: of white people in.
• 58:28
  Speaker 3: Wherever the fuck that was?
• 58:29
  Speaker 5: Why isn't that it's not doing its job because I
• 58:32
  Speaker 5: don't know and it should be teaching me.
• 58:34
  Speaker 3: That's crazy.
• 58:35
  Speaker 4: It's so like shitty and didactic and it's also like,
• 58:39
  Speaker 4: I don't know, it's like not like Julia dash isn't
• 58:41
  Speaker 4: encouraging her audience to learn more about Gullah culture, but
• 58:44
  Speaker 4: do it yourself, Like, yeah, Wikipedia dot org is a
• 58:49
  Speaker 4: great place to start in.
• 58:51
  Speaker 3: Nineteen ninety one.
• 58:53
  Speaker 4: Go to the library. Yeah, actually, be like Robert Edgars
• 58:58
  Speaker 4: go to the library one time. But anyways, Yeah, I'm
• 59:03
  Speaker 4: very glad that she documented the production process so carefully,
• 59:08
  Speaker 4: because it's, like whatever, a historic document in itself of
• 59:12
  Speaker 4: just what fucking ignorant assholes the critics of the time were.
• 59:20
  Speaker 2: And she shouldn't be expected to hold the audience's hand
• 59:24
  Speaker 2: through the storytellings.
• 59:26
  Speaker 4: It's not a documentary like and she did.
• 59:28
  Speaker 5: You guys would be like, this is a boring film.
• 59:32
  Speaker 2: You're teaching me too much.
• 59:33
  Speaker 3: Yeah, exactly.
• 59:34
  Speaker 5: So it's like just another example of how with some
• 59:37
  Speaker 5: of the critics of the time, she could not win.
• 59:39
  Speaker 2: Yeah, it's almost as if black women are held to
• 59:43
  Speaker 2: a different standard than other people.
• 59:47
  Speaker 3: Almost. Yeah, that's crazy, that's crazy.
• 59:51
  Speaker 2: Should we talk about the story in the movie, the characters?
• 59:55
  Speaker 3: Yeah, sure, he wants to.
• 59:59
  Speaker 2: Like we said, the narrative is a slice of life
• 1:00:03
  Speaker 2: story with characters reflecting on the past, pondering the future.
• 1:00:10
  Speaker 2: They're sharing stories with each other, you know, passing down
• 1:00:13
  Speaker 2: stories via oral tradition. We see characters seeking spiritual guidance
• 1:00:19
  Speaker 2: from their ancestors. We see characters dealing with generational trauma.
• 1:00:24
  Speaker 2: We also see intergenerational tension as far as cultural practices,
• 1:00:30
  Speaker 2: religious practical religious tension.
• 1:00:33
  Speaker 4: There's gender based tension. Like another thing I really appreciated
• 1:00:38
  Speaker 4: that I feel like a lot of contemporary movies kind
• 1:00:41
  Speaker 4: of fail to do is like this movie shows different
• 1:00:46
  Speaker 4: women having different opinions on gender roles, which I think
• 1:00:50
  Speaker 4: is like a big fourth wave feminist movie. Thing that
• 1:00:53
  Speaker 4: kind of bugs me at this point is like and
• 1:00:56
  Speaker 4: we're all women and we all agree that. ABC is like, yeah,
• 1:01:00
  Speaker 4: well we're still people, and like we're like constantly in
• 1:01:03
  Speaker 4: conflict about stuff like this. And so I liked even
• 1:01:07
  Speaker 4: when it was like perspectives that were frustrating that it
• 1:01:12
  Speaker 4: was like realistic that you know, of course, women, especially
• 1:01:16
  Speaker 4: women that are living in different places, different generations, all
• 1:01:18
  Speaker 4: this stuff, like are going to feel differently about that.
• 1:01:22
  Speaker 3: I liked it. It's going to put that out.
• 1:01:24
  Speaker 2: There, Yeah, no, it's it's really great. And we see
• 1:01:28
  Speaker 2: this bearing out in different ways. Where women are talking, well,
• 1:01:35
  Speaker 2: women are talking about men sometimes, but it'll be like Mary,
• 1:01:40
  Speaker 2: for example, saying something along the lines of like she
• 1:01:44
  Speaker 2: wants a man she can depend on but not be
• 1:01:48
  Speaker 2: dependent on.
• 1:01:50
  Speaker 3: Yeah.
• 1:01:50
  Speaker 2: But otherwise, again, like the men are kind of an
• 1:01:53
  Speaker 2: afterthought for the most part.
• 1:01:56
  Speaker 4: They're kind of like on their little side quest on this.
• 1:02:00
  Speaker 5: Yeah, like church, they had some robes on or something,
• 1:02:03
  Speaker 5: people were baptizing people whatever, something that's not important.
• 1:02:07
  Speaker 4: Yeah.
• 1:02:07
  Speaker 2: And then again, the main man that we get to
• 1:02:10
  Speaker 2: know is Eli. By way of this thing that happened
• 1:02:16
  Speaker 2: where Yula was raped, she's also pregnant. They don't know
• 1:02:21
  Speaker 2: if this pregnancy was a result of the rape or
• 1:02:25
  Speaker 2: if her husband, Eli is the father of her baby.
• 1:02:28
  Speaker 2: Because of this uncertainty, Eli is like frantic, He's horrify.
• 1:02:35
  Speaker 4: He's he's hitting in the ground, he's breaking bottles in
• 1:02:39
  Speaker 4: the tree with the bottles. He's acting, he's capital a acting. Yes,
• 1:02:44
  Speaker 4: And I don't I mean correctly if I'm wrong. I
• 1:02:47
  Speaker 4: don't think that the movie tells you what the reality
• 1:02:51
  Speaker 4: ended up being because I don't think it matters.
• 1:02:54
  Speaker 5: Yeah, I think it doesn't matter, but I think it
• 1:02:56
  Speaker 5: was an intentional choice. Like the person who's playing the
• 1:03:00
  Speaker 5: little girl whose voice we're hearing throughout the movie as
• 1:03:04
  Speaker 5: the voiceover with the blue ribbon in her hair. That
• 1:03:07
  Speaker 5: act is darker skinned than say Mary or that I
• 1:03:15
  Speaker 5: don't remember the name of the woman she was with,
• 1:03:16
  Speaker 5: but that chick.
