Latest / The Book-Watchers / 139. Star-Demons you say?! (Piñata)

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139. Star-Demons you say?! (Piñata) · The Book-Watchers

• 0:05
  Speaker 1: Neonic Void Productions presents....
• 0:13
  Speaker 2: Oh my god.
• 0:27
  Speaker 1: Oh, anyway.
• 0:28
  Speaker 3: Oh my god, I'm so smart.
• 0:29
  Speaker 2: I'm just.
• 0:30
  Speaker 3: Oh my.
• 0:32
  Speaker 2: God, it's so young.
• 0:38
  Speaker 1: So young, so youthful. For only one of us, not you.
• 0:43
  Speaker 3: You crusty old hag.
• 0:46
  Speaker 1: You're literally older than me. You fossil.
• 0:51
  Speaker 3: Not a fossil. Not a fossil, what the fuck. How
• 0:57
  Speaker 3: dare you. Hi, welcome to Book Watchers. Jacob is a
• 1:04
  Speaker 3: living corpse.
• 1:08
  Speaker 1: And Kevin is a living relic.
• 1:09
  Speaker 3: Oh, a living relic. That's crazy. I'm not even 35. Oh, God.
• 1:15
  Speaker 3: I'm turning 35 in March.
• 1:17
  Speaker 1: Oh, God.
• 1:20
  Speaker 3: I'll be officially in my mid-30s.
• 1:22
  Speaker 1: Oh, God. I'm going to be turning 32 in like
• 1:28
  Speaker 1: two months.
• 1:29
  Speaker 3: God, I remember when I was young and youthful in
• 1:32
  Speaker 3: my late 20s. I was living life.
• 1:37
  Speaker 1: Oh, my God.
• 1:38
  Speaker 3: You were in your 20s. I was in my 20s. Oh,
• 1:45
  Speaker 3: my God. Anyway, welcome to Book Watchers, where I'm finally
• 1:50
  Speaker 3: realizing things in life. Like, I'm almost in my mid-30s,
• 1:56
  Speaker 3: and the colon and the large intestines are the same thing.
• 2:00
  Speaker 3: Who knew?
• 2:00
  Speaker 2: I didn't.
• 2:03
  Speaker 1: Anyway. Pretty much everyone knew that.
• 2:05
  Speaker 3: Shut up, okay? I'm the last to know. My bad.
• 2:08
  Speaker 1: Okay, no, no, no. I'll give you some grace. Pretty
• 2:11
  Speaker 1: much everyone but Gen Z knew.
• 2:14
  Speaker 3: How dare you? How dare you? I'm a millennial. Thank you.
• 2:23
  Speaker 2: I know.
• 2:23
  Speaker 3: Couldn't be caught dead being a Gen Z.
• 2:29
  Speaker 1: Well, anyway, hi. Welcome to Book Watchers. Who the fuck
• 2:32
  Speaker 1: are you?
• 2:35
  Speaker 3: Crips? Yeah, who the fuck are you, Crip Keeper?
• 2:39
  Speaker 1: You literally just said my name earlier. They already know
• 2:43
  Speaker 1: who I am. And I said your name. Oh, that's right.
• 2:47
  Speaker 3: That's right. That's right. I had Jacob moment. You're right.
• 2:51
  Speaker 3: You're right. I had you moment.
• 2:52
  Speaker 1: You had a me moment.
• 2:54
  Speaker 3: No, no, no, no, no. Hold the fuck up. I
• 2:58
  Speaker 3: have a good memory. Your memory is shit. So don't
• 3:02
  Speaker 3: even come for me. Mr. If anyone's on get all
• 3:06
  Speaker 3: timers out of the two, but it sure as fuck
• 3:08
  Speaker 3: not going to be me.
• 3:11
  Speaker 1: And your grandpa have Alzheimer's.
• 3:13
  Speaker 2: No.
• 3:15
  Speaker 3: He had a, he fell so many times he formed a,
• 3:18
  Speaker 3: he had blood on the brain basically.
• 3:21
  Speaker 1: Oh, okay. Yeah.
• 3:23
  Speaker 3: So when they did surgery, TMI, y'all made it surgery
• 3:28
  Speaker 3: on his brain and try to get the brain, the
• 3:30
  Speaker 3: blood out because he wasn't making sense. Um, cause his
• 3:35
  Speaker 3: brain was swollen. Um, so he wasn't making, when he was,
• 3:39
  Speaker 3: when he would interact or talk with people, he would
• 3:41
  Speaker 3: make no sense whatsoever. Uh, and then after the brain surgery, I.
• 3:48
  Speaker 1: Never woke up.
• 3:50
  Speaker 3: So yeah, brain stuff's scary. Brain stuff's scary, y'all. Take
• 3:56
  Speaker 3: care of your brain. Remember shit. Work on your memory.
• 4:00
  Speaker 3: Do some memory exercises.
• 4:04
  Speaker 1: I have been doing memory exercises. Thank you very much.
• 4:06
  Speaker 3: Well, you need to do more of them because you
• 4:07
  Speaker 3: forget a lot.
• 4:09
  Speaker 1: No, you're just saying that because you thought I forgot
• 4:12
  Speaker 1: about the October 4th DVD. Oh, uh-huh.
• 4:15
  Speaker 3: I sure did.
• 4:17
  Speaker 1: No, I didn't forget about it, okay? I just don't
• 4:19
  Speaker 1: trust Dylan anymore because that little bastard canceled on us
• 4:23
  Speaker 1: last time. It's true. So now I'm just like, you
• 4:27
  Speaker 1: know what? Even though we agreed on that day, I'm
• 4:30
  Speaker 1: not going to lock it in until I know for
• 4:32
  Speaker 1: a fact that we're going to all actually meet because
• 4:37
  Speaker 1: how fucking dare he How fucking dare that little twink
• 4:45
  Speaker 1: tell us at the last minute that he can't make
• 4:47
  Speaker 1: it when we were literally all anticipating it. We were
• 4:51
  Speaker 1: all ready. We were so ready for this game. Ready
• 4:55
  Speaker 1: to go. We were ready to go. We haven't played
• 4:59
  Speaker 1: since what?
• 4:59
  Speaker 3: When was the last time we played that game? That
• 5:03
  Speaker 3: D & D game? August? Yeah, I think it was
• 5:07
  Speaker 3: August or July. Late July, early August.
• 5:11
  Speaker 1: Something like that. And, you know, like, we used to
• 5:14
  Speaker 1: play this game weekly.
• 5:15
  Speaker 3: Yeah, sure did.
• 5:16
  Speaker 1: And now it's gotten to the point where we barely
• 5:19
  Speaker 1: play almost every other month. Yeah. And, I mean, you know, not, like,
• 5:25
  Speaker 1: holding that part against Dylan because he's getting his, like,
• 5:28
  Speaker 1: you know, he's focusing on his education, which is a
• 5:30
  Speaker 1: good thing, I guess.
• 5:31
  Speaker 3: Job. Job.
• 5:33
  Speaker 1: Job and everything. But, like, you know, how fucking dare he?
• 5:39
  Speaker 3: How dare he be a responsible adult in this world?
• 5:44
  Speaker 1: So now I'm just like, all right. So I was like, okay, well,
• 5:47
  Speaker 1: I remember we did, uh, we agreed on the fourth, but,
• 5:51
  Speaker 1: but I'm just like, are you sure we're going to
• 5:52
  Speaker 1: do it on the fourth?
• 5:54
  Speaker 3: You better be, or I'm going to kill somebody. I'm
• 5:57
  Speaker 3: going to fucking blow up that chat and be like,
• 6:01
  Speaker 3: F you motherfucker. No, I wouldn't.
• 6:04
  Speaker 1: I'll probably leave the game. I'll just be like, all right,
• 6:06
  Speaker 1: if we're canceling again, I'm.
• 6:07
  Speaker 3: Going to leave the game. No, you're fucking not. No
• 6:11
  Speaker 3: one's leaving the fucking game unless the game is in
• 6:13
  Speaker 3: the crit stage of life where it's do not resuscitate.
• 6:18
  Speaker 3: Nobody's quitting the fucking game. I am going to play
• 6:23
  Speaker 3: through this fucking game if it means I'm killing somebody.
• 6:27
  Speaker 3: I'll be very fucking upset if everyone's like, let's just
• 6:30
  Speaker 3: chop this game. Fuck y'all. I'll be very fucking upset.
• 6:35
  Speaker 3: So upset. I'll rage. I will rage. I will rage
• 6:44
  Speaker 3: if we end up dropping this game. I'll probably be
• 6:50
  Speaker 3: the one that raged the most out of everybody, and
• 6:52
  Speaker 3: that includes Tiff. Oh, I'll be so pissed. I'll be like,
• 6:57
  Speaker 3: how dare you get me invested in this shit? We
• 7:00
  Speaker 3: played this for years!
• 7:01
  Speaker 1: Anyway.
• 7:03
  Speaker 2: Anyway.
• 7:04
  Speaker 3: In the description below, you'll see, I'll keep whatever I
• 7:06
  Speaker 3: want from that in there. Anyway, in the description below,
• 7:09
  Speaker 3: you'll see a link to a link tree to all
• 7:11
  Speaker 3: your podcast needs of all the blah, blah, blah. All
• 7:15
  Speaker 3: that stuff will be in the description below. Patreon, you know,
• 7:19
  Speaker 3: all that shtick. It's October. It's October, babes. We're going
• 7:29
  Speaker 3: to talk about some, somebody's going to talk about some books.
• 7:36
  Speaker 1: Yeah.
• 7:39
  Speaker 3: So what book are we talking about first, Jacob?
• 7:43
  Speaker 1: Well, the first book we're talking about today, well, are
• 7:46
  Speaker 1: you separating these episodes or are they going to be together?
• 7:48
  Speaker 3: I'm separating them.
• 7:50
  Speaker 1: Okay, well, the book we're going to.
• 7:52
  Speaker 4: Be talking about today is a book called Piñata. So
• 7:58
  Speaker 4: this book is called Piñata by Leopold Boltz. And I
• 8:03
  Speaker 4: read this book as I read this book because I
• 8:07
  Speaker 4: wanted to do something to also include Latin American history,
• 8:11
  Speaker 4: because not only are we celebrating a spoopy season, but
• 8:15
  Speaker 4: we're also celebrating Dia de los Muertos and wanted to
• 8:18
  Speaker 4: do something Latin themes, like, you know, Mexican American themes
• 8:22
  Speaker 4: and piñata. Like I came, I stumbled across piñata by,
• 8:27
  Speaker 4: by accident because I found it on a book talk
• 8:29
  Speaker 4: recommendation and, I bought it.
• 8:34
  Speaker 1: I read it. I bought the Kindle edition. I don't
• 8:36
  Speaker 1: have a physical copy, but. They so I read it
• 8:41
  Speaker 1: and I was like, oh, my God, I'm loving this.