• 1:03:17
  Speaker 3: Was light.
• 1:03:19
  Speaker 4: Yeah, true her maybe girlfriend?
• 1:03:22
  Speaker 5: Yeah, maybe girlfriend. I thought for daughter for a second.
• 1:03:24
  Speaker 5: I was like, I don't know what the citch is
• 1:03:26
  Speaker 5: with this chick, but yes, the very light skinned girl.
• 1:03:28
  Speaker 5: But the voiceover daughter was much darker. So I feel
• 1:03:33
  Speaker 5: like in some ways it was trying to be like, hey, no,
• 1:03:36
  Speaker 5: it's fine, it's theirs. Because also, this little voiceover baby,
• 1:03:42
  Speaker 5: not the child's name, says stuff about my father, and
• 1:03:45
  Speaker 5: she's talking about Eli. So I feel like, even if
• 1:03:49
  Speaker 5: they never say directly like but no, it's he is
• 1:03:53
  Speaker 5: the father and it's fine, they do in some ways
• 1:03:56
  Speaker 5: try to comfort.
• 1:03:57
  Speaker 3: People a little bit.
• 1:03:58
  Speaker 4: That does make sense again, because you do get to
• 1:04:00
  Speaker 4: you do see her. Yeah, I guess I was. I
• 1:04:03
  Speaker 4: was like, my head canon was like, well, it doesn't
• 1:04:06
  Speaker 4: matter if someone's your biological father.
• 1:04:07
  Speaker 3: They're your father, true, and that's fact.
• 1:04:10
  Speaker 5: Yeah, but I definitely, and I will say, given that
• 1:04:14
  Speaker 5: my mom is much lighter skin than I am, and
• 1:04:17
  Speaker 5: I am darker skin than some of my sisters. I
• 1:04:20
  Speaker 5: think about color gradation quite a bit, so yeah, I'm
• 1:04:26
  Speaker 5: like that kid's darker skin. That is probably not a
• 1:04:29
  Speaker 5: mixed child, right, and that is not Hey, people come
• 1:04:32
  Speaker 5: in all different colors and shades, and some make people
• 1:04:35
  Speaker 5: look as lighter as dark as one.
• 1:04:37
  Speaker 3: Parent or the other. So that is not a clear.
• 1:04:40
  Speaker 5: Indication that is based in one hundred percent scientific fact.
• 1:04:44
  Speaker 5: But I do think that there were choices made and
• 1:04:47
  Speaker 5: that that does put the audience in air quotes at
• 1:04:51
  Speaker 5: ease a little bit.
• 1:04:52
  Speaker 4: Yeah, I mean, it's definitely we want her to be
• 1:04:56
  Speaker 4: Eli's child, but yes, okay, yeah, make sense to me.
• 1:05:00
  Speaker 3: But also we don't want sexual assault to happen at all, and.
• 1:05:04
  Speaker 4: We want and we want Eli to understand that sexual
• 1:05:09
  Speaker 4: assault isn't a mark on your on your spouse. Maybe yes,
• 1:05:13
  Speaker 4: before you get married, but nineteen oh two.
• 1:05:20
  Speaker 3: Questions nineteen o two. I also I really did like
• 1:05:24
  Speaker 3: and I feel like other movies have shown this in
• 1:05:27
  Speaker 3: the past.
• 1:05:27
  Speaker 5: But the reason why she doesn't tell him is not
• 1:05:31
  Speaker 5: because like, oh it will hurt that other person, or
• 1:05:36
  Speaker 5: that she's necessarily afraid for herself, but she is cognizant
• 1:05:40
  Speaker 5: of if she tells her husband who did this, then
• 1:05:44
  Speaker 5: he will be putting himself at risk. Like I thought
• 1:05:47
  Speaker 5: that was an interesting to have to be concerned about
• 1:05:50
  Speaker 5: a having been assaulted.
• 1:05:52
  Speaker 3: B what are you going to do with this baby?
• 1:05:53
  Speaker 3: And like raising a baby. But see, you.
• 1:05:56
  Speaker 5: Want to protect your husband so that if he flies
• 1:05:59
  Speaker 5: off handle he doesn't go and get lynched.
• 1:06:01
  Speaker 3: Yeah, that's a lot.
• 1:06:03
  Speaker 5: And then they also bringing the anti lynching laws that
• 1:06:06
  Speaker 5: some of the people are trying to get passed.
• 1:06:08
  Speaker 3: I thought it was on the borders of the story, but.
• 1:06:12
  Speaker 5: Not necessarily the impetus for the family drama that we
• 1:06:16
  Speaker 5: were seeing.
• 1:06:17
  Speaker 4: Right right, Because yeah, that that comes up at the
• 1:06:19
  Speaker 4: at the end of the movie too, when when the
• 1:06:22
  Speaker 4: unborn child is born. But there's one line I didn't
• 1:06:29
  Speaker 4: I didn't write down which character said it, but it's
• 1:06:32
  Speaker 4: when the assault is being discussed just very offhand, the
• 1:06:36
  Speaker 4: raping of a colored woman is as common as a
• 1:06:38
  Speaker 4: fish in the sea, and just that being said so frankly,
• 1:06:44
  Speaker 4: and you know, it's just I don't know, I thought that, Yeah,
• 1:06:47
  Speaker 4: the movie did a really good and intentional job of
• 1:06:50
  Speaker 4: showing that, Like I don't know, for uh, like survivor
• 1:06:54
  Speaker 4: of assault, and specifically a black survivor of assaults. The
• 1:06:58
  Speaker 4: assault itself is kind of the tip of the iceberg
• 1:07:01
  Speaker 4: in terms of the continued trauma that like she has
• 1:07:05
  Speaker 4: to compartmentalize how she feels in order to protect her
• 1:07:09
  Speaker 4: husband from experiencing violence and just all of the I
• 1:07:13
  Speaker 4: don't know it just it makes me happy that at
• 1:07:16
  Speaker 4: very least there is like a community of women to
• 1:07:19
  Speaker 4: talk to.
• 1:07:21
  Speaker 2: Yeah, and some characters understand that better than others. I
• 1:07:25
  Speaker 2: really appreciated the scene where Nana is talking to Eli
• 1:07:31
  Speaker 2: about this, where she says, because Eli is saying, like,
• 1:07:35
  Speaker 2: I look at her and I'm not even sure I
• 1:07:37
  Speaker 2: want her anymore. I feel like she's not even mine.