• 8:43
  Speaker 1: I'm living for this. This is this is honestly way
• 8:47
  Speaker 1: better than the one I read for last year, because
• 8:49
  Speaker 1: last year I read Zero Saints by Gabino Iglesias. And
• 8:56
  Speaker 1: I didn't really like that one because it didn't really
• 8:59
  Speaker 1: like have the horror elements I was looking for. It
• 9:01
  Speaker 1: was just more like it was just kind of like
• 9:04
  Speaker 1: a slice of life type of horror book. Anyway, so, yeah,
• 9:11
  Speaker 1: last year I read Zero Saints by Gabino Iglesias. It
• 9:16
  Speaker 1: didn't really have the like. the horror elements I was
• 9:20
  Speaker 1: looking for, honestly, I didn't think it was that particularly like,
• 9:24
  Speaker 1: it wasn't really that scary to me. They were like
• 9:27
  Speaker 1: hinting at like this, like, you know, horror elements based
• 9:32
  Speaker 1: around the, like based around like Aztec, like witchcraft, things
• 9:39
  Speaker 1: like that. Like, you know, it was involving the cartels,
• 9:41
  Speaker 1: you know, drug traded and it was involving the cartels
• 9:44
  Speaker 1: and the drug trade in Austin, Texas. That's where that
• 9:47
  Speaker 1: book took place. but the characters weren't really that interesting
• 9:53
  Speaker 1: like the main character like worships the patron saint Santa
• 9:58
  Speaker 1: Muerte and like, you know, his relationship with that particular
• 10:05
  Speaker 1: saint and how, and, like, he had to, he was having, like,
• 10:10
  Speaker 1: it was, like, it involved, like, things like turf wars and, like,
• 10:15
  Speaker 1: a conflict between two different, like, two different drug lords.
• 10:20
  Speaker 1: And how one of them was basically using Aztec witchcrafts
• 10:25
  Speaker 1: to kind of get the edge over the other. But then, like,
• 10:27
  Speaker 1: when it actually came down to it, there weren't really
• 10:30
  Speaker 1: any of those, like, supernatural elements. It was just, like,
• 10:33
  Speaker 1: it looked like they were going to get somewhere, but
• 10:34
  Speaker 1: then it just kind of, like, fizzled out at the end. Like, oh, like,
• 10:39
  Speaker 1: they killed him before he can summon any spirits. But, like,
• 10:42
  Speaker 1: it didn't really seem like there were any, like, spirits
• 10:45
  Speaker 1: or anything. There wasn't really anything that had those supernatural
• 10:54
  Speaker 1: elements that I was looking for that I was expecting
• 10:56
  Speaker 1: from that book. So I was a little disappointed with that.
• 10:59
  Speaker 1: But this time, I found Spignatta by Leopoldo Gault. Leopoldo Gault. And... Gault. Gault.
• 11:07
  Speaker 1: I don't know how to pronounce his last name. G-O-U-T. Gault. Gault. Gault. Gault. Gault.
• 11:20
  Speaker 1: He's a goat. Whatever. And yeah. And this one was
• 11:26
  Speaker 1: actually like more of what I was looking for in
• 11:29
  Speaker 1: terms of like a supernatural suspenseful horror. And I was like,
• 11:33
  Speaker 1: all right, cool. It's like, it's cool. Awesome. It's a,
• 11:36
  Speaker 1: it's a, it's a Mexican American themes novel. All right.
• 11:41
  Speaker 1: And I figured it was, it was perfect. I was
• 11:44
  Speaker 1: reading through it. And like, I'm personally like, I'm, pretty
• 11:49
  Speaker 1: familiar with a lot of, like, the mythologies surrounding, like,
• 11:52
  Speaker 1: you know, the Aztecs, and while I was reading it,
• 11:56
  Speaker 1: I was seeing these certain elements of, like, the supernatural elements,
• 12:01
  Speaker 1: like the spirits and the entity that they have to
• 12:06
  Speaker 1: fight in this novel, that they have to deal with
• 12:07
  Speaker 1: in this novel. It was reminding me of something from
• 12:10
  Speaker 1: Aztec mythology, and I was like, this sounds like a particular...
• 12:17
  Speaker 1: cryptid like not cryptid but like a particular demon from
• 12:20
  Speaker 1: Aztec mythology I wonder like this is it's giving it's giving.
• 12:26
  Speaker 5: And guess what it gave oh it gave oh it
• 12:29
  Speaker 5: gave work it was giving it was living and it gave.
• 12:38
  Speaker 1: Queen so so just to so basically so basically the story, uh,
• 12:46
  Speaker 1: Pinazza is a story about, um, you know, it isn't,
• 12:50
  Speaker 1: it is a Mexican, it's a Mexican American themes novel,
• 12:54
  Speaker 1: but it's not just like a story surrounding a Mexican
• 12:56
  Speaker 1: American character. It's also a story about colonial, uh, colonial trauma,
• 13:02
  Speaker 1: colonial takeover, the con, the con, uh, the conquest, uh,
• 13:08
  Speaker 1: like cultural erasure, erasure, uh, dealing with the, like, you know,
• 13:13
  Speaker 1: dealing with like the, the, the modern day elements of
• 13:17
  Speaker 1: colonialism and how even to this day, even in Mexico,
• 13:22
  Speaker 1: you know, not just in America, but even in Mexico, uh,
• 13:25
  Speaker 1: indigenous peoples are still facing that kind of cultural erasure.
• 13:30
  Speaker 1: All right. Even as the main character, like the main
• 13:33
  Speaker 1: character is, uh, is a woman named Carmen Sanchez and
• 13:37
  Speaker 1: Carmen is, she was born in Mexico. She was, she
• 13:41
  Speaker 1: immigrated to America as a little girl, even American. And, uh,
• 13:47
  Speaker 1: as she grew up, she was raised with that Mexican culture.
• 13:50
  Speaker 1: She still had a deep connection to her Mexican culture,
• 13:53
  Speaker 1: but as she got older, as she entered her professional
• 13:57
  Speaker 1: life as an architect, she found that she had to
• 14:00
  Speaker 1: basically censure herself. She couldn't really be her most authentic
• 14:06
  Speaker 1: self as a Mexican-American because that did not fit with
• 14:12
  Speaker 1: the overall culture, professional culture of of the American system.
• 14:18
  Speaker 1: So she found that she had to erase herself, really
• 14:23
  Speaker 1: censor herself, not really be who she is. She can't
• 14:28
  Speaker 1: be Carmen Sanchez, a Mexican-American who grew up in Mexico,
• 14:33
  Speaker 1: immigrated to America, became an American. She can't really show
• 14:38
  Speaker 1: that part of her in a professional life. She just
• 14:41
  Speaker 1: has to be Carmen Sanchez, professional architect. Yeah. And, uh,
• 14:47
  Speaker 1: the story not only involves her, but it also follows
• 14:50
  Speaker 1: her two daughters, uh, her daughter is L and her
• 14:53
  Speaker 1: daughter and her daughter Luna. Uh, like is, is L
• 14:56
  Speaker 1: is a typical teenager, moody, typical moody teenager. Luna is a,
• 15:01
  Speaker 1: is an 11 year old girl who is very inquisitive.
• 15:05
  Speaker 1: She's very, she's actually like more interested in her, uh,
• 15:09
  Speaker 1: in her Mexican heritage. And, you know, she's all, she's
• 15:12
  Speaker 1: like the opportunity she sees in this book, she's like
• 15:15
  Speaker 1: more open and receptive of them. So like, you know,
• 15:19
  Speaker 1: her daughters are like total opposites of each other. One
• 15:22
  Speaker 1: has no interest in her heritage whatsoever. The other one
• 15:25
  Speaker 1: like is all about it. Right. And it's really shows
• 15:31
  Speaker 1: like that it's very common here in America. Like if
• 15:34
  Speaker 1: you're like, if you're a Mexican American or any other ethnicity,
• 15:37
  Speaker 1: you know, and you're trying to raise your children, oftentimes
• 15:43
  Speaker 1: either the children will just not, like, not retain or
• 15:49
  Speaker 1: hold on to those, like, you know, those ethnic beliefs
• 15:52
  Speaker 1: or the parts of their culture of their ethnic heritage
• 15:56
  Speaker 1: and completely adopt the American culture because they try to, like,
• 16:00
  Speaker 1: hold on to that part of their culture. You know,
• 16:03
  Speaker 1: oftentimes they face things like bullying. They face things like prejudice.
• 16:08
  Speaker 1: over their ethnic heritage. So they often will just either
• 16:13
  Speaker 1: forget it or just let go of it, not keep
• 16:16
  Speaker 1: up with it, and nationalize themselves just to fit in.
• 16:21
  Speaker 1: Or in other cases, they'll hold on to their heritage
• 16:25
  Speaker 1: and embrace it. They'll hold on to it and embrace
• 16:30
  Speaker 1: it and not let American nationalism force them to erase
• 16:35
  Speaker 1: that part of their culture. that part of their heritage.
• 16:38
  Speaker 3: Keep going keep going i'm gonna step away for like
• 16:42
  Speaker 3: two seconds but keep on.
• 16:43
  Speaker 1: Going okay so even i face i face something similar
• 16:49
  Speaker 1: to that as well like i'm uh i am a
• 16:53
  Speaker 1: mexican american i uh you know i'm a half mexican
• 16:57
  Speaker 1: half i'm actually like half mexican half american my Uh,
• 17:01
  Speaker 1: my mother, uh, is where I get the Mexican heritage from.
• 17:04
  Speaker 1: And my father is, you know, American Caucasian. And even
• 17:08
  Speaker 1: I faced erasure, like cultural erasure before, uh, my mother
• 17:13
  Speaker 1: has faced it too. And unfortunately, like my mom, uh,
• 17:17
  Speaker 1: my mother, aside from like, my mom has not really
• 17:21
  Speaker 1: ever held on to like too much of our, of
• 17:25
  Speaker 1: our Mexican culture. Uh, cause she's like, she's third generation
• 17:29
  Speaker 1: Mexican American, uh, I think it was her grandparents that
• 17:32
  Speaker 1: immigrated from Mexico. And while her grandparents and her mother,
• 17:37
  Speaker 1: my grandmother, they were more in touch with their Mexican culture.
• 17:42
  Speaker 1: They weren't really hardcore into Mexican folklore, but they still
• 17:50
  Speaker 1: kept up with some traditions, mainly the Spanish Catholic, Roman
• 17:55
  Speaker 1: Catholic traditions. And also like the food. Food's a big
• 18:00
  Speaker 1: part of the culture. So that was like the main
• 18:02
  Speaker 1: thing that they kept up with. And aside from that,
• 18:06
  Speaker 1: my mother really only kept up with the food aspect
• 18:08
  Speaker 1: of the culture. So I did grow up eating things
• 18:11
  Speaker 1: like tortillas, chorizo con huevo. And there's a few other
• 18:16
  Speaker 1: dishes she would make, like a few other like Spanish
• 18:20
  Speaker 1: Tex-Mex dishes that she would make for us growing up.
• 18:22
  Speaker 1: But it wasn't really a lot. Like she definitely, my
• 18:26
  Speaker 1: mom definitely picked up other like more Americanized dishes. My
• 18:29
  Speaker 1: mom was definitely, my mom definitely like didn't really, she
• 18:32
  Speaker 1: didn't really hold on to like those, the, those Mexican traditions.
• 18:36
  Speaker 1: She didn't really keep up with them. And like when
• 18:40
  Speaker 1: it came to me and I began to learn more about,
• 18:44
  Speaker 1: you know, my Mexican heritage, like part of my heritage,
• 18:47
  Speaker 1: it's just like, I felt like I was missing out
• 18:49
  Speaker 1: a lot. I felt like, you know, part of me
• 18:52
  Speaker 1: didn't really belong to that, didn't really belong within the
• 18:56
  Speaker 1: Mexican-American culture because I was already, by this point, pretty
• 19:02
  Speaker 1: removed from it. But it's still part of my inheritance.