• 1:07:40
  Speaker 2: And Nana responds with, you can't get back what you
• 1:07:44
  Speaker 2: never owned. You will never belong to you. She married you,
• 1:07:49
  Speaker 2: And it takes him a while for that to sink in.
• 1:07:54
  Speaker 2: But yeah, I love that you have this what like
• 1:07:57
  Speaker 2: ninety year old woman like in nineteen oh two saying
• 1:08:02
  Speaker 2: things that a lot of people don't understand today in
• 1:08:05
  Speaker 2: twenty twenty six, So that was great. And then you know,
• 1:08:09
  Speaker 2: you have other like the camaraderie you see among different women,
• 1:08:14
  Speaker 2: and then also the antagonism you see from other women,
• 1:08:16
  Speaker 2: and it's pretty clear where the antagonism is coming from,
• 1:08:21
  Speaker 2: the Christianity. But the solidarity that you see, for example,
• 1:08:27
  Speaker 2: between Eula and Mary is really beautiful, and the fact
• 1:08:33
  Speaker 2: that Eula stands up for Mary during that monologue at
• 1:08:37
  Speaker 2: the end. And then yeah, like there are these beautiful
• 1:08:42
  Speaker 2: moments of black joy that we see throughout the film,
• 1:08:46
  Speaker 2: the playing that they're all doing, and the dancing around
• 1:08:49
  Speaker 2: on the beach and ye, you know, preparing dinner.
• 1:08:52
  Speaker 4: And yes, I was like, this is filed under movies
• 1:08:55
  Speaker 4: that made me hungry?
• 1:08:58
  Speaker 3: Do you like gumbo?
• 1:09:00
  Speaker 4: I do like gumbo. I don't know that I've ever
• 1:09:02
  Speaker 4: I haven't had good gumbo in a very long time,
• 1:09:07
  Speaker 4: but yes, I do like gumbo.
• 1:09:08
  Speaker 3: I grew up with gumbo. My mom still makes it.
• 1:09:12
  Speaker 5: I'm gonna be honest, I don't really like it because
• 1:09:13
  Speaker 5: I don't really like I don't like okra. I like
• 1:09:16
  Speaker 5: the whole the whole thing is just like, hey, you
• 1:09:18
  Speaker 5: want like snot but as a vegetable, And I'm like, no.
• 1:09:22
  Speaker 4: I love I like it. I love when food is
• 1:09:25
  Speaker 4: so dense. I love it.
• 1:09:29
  Speaker 5: So like if they fry okra, I can eat it,
• 1:09:33
  Speaker 5: but truly unless it's like trapped up into little pieces
• 1:09:36
  Speaker 5: and then mostly the breading around it and then fried.
• 1:09:39
  Speaker 3: Get it out of here.
• 1:09:40
  Speaker 5: I how dare you like somehow they grew this pod
• 1:09:45
  Speaker 5: of like goop and then it just tastes okay.
• 1:09:49
  Speaker 3: Forget it. No, but they love it in this movie.
• 1:09:51
  Speaker 4: They love it and it looks delicious.
• 1:09:54
  Speaker 3: It looks so good.
• 1:09:57
  Speaker 5: The corn bread was what got me. They had corn bread,
• 1:10:00
  Speaker 5: and I was like, I love cornbread. In fact, should
• 1:10:02
  Speaker 5: I go get some corn bread?
• 1:10:03
  Speaker 4: I was like, this is a movie that you're like,
• 1:10:06
  Speaker 4: maybe I need dinner at eleven am. Maybe that.
• 1:10:13
  Speaker 2: What else do we want to talk about?
• 1:10:15
  Speaker 3: Yeah?
• 1:10:15
  Speaker 4: What are other standout characters? I mean, it is interesting
• 1:10:19
  Speaker 4: because this movie is so beautiful and layered and a
• 1:10:23
  Speaker 4: lot happens, and also not a lot happens. I don't know,
• 1:10:27
  Speaker 4: I really I liked the structure a lot. I feel
• 1:10:30
  Speaker 4: like it makes it a little trickier to talk about,
• 1:10:33
  Speaker 4: but the structure being like, I don't know, just felt
• 1:10:36
  Speaker 4: like this whole ceremony of remembrance. There's another moment that
• 1:10:41
  Speaker 4: stuck out to me. I don't know at what point
• 1:10:44
  Speaker 4: in the movie. Because this movie is so so vibes,
• 1:10:47
  Speaker 4: but where they're talking specifically about why they're part of
• 1:10:53
  Speaker 4: why they're doing what they're doing, what the function of
• 1:10:55
  Speaker 4: storytelling is for their family and for their culture, and
• 1:11:00
  Speaker 4: you know, obviously as a tool of remembrance. But Caitlyn,
• 1:11:02
  Speaker 4: I think, like you mentioned earlier about how poorly their
• 1:11:06
  Speaker 4: lives have been documented by their oppressors and specifically by
• 1:11:12
  Speaker 4: slave owners, and the ways that they were documented and named,
• 1:11:16
  Speaker 4: like it put you at physical risk to not know
• 1:11:19
  Speaker 4: your own story very thoroughly. Yeah, I mean there was
• 1:11:23
  Speaker 4: again just like a very offhand line of dialogue, but
• 1:11:26
  Speaker 4: like you had to know who you were and where
• 1:11:28
  Speaker 4: you came from so that you weren't you know, like
• 1:11:31
  Speaker 4: to avoid incest, yes, to avoid incest, and because there's
• 1:11:36
  Speaker 4: certainly no white slave owner who is going to be
• 1:11:40
  Speaker 4: thinking about or caring about that. And it was just
• 1:11:43
  Speaker 4: like again just like one of the many lines in
• 1:11:46
  Speaker 4: this movie that you're just like, oh my.
• 1:11:48
  Speaker 3: God, it's so fussed up.
• 1:11:50
  Speaker 4: Yeah. Yeah, but like, I don't know, I liked that
• 1:11:54
  Speaker 4: there was that so much of this is like based
• 1:11:56
  Speaker 4: in I don't know, like whatever works on a number
• 1:11:59
  Speaker 4: of levels because it's this fictional family preserving their history
• 1:12:04
  Speaker 4: for each other. And also Julie Dash like trying to
• 1:12:06
  Speaker 4: imagine what preserving her own family's history would be.