• 19:07
  Speaker 1: It's still part of my heritage. That's why I love
• 19:10
  Speaker 1: Dia de los Muertos. I love reading about Mexican culture,
• 19:15
  Speaker 1: Mexican folklore, and not just with the Aztec, but the Mayans,
• 19:18
  Speaker 1: the Olmec. I love learning about that. All right. And
• 19:22
  Speaker 1: other traditions like and that's also part of the reason
• 19:24
  Speaker 1: why I love Dia de los Marcos a lot, because
• 19:28
  Speaker 1: to me, it's such a it's such a beautiful it's
• 19:30
  Speaker 1: such a beautiful holiday. All right. It's so, you know,
• 19:34
  Speaker 1: just I love it. I love how it you know,
• 19:38
  Speaker 1: you're you're remembering your family, remembering the loved ones who
• 19:41
  Speaker 1: have passed. And and while I haven't had an opportunity
• 19:45
  Speaker 1: to actually set up and decorate and practice it, I
• 19:51
  Speaker 1: do want to eventually set up, like actually do something
• 19:54
  Speaker 1: for Dia de los Muertos, like set up an altura,
• 19:57
  Speaker 1: set up everything, like get pictures of my own past
• 20:01
  Speaker 1: loved ones. I know my partner, Alex, wants to do
• 20:04
  Speaker 1: something similar too, wants to be a part of that.
• 20:08
  Speaker 1: And yeah, So, like, I'm hoping either this year or
• 20:11
  Speaker 1: in the upcoming future to set up, like, a, you know,
• 20:15
  Speaker 1: set up something for Dia de los Muertos and actually
• 20:17
  Speaker 1: celebrate it for once. Because I love Halloween, but I
• 20:21
  Speaker 1: find Halloween is a lot harder for me to celebrate
• 20:23
  Speaker 1: now as an adult. Because, you know, I do like
• 20:25
  Speaker 1: dressing up in costumes, but, you know, as an adult,
• 20:28
  Speaker 1: it's kind of weird going trick-or-treating. So I want to,
• 20:31
  Speaker 1: I try to find other things to do, like either
• 20:33
  Speaker 1: just go to like, uh, you know, Halloween parties, go to, uh,
• 20:36
  Speaker 1: go to maybe like, I know Alex wants to go
• 20:38
  Speaker 1: to a bar crawl eventually. Cause there's like a, there's
• 20:40
  Speaker 1: like a special like Halloween bar crawl. So we're probably
• 20:43
  Speaker 1: going to end up doing that, but yeah, it's hard. So,
• 20:47
  Speaker 1: but yeah, I love, I love the, you know, I
• 20:50
  Speaker 1: love learning about that part of my culture, but at
• 20:52
  Speaker 1: the same time, I've also felt, I've also faced that
• 20:55
  Speaker 1: kind of ethnic erasure nationalism because even, even now, even
• 21:02
  Speaker 1: now as like, because I am, I'm, I'm half Hispanic
• 21:07
  Speaker 1: and the other half is Caucasian. I've often faced like
• 21:10
  Speaker 1: comments where like, well, you're white. So you can't really
• 21:13
  Speaker 1: be a part of that. Well, not just white.
• 21:15
  Speaker 2: All right.
• 21:17
  Speaker 1: I am Hispanic. Okay. Some people just say, you're not,
• 21:20
  Speaker 1: you're not Hispanic though. You're, you're just really tan. You're white,
• 21:23
  Speaker 1: but you're really tan. Like someone actually tried to tell
• 21:24
  Speaker 1: me that, like, you're just a white guy who's very tan.
• 21:27
  Speaker 1: I'm like, the tan is not like, My darker skin
• 21:31
  Speaker 1: is not just because of a tan. A tan does
• 21:33
  Speaker 1: make me darker, but even when I don't have a
• 21:35
  Speaker 1: major tan, my skin color is still darker. I still
• 21:40
  Speaker 1: have a naturally darker skin tone, and that comes from
• 21:45
  Speaker 1: my Mexican side. Yeah. Devin, I've faced that kind of
• 21:51
  Speaker 1: ethnic erasure before where people try to tell me, like, no,
• 21:53
  Speaker 1: you're not Hispanic. Like, yes, I am. Or you're not Latino. Yes,
• 21:58
  Speaker 1: I am.
• 22:00
  Speaker 3: I don't see where people think you look like a
• 22:02
  Speaker 3: white guy because your brother looks like a white man.
• 22:05
  Speaker 3: As far as face, you don't look like a white
• 22:08
  Speaker 3: man as far as your face goes.
• 22:11
  Speaker 1: It really depends on the person I speak to because
• 22:16
  Speaker 1: I've had people look at me and be surprised when
• 22:19
  Speaker 1: I mention like, yeah, I'm actually mixed race. I'm half
• 22:22
  Speaker 1: I'm half Latino, half Caucasian. And they're like, really? You're
• 22:25
  Speaker 1: half white? Like, yeah, that's where I get my family
• 22:28
  Speaker 1: name from, because from the white side of things, because
• 22:30
  Speaker 1: my dad was white. And they're like, really? You don't
• 22:33
  Speaker 1: look white at all. I'm like, oh, OK, thanks. And
• 22:35
  Speaker 1: then other times, like I meet like other people and
• 22:38
  Speaker 1: they're like, you're not Hispanic. You're not Latino. I'm like, yes,
• 22:42
  Speaker 1: I am. Yes, sir, I am. Like, no, you're, you're just, no,
• 22:49
  Speaker 1: you're white. Like you're, it's very obvious you're white. Like
• 22:51
  Speaker 1: one time I was mentioning, like, I mentioned how like, yeah, like,
• 22:54
  Speaker 1: you know, you know, being like being Latino, I mentioned
• 22:57
  Speaker 1: how being Latino, like, you know, it was very, you know,
• 23:01
  Speaker 1: enjoy being part, like part of the Latino community. And
• 23:04
  Speaker 1: one person looked at me and was like, oh, so
• 23:06
  Speaker 1: you consider yourself Latino? You consider yourself Latino? And the
• 23:11
  Speaker 1: way they said that to me, it was just like,
• 23:14
  Speaker 1: I feel like there's like some, there's like some, like
• 23:18
  Speaker 1: subtext or like, there's some kind of like underlying, like,
• 23:21
  Speaker 1: like alternate meaning, like, like, Oh, like, yeah. Like, Oh,
• 23:27
  Speaker 1: you're claiming to be Latino. Like, so that's how you
• 23:30
  Speaker 1: identify yourself. Almost like they didn't think I was serious. Like,
• 23:35
  Speaker 1: what do you mean?