• 1:12:11
  Speaker 2: It's just cool.
• 1:12:13
  Speaker 5: I am frustrated that Julie Dash didn't get to go
• 1:12:16
  Speaker 5: on and do more. When I was watching this, also,
• 1:12:19
  Speaker 5: I thought of other things where people are in nature
• 1:12:22
  Speaker 5: in like long dresses.
• 1:12:24
  Speaker 3: I thought of, do you guys remember the piano?
• 1:12:27
  Speaker 4: Oh? Yes, yes, Janine Campion.
• 1:12:29
  Speaker 5: Campion, Yeah, yeah, And I thought about that and I
• 1:12:32
  Speaker 5: was like, man, I think I really like stories of
• 1:12:35
  Speaker 5: women in long dresses by the beach.
• 1:12:38
  Speaker 4: I think that's like portrait of a lady on fire anyway. Yeah,
• 1:12:43
  Speaker 4: and there is the same, yeah, like to be in
• 1:12:45
  Speaker 4: a flowy dress and to be recalling yearning, monologuing yearning.
• 1:12:51
  Speaker 5: In a flowy dress with the wind of the ocean
• 1:12:54
  Speaker 5: and the beach and a river sometimes but still, yeah,
• 1:12:58
  Speaker 5: that shit's cool as hell. And when I was a kid,
• 1:13:01
  Speaker 5: I read Sarah Plane and Tall. Do you guys remember that?
• 1:13:04
  Speaker 4: Oh my gosh, yes, Well I don't remember what happened.
• 1:13:08
  Speaker 3: Ye haven't even thinking about Sarah Plane and Tall?
• 1:13:10
  Speaker 4: No, I haven't.
• 1:13:11
  Speaker 5: I am a short person and when I was a kid,
• 1:13:14
  Speaker 5: I didn't know I was gonna be sh I mean,
• 1:13:15
  Speaker 5: I had some suspicion, but I am a short person,
• 1:13:17
  Speaker 5: so I don't get to be tall. But I loved
• 1:13:20
  Speaker 5: that this character, Sarah plane and tall. She had on
• 1:13:23
  Speaker 5: a long dress. It was down to her ankles, and
• 1:13:25
  Speaker 5: she went around and she did stuff and I think
• 1:13:27
  Speaker 5: there was wheat and there was hey whatever. And I
• 1:13:30
  Speaker 5: was like, I think that's what I'm gonna be like
• 1:13:31
  Speaker 5: when I'm old. I think I'm gonna be in like
• 1:13:33
  Speaker 5: a long dress and the wind is gonna catch it
• 1:13:36
  Speaker 5: and I'm gonna be dramatically.
• 1:13:38
  Speaker 3: Looking over vistas. That's all I want.
• 1:13:41
  Speaker 5: And this movie has that, and so I'm like, yep,
• 1:13:44
  Speaker 5: let's do it.
• 1:13:45
  Speaker 2: Hell yeah, I am so excited for you to do that.
• 1:13:49
  Speaker 3: Be part of my elder commune. You know.
• 1:13:51
  Speaker 4: God, we're gonna grow her hair out to our butts. Like,
• 1:13:55
  Speaker 4: it's gonna be awesome. It's gonna be awesome.
• 1:13:58
  Speaker 5: I look all kinds of ways, we're gonna wear all
• 1:14:01
  Speaker 5: kinds of cool stuff. We're gonna plant stuff, We're gonna
• 1:14:04
  Speaker 5: build stuff. My commune is gonna be sick as he.
• 1:14:06
  Speaker 4: I'll be there, We're in, We're in. There is nothing
• 1:14:10
  Speaker 4: scarier to me than a commune run by a man,
• 1:14:12
  Speaker 4: and nothing more welcoming and thrilling to me than a
• 1:14:15
  Speaker 4: commune not run by a man.
• 1:14:17
  Speaker 2: Oh oh, And going back to things run by women, Yes,
• 1:14:22
  Speaker 2: at least in the context of this movie, the focus
• 1:14:25
  Speaker 2: on the matriarch and the women in the family. Again, men,
• 1:14:31
  Speaker 2: we don't know them, they're barely there. The character of
• 1:14:35
  Speaker 2: Nana is so mesmerizing, Like anytime she spoke, you know,
• 1:14:40
  Speaker 2: she's got this gravelly voice, she like commands this intense
• 1:14:45
  Speaker 2: presence and you're just like I could watch her for days,
• 1:14:48
  Speaker 2: Like it's She's awesome.
• 1:14:50
  Speaker 4: The performances are unbelievable, and there was like a really
• 1:14:56
  Speaker 4: how Julie Dash made the production work was like was
• 1:15:00
  Speaker 4: a mix of union and non union crew members. The
• 1:15:05
  Speaker 4: non union crew members had Goula ancestry, and so it
• 1:15:10
  Speaker 4: was like partially a way to you know, teach filmmaking
• 1:15:14
  Speaker 4: to members of the Gala community that didn't know about
• 1:15:17
  Speaker 4: filmmaking as much, but also was a way to ensure
• 1:15:20
  Speaker 4: that she was being historically accurate and to help the
• 1:15:24
  Speaker 4: actors because the actors were actors and had to you know, had.
• 1:15:30
  Speaker 2: To learn the dial the dialog language.
• 1:15:34
  Speaker 4: Yeah, which I'm assuming they did a good job. Like
• 1:15:38
  Speaker 4: I'm in the last person who could make that call.
• 1:15:42
  Speaker 4: But I wanted to just sort of close out, going
• 1:15:44
  Speaker 4: back to what you were saying, Knese, But like, how
• 1:15:46
  Speaker 4: infuriating it is that Julie Dash hasn't made She's made again,
• 1:15:49
  Speaker 4: like she's made other things, but she hasn't made something
• 1:15:51
  Speaker 4: on this scale. This like, oh touristic, since this is
• 1:15:56
  Speaker 4: the last thing I'll pull from that piece. Sisters are
• 1:16:01
  Speaker 4: doing it for themselves, the contextual labor of black women.