• 23:36
  Speaker 3: I'm not claiming you are.
• 23:40
  Speaker 1: I'm not claiming to be Latino. I am Latino.
• 23:42
  Speaker 3: Okay.
• 23:44
  Speaker 1: Like, it's not just for the fact that I was
• 23:46
  Speaker 1: born in San Antonio. All right. Because San Antonio, Texas
• 23:49
  Speaker 1: is like the is like very ethnically Spanish here, like Hispanic.
• 23:54
  Speaker 5: Oh, yeah.
• 23:55
  Speaker 1: There's a huge Latino community here. All right. And then also.
• 24:00
  Speaker 1: Like my heritage, but there is like a strong Spanish
• 24:03
  Speaker 1: heritage on that side, too, because my my maternal grandfather
• 24:07
  Speaker 1: is straight up Spanish. Like full Spanish. I mean, even though.
• 24:13
  Speaker 3: I mean, no, I mean, even though Spaniards are. technically white,
• 24:18
  Speaker 3: it doesn't make you any less Hispanic.
• 24:23
  Speaker 1: Right.
• 24:23
  Speaker 3: It's that native, it's that native part in there. Yeah.
• 24:28
  Speaker 1: The native part definitely comes from my maternal grandmother's side
• 24:31
  Speaker 1: because I've heard rumors that her side, cause like my
• 24:35
  Speaker 1: grandmother's maiden name is Dominguez. And then my, and my
• 24:39
  Speaker 1: grandfather's family name is Delgado. So, but the Dominguez side
• 24:43
  Speaker 1: of things, like, There is definitely, there was definitely like,
• 24:48
  Speaker 1: like very strong native heritage, like very strong, like Mexican,
• 24:55
  Speaker 1: not just like Mexican, where it's just a blend of the,
• 24:58
  Speaker 1: of like Spanish and native culture, but it was also,
• 25:01
  Speaker 1: there was some kind of like strong Nahuatl influence. I
• 25:05
  Speaker 1: don't know exactly like what cultural, like Nahuatl culture it was,
• 25:10
  Speaker 1: but we strongly, we strongly believe that it was, it
• 25:14
  Speaker 1: goes back to the Aztec culture. to the Mashika culture. So,
• 25:21
  Speaker 1: you know, if you ask James about it, like his
• 25:23
  Speaker 1: family definitely has those really strong Nawa influences. All right.
• 25:29
  Speaker 1: Cause his, cause his, his grant, his paternal grandmother was,
• 25:33
  Speaker 1: was a witch was like a, was a witch. I mean, he,
• 25:39
  Speaker 1: he probably wouldn't call her that, but she's, she was
• 25:41
  Speaker 1: a witch. She was a novel witch. He told me
• 25:44
  Speaker 1: some of the things, like, some of the things, like,
• 25:46
  Speaker 1: traditions that she would practice in front of, like, she
• 25:48
  Speaker 1: would practice with him. Even, like, she even did, like,
• 25:51
  Speaker 1: some kind of, like, blessing, like, on him that was
• 25:54
  Speaker 1: definitely not Catholic or any form of, like, relation to, like,
• 25:58
  Speaker 1: the church, right? So this was definitely, like, some kind
• 26:01
  Speaker 1: of indigenous blessing. And he was like, yeah, there was
• 26:05
  Speaker 1: definitely some witchcraft. There's definitely some brouhaha going on. There's
• 26:12
  Speaker 1: definitely some. So, yes.
• 26:14
  Speaker 3: So, yeah.
• 26:15
  Speaker 1: But going back to the main point is that, you know,
• 26:19
  Speaker 1: ethnic erasure is very common, especially in the U.S., because
• 26:24
  Speaker 1: a lot of people, a lot of us, like, you know,
• 26:27
  Speaker 1: some of us try to carry and maintain a connection
• 26:30
  Speaker 1: to our ethnic heritage. But because of American nationalism, a
• 26:36
  Speaker 1: lot of us end up either suppressing it, hiding it,
• 26:40
  Speaker 1: or just forgetting it altogether. to be more like everyone
• 26:44
  Speaker 1: else here, because unfortunately a lot of Americans, like a lot,
• 26:49
  Speaker 1: like they're, especially in like corporate America, professional America, they
• 26:53
  Speaker 1: tend to be very like, like they, they tend to
• 26:57
  Speaker 1: not be very accepting of that girl.
• 27:00
  Speaker 3: Just say white people, white people, the whitest of white people, white.
• 27:04
  Speaker 1: White people, the white, white people are racist. They don't,
• 27:09
  Speaker 1: they don't like, they don't like, When you come in
• 27:13
  Speaker 1: with cultural differences.
• 27:15
  Speaker 3: How dare you?
• 27:16
  Speaker 1: How dare you come here with your beautiful ethnic culture
• 27:21
  Speaker 1: celebrating your weird alien traditions? How dare you bring that
• 27:27
  Speaker 1: to our table?
• 27:29
  Speaker 3: It comes down to the whole whiteness of it all.
• 27:33
  Speaker 1: Oh, I'm not this.