• 1:16:04
  Speaker 4: She closes out by saying, there is an additional reason
• 1:16:06
  Speaker 4: why Daughters of the Dust has taken thirty years to
• 1:16:08
  Speaker 4: be recognized fully and properly. As is clear from the
• 1:16:12
  Speaker 4: site and sound poll, outour cinema dominates the film canon,
• 1:16:15
  Speaker 4: and outourism has historically privileged text over context in its
• 1:16:19
  Speaker 4: processes of evaluation. The outside weight to awarded to text
• 1:16:23
  Speaker 4: relative to context especially impacts filmmakers from marginalized communities, such
• 1:16:28
  Speaker 4: as black women, who tend to face greater structural obstacles
• 1:16:31
  Speaker 4: in getting films made and thus have smaller bodies of
• 1:16:34
  Speaker 4: work to their name. This disadvantages them in the a
• 1:16:37
  Speaker 4: tourist discourse and consequently in gaining wide and sustained critical attention.
• 1:16:43
  Speaker 4: Julie Dash is a case in point. Thirty years after
• 1:16:46
  Speaker 4: Daughters of the Dust, she has not been able to
• 1:16:48
  Speaker 4: obtain financing for a second feature film. While shocking, her
• 1:16:51
  Speaker 4: story is not exceptional. Two other black women filmmakers who
• 1:16:55
  Speaker 4: like Dash, made remarkable feature debuts that same decade, Colleen
• 1:16:59
  Speaker 4: Smith with dry La Longs and Leslie Harris with Just
• 1:17:01
  Speaker 4: Another Girl on the Irt likewise failed to find funding
• 1:17:05
  Speaker 4: for their second features. Both of their first films are
• 1:17:08
  Speaker 4: only now belatedly garnering significant critical visibility and praise, So
• 1:17:14
  Speaker 4: closing that loop out, I mean, it is like, it
• 1:17:16
  Speaker 4: is truly criminal that there are so many directors who
• 1:17:22
  Speaker 4: are denied opportunities to make more work, particularly because I mean,
• 1:17:28
  Speaker 4: like Julie Dash, luckily she is like alive, well in working,
• 1:17:32
  Speaker 4: but she's seventy three, and to think of how much
• 1:17:35
  Speaker 4: incredible work she could have done if she did not
• 1:17:39
  Speaker 4: have to fight tooth and nail to make literally anything,
• 1:17:42
  Speaker 4: is just like it's infuriating and we should never stop
• 1:17:46
  Speaker 4: yelling about it.
• 1:17:48
  Speaker 5: I just this is so silly, and it's not a
• 1:17:50
  Speaker 5: direct comp because who I'm talking about as an actor.
• 1:17:52
  Speaker 5: But it infuriates me that Jared Litto has like eighty
• 1:17:57
  Speaker 5: Bites at the Apple even though all of his movies
• 1:17:59
  Speaker 5: have fail in the last.
• 1:18:00
  Speaker 3: Like ten years, right right, and it.
• 1:18:03
  Speaker 5: Is about to be in something again. It's like a
• 1:18:05
  Speaker 5: multi like one hundred million dollar plus thing. And I'm
• 1:18:08
  Speaker 5: just like, Okay, we need like the what you give
• 1:18:10
  Speaker 5: to Jared Leto. I'm not saying we give it to everybody,
• 1:18:12
  Speaker 5: but you've got to give some of that to more
• 1:18:15
  Speaker 5: people because you're just letting this guy keep being mediocre
• 1:18:18
  Speaker 5: as hell, and let's give this let's spread this wealth.
• 1:18:21
  Speaker 3: A little bit.
• 1:18:22
  Speaker 4: Yeah. I mean, it's like and going into like that
• 1:18:25
  Speaker 4: whatever like oh tour discourse, it's you think about, like
• 1:18:28
  Speaker 4: how many white male o tours, including the ones I like,
• 1:18:33
  Speaker 4: like whose movies never make money, Like Paul Thomas Anderson's
• 1:18:38
  Speaker 4: movies rarely make money, but they're specific and significant, and
• 1:18:44
  Speaker 4: so he gets to keep making them because he's a
• 1:18:47
  Speaker 4: why guy and like, oh tour movies, they're not known
• 1:18:51
  Speaker 4: for making money, so you like. But but it, of
• 1:18:53
  Speaker 4: course it always becomes a game of well, we couldn't
• 1:18:56
  Speaker 4: get the financing when it's a marginalized artist or it's
• 1:19:00
  Speaker 4: someone who's you know, second movie wasn't completely perfect and
• 1:19:04
  Speaker 4: didn't make a shitload of money because marginalized directors have
• 1:19:08
  Speaker 4: so much more that you're supposed to prove to say, like,
• 1:19:12
  Speaker 4: it wasn't just it didn't just break even, it made
• 1:19:15
  Speaker 4: its budget back forty times or you don't get another shot.
• 1:19:18
  Speaker 4: And meanwhile, you know Jared Lettle, Yeah, so, I.
• 1:19:21
  Speaker 5: Mean, just think about the headline after Sinners, where people
• 1:19:25
  Speaker 5: were like, but it didn't make its money back versus
• 1:19:28
  Speaker 5: first of all did Blania was the one of the
• 1:19:31
  Speaker 5: highest grossing documentaries for this weekend in February.
• 1:19:35
  Speaker 3: You're like, wait, what.
• 1:19:37
  Speaker 4: It's so like whatever, the Master didn't make its money back,
• 1:19:42
  Speaker 4: But no one in the history of the world has
• 1:19:45
  Speaker 4: ever fucking complained about that.
• 1:19:47
  Speaker 5: I mean, I've complained about The Master several times, but
• 1:19:50
  Speaker 5: not because of that, but not because of the other reasons.
• 1:19:52
  Speaker 4: I've never seen The Master good.
• 1:19:56
  Speaker 2: Yeah, I did not like it at all.
• 1:19:57
  Speaker 5: I didn't like it either, and they were like, this
• 1:19:59
  Speaker 5: is what thing is about, and I was like, then
• 1:20:02
  Speaker 5: do I like acting.
• 1:20:04
  Speaker 4: Like if Paul Thomas edited and again this is like
• 1:20:07
  Speaker 4: I'm randomly picking him out, But like, you know, Phantom
• 1:20:11
  Speaker 4: Thread one of my favorite movies. But if you know,
• 1:20:13
  Speaker 4: if he was a woman, if he was not white,
• 1:20:17
  Speaker 4: you know, if he was not cis like, this would
• 1:20:20
  Speaker 4: be such a different discussion. Like the Master not performing
• 1:20:23
  Speaker 4: success like well could have ended his career. I mean,
• 1:20:27
  Speaker 4: and it's like, I don't know. And the fact that
• 1:20:28
  Speaker 4: Julie Dash, I mean, she talked extensively about how her
• 1:20:32
  Speaker 4: movie did extremely well at sun Dance. It won Best Cinematography,
• 1:20:36
  Speaker 4: like all this stuff. It was very critically successful, but
• 1:20:39
  Speaker 4: it still took a full year to get it in theaters.
• 1:20:42
  Speaker 4: So it was like a full year after it, you know,
• 1:20:45
  Speaker 4: first debuted that it became the first movie by a
• 1:20:50
  Speaker 4: black American woman to be widely distributed. It just is
• 1:20:53
  Speaker 4: like it's it just is exhausting. It sounds exhausting.
• 1:20:58
  Speaker 5: Is part of the reason you like Phantom Thread so
• 1:21:00
  Speaker 5: much because it is about a woman poisoning a man.
• 1:21:02
  Speaker 4: Of course, of course that's why I like it. For
• 1:21:06
  Speaker 4: the first hour and a half of Fandom Thread, I'm like, well,
• 1:21:08
  Speaker 4: I don't know about this, But then at the end,
• 1:21:10
  Speaker 4: I was like, oh, she's gonna kill Yeah. They have
• 1:21:12
  Speaker 4: a freaky little relationship where she's kind of killing him. Yeah,
• 1:21:16
  Speaker 4: we should cover I think Phantom Thread. It will be
• 1:21:20
  Speaker 4: like a New Year's movie one one year.
• 1:21:22
  Speaker 2: Oh, that's right, because there's a New Year's Eve party.
• 1:21:26
  Speaker 4: It's one of the few New Year's there's not a
• 1:21:27
  Speaker 4: lot of New Year's movies, but I counted as one
• 1:21:30
  Speaker 4: of them.
• 1:21:31
  Speaker 2: No, you're so true. But yeah, Julie Dash she was
• 1:21:35
  Speaker 2: only able to make this movie because she finally got
• 1:21:38
  Speaker 2: funding after being rejected by a bunch of Hollywood executives.
• 1:21:42
  Speaker 2: She got funding from PBS to the tune of rip, Yeah,
• 1:21:50
  Speaker 2: she received eight hundred thousand dollars. That was the budget
• 1:21:53
  Speaker 2: for this movie.
• 1:21:54
  Speaker 4: That's wild. Yeah, that is wild.
• 1:21:57
  Speaker 2: And it made back. It's It earned one point six
• 1:22:02
  Speaker 2: million dollars at the box office on the so it doubled.
• 1:22:04
  Speaker 4: Its budget, doubled its Yeah. So it's like, so, what's
• 1:22:07
  Speaker 4: the problem. So, what's the problem?
• 1:22:11
  Speaker 2: Anything else that anyone wants to talk about?
• 1:22:14
  Speaker 5: Go see this movie, and if you do, probably don't
• 1:22:18
  Speaker 5: give your money to Amazon the way I did.
• 1:22:20
  Speaker 4: You're better than me.
• 1:22:22
  Speaker 5: Use Canopy because your city likes that Canopy is not
• 1:22:26
  Speaker 5: in Brooklyn, is in Queen's But I don't have a
• 1:22:27
  Speaker 5: Queen's Library card. But yeah, get it, but get it
• 1:22:31
  Speaker 5: from like a nice place.
• 1:22:32
  Speaker 4: Hell yeah.
• 1:22:34
  Speaker 2: As we alluded to, the movie does not have any
• 1:22:36
  Speaker 2: issues as far as Bechdel test in the sense that
• 1:22:40
  Speaker 2: it passes it a lot between a lot of different characters,
• 1:22:46
  Speaker 2: and then as far as our nipple scale, where we
• 1:22:48
  Speaker 2: rate the movie based on examining it through an intersectional
• 1:22:52
  Speaker 2: feminist lens zero to five nipples. I mean, I don't
• 1:22:58
  Speaker 2: see any reason not to award it a full five.
• 1:23:02
  Speaker 4: I feel like this is a this is a five nipple.
• 1:23:05
  Speaker 4: I mean, oh wow, yeah, what what's the argument against that?
• 1:23:09
  Speaker 3: Brow to say four? Sa More like the thing is
• 1:23:15
  Speaker 3: is good and we all know it's good, but it's good.
• 1:23:17
  Speaker 5: There's like, okay, imagine eating a cake, but one bite
• 1:23:21
  Speaker 5: tastes like homework like that like that, but there was
• 1:23:26
  Speaker 5: that one.
• 1:23:26
  Speaker 3: Bite they tasted like homework. So I mean, if I had.
• 1:23:30
  Speaker 2: To dock it for anything for me, it would be
• 1:23:33
  Speaker 2: I wish we would have known more about Trula and
• 1:23:38
  Speaker 2: the nature of her relationship with Mary, because I was
• 1:23:41
  Speaker 2: reading different things that like people were speculating that they
• 1:23:43
  Speaker 2: were lovers, and like that's part of why the like
• 1:23:48
  Speaker 2: hyper Christian family members were expressing so much disdain toward Mary,
• 1:23:54
  Speaker 2: and I was like, why, Like she bare like Trula
• 1:23:56
  Speaker 2: says almost nothing, we barely.
• 1:23:59
  Speaker 3: I mean, yeah, it was like that she has a line.
• 1:24:00
  Speaker 2: She has I think one line at one point, but
• 1:24:04
  Speaker 2: what is it? I don't even remember.
• 1:24:06
  Speaker 4: Yeah, you see her a lot. Where is the where
• 1:24:09
  Speaker 4: is the fanfic? Where is the fan pic? Can someone
• 1:24:11
  Speaker 4: get on this? I'm assuming someone did thirty years ago.
• 1:24:15
  Speaker 2: Sure. But then I was like, Okay, well, maybe the
• 1:24:18
  Speaker 2: reason that we don't really learn anything about her really
• 1:24:22
  Speaker 2: is because this story is mostly told from either the
• 1:24:25
  Speaker 2: point of view of Nana or the unborn child. So
• 1:24:29
  Speaker 2: I'm like, well, they probably wouldn't really know what's going
• 1:24:33
  Speaker 2: on with so maybe that's why. But even so, I
• 1:24:36
  Speaker 2: would have liked to because if that is a queer relationship,
• 1:24:38
  Speaker 2: I would have liked to see that explored a bit more.