• 27:35
  Speaker 3: I'm white.
• 27:35
  Speaker 1: Okay?
• 27:36
  Speaker 3: But I don't really like that either. I mean, I'm
• 27:39
  Speaker 3: a white man. But saying I'm white is like saying
• 27:42
  Speaker 3: I'm a piece of wonder bread. Yeah. There's more ingredients
• 27:47
  Speaker 3: than that. I don't like the fact that people are like, cool.
• 27:51
  Speaker 2: Yeah.
• 27:52
  Speaker 3: You're Caucasian. But like, where do your, where, where in
• 27:54
  Speaker 3: Europe is your family come from? Like people forget that
• 27:58
  Speaker 3: they're like, Oh, German, French, Irish, Scottish. It's just like,
• 28:04
  Speaker 3: white is so boring. Like I'm just.
• 28:08
  Speaker 1: I'm white.
• 28:09
  Speaker 3: Okay.
• 28:11
  Speaker 1: Well see like my white heritage is boring because my
• 28:14
  Speaker 1: white heritage is straight up American colonial.
• 28:16
  Speaker 3: Oh yeah.
• 28:17
  Speaker 1: Going back to the great Britain. So there's nothing. So like,
• 28:20
  Speaker 1: there's really nothing special about it. Cause you know, my
• 28:22
  Speaker 1: family name is Spooner and I traced my name back
• 28:27
  Speaker 1: to England.
• 28:28
  Speaker 2: Yeah.
• 28:28
  Speaker 3: It still goes back to England. I mean, I mean,
• 28:31
  Speaker 3: it goes back to England, England.
• 28:33
  Speaker 1: And the, I mean, the only thing like, like, I mean,
• 28:38
  Speaker 1: you can say like the interest, the only interesting thing
• 28:41
  Speaker 1: you can say about like my white family is yeah, sure. Like,
• 28:44
  Speaker 1: like I'm technically descended from one of the first, uh,
• 28:48
  Speaker 1: two spooners to come to America. Um, cause the first
• 28:52
  Speaker 1: two spooners to come to America was from a pair
• 28:55
  Speaker 1: of boys named Thomas and William Spooner. And I'm pretty
• 28:58
  Speaker 1: sure I'm descended from William Spooner. Cause I actually keep
• 29:01
  Speaker 1: reminding myself, okay, William Spooner. Cause my grandfather's name is William.
• 29:05
  Speaker 1: and my ancestor is William. So William going down, going
• 29:09
  Speaker 1: down the line, like he was one of the first
• 29:11
  Speaker 1: two spooners to immigrate to America. And, uh, and there's
• 29:15
  Speaker 1: other branches that eventually came over. Um, and one of those, yeah,
• 29:20
  Speaker 1: but one of those branches, like other than that, like, yeah, cool. They,
• 29:23
  Speaker 1: like they founded, uh, like several colonies and like, Like
• 29:29
  Speaker 1: they founded several settlements in like Wisconsin. Like there's an
• 29:32
  Speaker 1: Amish community. There's even a lake named after uh my
• 29:36
  Speaker 1: family uh and other than that it's so it's so
• 29:41
  Speaker 1: basic like yeah sure they did participate in the revolutionary
• 29:45
  Speaker 1: war but unfortunately my family was on the red coat
• 29:49
  Speaker 1: side not on the blue coat side so they fought
• 29:52
  Speaker 1: for the british which is a huge like blip from
• 29:56
  Speaker 1: uh from how they are today because like my dad
• 29:58
  Speaker 1: is like a total like is a total right-wing kind
• 30:04
  Speaker 1: of guy. He practically is MAGA. He's never sported a
• 30:12
  Speaker 1: MAGA hat in front of me before, but he definitely
• 30:14
  Speaker 1: supports Trump. We can't be friends anymore, Dad. I don't
• 30:20
  Speaker 1: have a dad anymore. My mom said I can't be
• 30:23
  Speaker 1: friends with you anymore, Dad.
• 30:25
  Speaker 3: Girl, I don't... But that's just what it comes down
• 30:30
  Speaker 3: to is the white people that are just like, oh,
• 30:33
  Speaker 3: we're white. White is right. Everything else is weird. Are
• 30:38
  Speaker 3: you one of those people?
• 30:41
  Speaker 1: Bitch.
• 30:43
  Speaker 3: Calling yourself just white. It's no different than you ignoring
• 30:47
  Speaker 3: someone else's someone else's heritage. You're ignoring your own, too, bitch.
• 30:52
  Speaker 3: You're not just white.
• 30:55
  Speaker 1: And then there's those white guys that try to make
• 30:57
  Speaker 1: it sound like, Oh no, I'm just like one of you.
• 30:59
  Speaker 1: I'm one 16th native American. Sweetie.
• 31:03
  Speaker 3: Sweetie.
• 31:04
  Speaker 1: Sure.
• 31:05
  Speaker 3: You have native blood and you, it's very little. There's
• 31:08
  Speaker 3: very little sweetie. No, that doesn't count.
• 31:11
  Speaker 1: You may have, it doesn't really count because you may
• 31:13
  Speaker 1: have it, but you don't actually like, you were never
• 31:16
  Speaker 1: really a part of it. You're so far removed from it. Like,
• 31:19
  Speaker 1: how can you say that? And like, like you, do
• 31:22
  Speaker 1: you don't really have any claim over it?
• 31:24
  Speaker 3: Yeah. All right. There's Native American in my family. One
• 31:28
  Speaker 3: of my great-grandmothers is supposedly Native, but she hid it.
• 31:33
  Speaker 3: But again, that's not enough to be like, oh, my God,
• 31:36
  Speaker 3: I'm Native.
• 31:36
  Speaker 1: Oh, my God.