• 1:24:42
  Speaker 5: I mean, does she stay on the island? She something happens,
• 1:24:45
  Speaker 5: like they're doing that little prayer circle or whatever, and
• 1:24:47
  Speaker 5: then the light skinned lady runs off into the woods
• 1:24:50
  Speaker 5: or something.
• 1:24:51
  Speaker 3: So I was like, where's she goes?
• 1:24:52
  Speaker 4: Where she goes?
• 1:24:53
  Speaker 2: Yeah? I don't know. Anyway, I think I'll still stick
• 1:24:56
  Speaker 2: with five nipples because this is such an important entry
• 1:25:01
  Speaker 2: into the cannon of black filmmakers in general, and especially
• 1:25:05
  Speaker 2: black women filmmakers. So five nipples from me and uh
• 1:25:11
  Speaker 2: all split them between Julie Dash and Cory Day, who
• 1:25:15
  Speaker 2: played Nana.
• 1:25:16
  Speaker 3: She's got a great face.
• 1:25:18
  Speaker 4: Oh I love that.
• 1:25:19
  Speaker 3: That's a great face.
• 1:25:20
  Speaker 4: And she's like she's acting without acting, if that makes sense.
• 1:25:25
  Speaker 4: Like it's just there's an effortlessness to what she's doing. Yeah,
• 1:25:30
  Speaker 4: I'm gonna go I'm gonna go five as well. I really,
• 1:25:32
  Speaker 4: I've I've really, I don't know what's my taste has
• 1:25:36
  Speaker 4: changed I used to.
• 1:25:38
  Speaker 2: I don't know.
• 1:25:38
  Speaker 4: I'm really into a movie that is just like doing
• 1:25:41
  Speaker 4: its own thing and is very vibes based, and I
• 1:25:44
  Speaker 4: would include this movie in that word. It is not
• 1:25:46
  Speaker 4: adhering to a specific structure. I've found myself like surprised
• 1:25:51
  Speaker 4: at the choices that Julie Dash was making, and I
• 1:25:54
  Speaker 4: just it's so specific and beautiful and cool. And I
• 1:26:00
  Speaker 4: at some point was like, I don't know a single
• 1:26:02
  Speaker 4: thing about any of the men in this movie, really,
• 1:26:05
  Speaker 4: And so for the Bacle cast, I have no choice
• 1:26:08
  Speaker 4: but to give a five. And yeah, I'm going to
• 1:26:11
  Speaker 4: I'm going to give all of them to Julie Dash
• 1:26:15
  Speaker 4: and hope that we get to see another movie from
• 1:26:19
  Speaker 4: her soon. The last big project that she discussed, wait
• 1:26:25
  Speaker 4: Hold On It, came up in the late twenty or.
• 1:26:29
  Speaker 4: At the twenty nineteen Sundance Film Festival, it was announced
• 1:26:32
  Speaker 4: that Dash's next major project will be a biopic of
• 1:26:35
  Speaker 4: Angela Davis, to be produced by lions Gate. I have
• 1:26:39
  Speaker 4: not seen an update on that recently, but she takes
• 1:26:42
  Speaker 4: her time making her movies, so I'm like looking forward
• 1:26:45
  Speaker 4: to it.
• 1:26:46
  Speaker 2: All right, And then can you are you sticking with four?
• 1:26:50
  Speaker 5: I'm sticking with four nipples on the nipple scale. I
• 1:26:52
  Speaker 5: want to give two to Julie Dash.
• 1:26:54
  Speaker 3: I want to give one to the location, because damn,
• 1:26:57
  Speaker 3: that was beautiful. I'm sorry I.
• 1:26:59
  Speaker 6: Made beautiful where I'm from, but I'm like the views
• 1:27:02
  Speaker 6: of the water, the views on the beach, the views
• 1:27:05
  Speaker 6: in the trees, them in those gorgeous dresses laying against
• 1:27:09
  Speaker 6: a tree.
• 1:27:10
  Speaker 5: I was just mesmerized. And I one hundred percent see
• 1:27:13
  Speaker 5: why Beyonce saw that. Probably Beyonce's designers, Let's be real,
• 1:27:17
  Speaker 5: but saw that and was like, oh, I want to
• 1:27:20
  Speaker 5: use this as part of the basis for my lemonade.
• 1:27:23
  Speaker 3: Aesthetics. So that and then the last one too. Did
• 1:27:27
  Speaker 3: you say this, Coral Li day like.
• 1:27:28
  Speaker 2: The old woman CORALI day.
• 1:27:30
  Speaker 5: Yeah, I'm like, I want to be an old woman
• 1:27:32
  Speaker 5: in a long dress so bad. I would love that.
• 1:27:36
  Speaker 5: And she was cool as hell and she had short hair.
• 1:27:39
  Speaker 5: I love it when old like as an old lady,
• 1:27:42
  Speaker 5: you don't have to have long hair. It's like, hey,
• 1:27:44
  Speaker 5: I'm old, it's cut short. I get to live my life,
• 1:27:47
  Speaker 5: leave me alone, and I love that.
• 1:27:49
  Speaker 2: Hell yeah, thank you so much for joining us for
• 1:27:53
  Speaker 2: an eighth time.
• 1:27:55
  Speaker 4: Eighth times the charm baby dude.
• 1:27:58
  Speaker 5: Thank you guys so much for continuing to have me,
• 1:28:01
  Speaker 5: for talking about movies that I love that influence who
• 1:28:04
  Speaker 5: I am now, who I want to be artistically, and
• 1:28:07
  Speaker 5: who I will be as I age in this country.
• 1:28:11
  Speaker 5: I love you guys, and I think you guys are
• 1:28:13
  Speaker 5: the Besneys, and I'm excited when I get a chance
• 1:28:17
  Speaker 5: to be on the Bechdel Cast.
• 1:28:19
  Speaker 4: We love ours. Can't wait for time number nine. Throw
• 1:28:24
  Speaker 4: throw us a curveball, let's go, let's go nuts.
• 1:28:27
  Speaker 3: It's jackass three D.
• 1:28:31
  Speaker 4: Honestly, that would be a very interesting episode. So be
• 1:28:35
  Speaker 4: careful what you say.
• 1:28:37
  Speaker 3: Because I'll do it, I'll do it. I'm here.
• 1:28:40
  Speaker 2: Tell yeah, where can people follow you? Cut your stuff,
• 1:28:43
  Speaker 2: cutch your shows, tell us everything.
• 1:28:45
  Speaker 5: Okay, so I'm Canise Mowbley. There isn't another one, so
• 1:28:50
  Speaker 5: it's me. It's hey n I C E m O
• 1:28:52
  Speaker 5: B l E y on Instagram mainly, but technically I
• 1:28:55
  Speaker 5: have I think, a TikTok, threads and I have all
• 1:28:59
  Speaker 5: those things. But I only really use Instagram because of
• 1:29:01
  Speaker 5: fascism and limiting my exposure to it. I am also
• 1:29:07
  Speaker 5: doing the Hot Guy Draft, which is an event that
• 1:29:10
  Speaker 5: is near and dear to my heart, wherein comedians formed
• 1:29:13
  Speaker 5: teams of hot guys in the audience votes to say
• 1:29:16
  Speaker 5: who has the hottest team. We did one in the
• 1:29:19
  Speaker 5: fall that was just general theme. This one is on
• 1:29:22
  Speaker 5: March twenty second at Littlefield in Brooklyn, New York. It
• 1:29:25
  Speaker 5: is themed Daddy, so you can get more information on
• 1:29:30
  Speaker 5: what is a daddy, who is a daddy, and why
• 1:29:32
  Speaker 5: is a daddy by following Hot Guy Draft on Instagram
• 1:29:35
  Speaker 5: and taking the survey rating hot guys, which is jinder
• 1:29:39
  Speaker 5: neutral in a competition to see who is the most daddy.
• 1:29:45
  Speaker 4: That is just like this poetry music to my ears.
• 1:29:48
  Speaker 4: I was literally was like, I'm speechless. I wish, I
• 1:29:51
  Speaker 4: wish I could go one day.
• 1:29:53
  Speaker 5: You will be in town, you will be a panelist,
• 1:29:55
  Speaker 5: you will be one of our contestants. But regardless, you
• 1:29:58
  Speaker 5: can vote because this is like a fantasy draft, because
• 1:30:03
  Speaker 5: this is what I care about more than I care
• 1:30:04
  Speaker 5: about sports, and we need stats in order to draft
• 1:30:09
  Speaker 5: with knowledge. And we get those stats by people voting
• 1:30:12
  Speaker 5: on who is hot, who is not? Who is daddy?
• 1:30:15
  Speaker 5: Who is not daddy?
• 1:30:16
  Speaker 2: Wow?
• 1:30:16
  Speaker 4: Incredible?
• 1:30:17
  Speaker 2: Yeah, when is it?
• 1:30:19
  Speaker 5: March twenty March twenty second, okay, May seven pm? That
• 1:30:22
  Speaker 5: is a Sunday at seven. I pushed for it to
• 1:30:24
  Speaker 5: be earlier because I am a millennial and I like
• 1:30:26
  Speaker 5: things at two in the afternoon, but they said seven
• 1:30:28
  Speaker 5: was the earliest they could do it.
• 1:30:31
  Speaker 2: Maybe I'll make a trip to New York.
• 1:30:33
  Speaker 5: Dude, come to this I want to do. I'm working
• 1:30:37
  Speaker 5: on another one, and this one I will be like,
• 1:30:39
  Speaker 5: figure it out, get your ass over here.
• 1:30:41
  Speaker 3: It's first Crush is.
• 1:30:43
  Speaker 5: The theme for the one that I'm hoping to do
• 1:30:45
  Speaker 5: in like July or August.
• 1:30:47
  Speaker 3: So first Crush hot, guys, think about it. But yeah,
• 1:30:51
  Speaker 3: this is a developing thing.
• 1:30:53
  Speaker 2: Love it perfect Well, thank you so much for joining us.
• 1:30:57
  Speaker 2: You're always welcome back anytime. You can follow us on
• 1:31:03
  Speaker 2: also mainly Instagram at Bechdel Cast, as well as subscribe
• 1:31:06
  Speaker 2: to our Matreon at patreon dot com slash Bechdel Cast,
• 1:31:10
  Speaker 2: where you can access two brand new episodes every single month,
• 1:31:15
  Speaker 2: always on an incredible, amazing genius theme the Jamie and
• 1:31:20
  Speaker 2: I Think up, as well as access to the entire
• 1:31:22
  Speaker 2: back catalog of nearing two hundred bonus episodes, So don't
• 1:31:28
  Speaker 2: miss out. That's all for five dollars a month. Wow,
• 1:31:32
  Speaker 2: what a good bargain. And with that, should we hang
• 1:31:36
  Speaker 2: out on the beach and make gumbo? And yeah, but
• 1:31:41
  Speaker 2: not with too much okra? Canis?
• 1:31:43
  Speaker 4: Yeah? Hold the okra?
• 1:31:45
  Speaker 3: Yes, thank you so much. I would love that. I'll
• 1:31:48
  Speaker 3: see you on the beach. Okay, bye bye bye.
• 1:31:55
  Speaker 4: The Bechdel Cast is a production of iHeartMedia, hosted and
• 1:31:58
  Speaker 4: produced by Me Jamie Lock and me Kitlyn Durrante.
• 1:32:02
  Speaker 2: The podcast is also produced by Sophie Lichtermann.
• 1:32:05
  Speaker 4: And edited by Caitlyn Durrante. Ever heard of them?
• 1:32:08
  Speaker 2: That's me? And our logo and merch and all of
• 1:32:11
  Speaker 2: our artwork in fact are designed by Jamie loftus ever
• 1:32:15
  Speaker 2: heard of her?
• 1:32:16
  Speaker 4: Oh My God, and our theme song, by the way,
• 1:32:19
  Speaker 4: was composed by Mike.
• 1:32:20
  Speaker 2: Kaplan with vocals by Katherine Voskrasinski.
• 1:32:23
  Speaker 4: Iconic and a special thanks to the one and only
• 1:32:26
  Speaker 4: Aristotle Acevedo.
• 1:32:28
  Speaker 2: For more information about the podcast, please visit Linktree Slash
• 1:32:32
  Speaker 2: spectel Cast