• 31:37
  Speaker 3: It's just one relative. Just one. one relative who, who
• 31:42
  Speaker 3: claimed to be white when she wasn't. And there's actually,
• 31:45
  Speaker 3: we found no proof of that. She, whatever she did,
• 31:48
  Speaker 3: she hid that shit very well. Cause people, cause guess what?
• 31:51
  Speaker 3: Natives posed as black Dutch, quote unquote. That's what the
• 31:57
  Speaker 3: term I was told. Native women or men would marry
• 32:03
  Speaker 3: white people or the white Americans, and then they would
• 32:08
  Speaker 3: pose as something else that's not Native because they would
• 32:12
  Speaker 3: erase every last bit of evidence of it. Or they
• 32:19
  Speaker 3: would get put on the Trail of Tears. A little
• 32:22
  Speaker 3: history lesson for y'all. But yeah, I have one relative
• 32:25
  Speaker 3: that's most likely Native, but you don't see me going
• 32:27
  Speaker 3: around going, oh my God, I'm Native. I'm like, I'm Cherokee.
• 32:33
  Speaker 1: Sure.
• 32:33
  Speaker 3: One relative. It's not enough to really do anything. More Irish.
• 32:39
  Speaker 1: It's not enough for Devin to be able to go
• 32:41
  Speaker 1: and say he has a claim that he has a
• 32:43
  Speaker 1: claim to the Native American culture, to the indigenous culture. Exactly.
• 32:47
  Speaker 1: I can't exactly say I have a claim to the
• 32:49
  Speaker 1: Nawa culture. The Nawa being the, uh, the Mashika people,
• 32:53
  Speaker 1: the people from the indigenous people of Mexico. Um, I
• 32:57
  Speaker 1: can't really say I have much of a claim to
• 32:59
  Speaker 1: that part of the culture because I don't really know where,
• 33:01
  Speaker 1: like where exactly that part of my, uh, of my
• 33:05
  Speaker 1: ancestry comes from. Cause I don't know.
• 33:07
  Speaker 3: But I would say you have a closer, you have
• 33:09
  Speaker 3: a closer, you're closer to saying you can, you could
• 33:12
  Speaker 3: say that than I would. Cause I mean, you have
• 33:15
  Speaker 3: a much.
• 33:16
  Speaker 1: I still have, I do have a connection to my
• 33:20
  Speaker 1: Hispanic heritage. Yeah, so, okay, so Piñata begins with, begins
• 33:27
  Speaker 1: not in the present time, but back during the Spanish conquest.
• 33:32
  Speaker 1: So the Spanish pretty much taking full control over the
• 33:36
  Speaker 1: lands of the Mexica, so not just the Aztec lands,
• 33:39
  Speaker 1: but also like the other lands for like the Olmecs,
• 33:42
  Speaker 1: the Maya, and all the indigenous tribes in between. And
• 33:46
  Speaker 1: unlike the North American, like their North American counterparts who
• 33:50
  Speaker 1: push the indigenous people out of their lands, the Spanish
• 33:54
  Speaker 1: took over all of the people. They didn't push them out.
• 33:57
  Speaker 1: They took them over. All right. They just, they didn't
• 33:59
  Speaker 1: take over, just take over the lands, but they also
• 34:01
  Speaker 1: took over the people and they forced these people to
• 34:04
  Speaker 1: assimilate into their, into the culture. So they forced them
• 34:08
  Speaker 1: to learn the Spanish traditions, the Catholic traditions, everything, the language, everything.
• 34:13
  Speaker 1: And part of that, and this is like, how the
• 34:15
  Speaker 1: story starts is the Spanish would separate children from their,
• 34:20
  Speaker 1: the indigenous children from their families and raise them separately
• 34:24
  Speaker 1: in abbeys and like Catholic abbeys. So like the abbots
• 34:29
  Speaker 1: and the priests would raise the children, like force the
• 34:32
  Speaker 1: children to learn about the Catholic culture and tradition, traditions,
• 34:37
  Speaker 1: force them to renounce their heathen gods and, and, and like,
• 34:42
  Speaker 1: In this particular prologue, the priests were forcing the children
• 34:48
  Speaker 1: to destroy relics and offerings for their gods. And at
• 34:56
  Speaker 1: one point, the children try resisting because they're like, no,
• 35:01
  Speaker 1: these are for our gods. These are offerings for the gods.
• 35:03
  Speaker 1: We're not supposed to touch them. But the abbots force
• 35:06
  Speaker 1: them to do it anyway, and the children end up
• 35:09
  Speaker 1: destroying a lot of the offerings. One little girl manages
• 35:12
  Speaker 1: to grab one of the offerings and runs away from
• 35:15
  Speaker 1: the abbey and buries it. And this little girl, it's
• 35:19
  Speaker 1: not really like she's not– if she is, but later
• 35:25
  Speaker 1: on in the story, this little girl actually does become,
• 35:28
  Speaker 1: this little girl is, I'm pretty sure, part of what's
• 35:31
  Speaker 1: going to happen in the future. And the thing is,
• 35:36
  Speaker 1: at the end of the prologue, after this particular abbot
• 35:41
  Speaker 1: forced the kids to destroy these idols, he goes into
• 35:48
  Speaker 1: his quarters and he encounters a demonic entity that kills him. So, oh, oh,
• 35:55
  Speaker 1: we're dealing with some kind of, like, at first I
• 35:57
  Speaker 1: thought it was maybe, like, okay, did he piss off, like, maybe, like,
• 36:01
  Speaker 1: Mictlan or something? Because, like, the way that the entity
• 36:04
  Speaker 1: looked like, it was, like, this skeletal, grotesque entity. It
• 36:09
  Speaker 1: was this fierce, skeletal-looking entity, and it kills the abbot.
• 36:14
  Speaker 1: I was like, huh, I wonder what kind, I wonder
• 36:16
  Speaker 1: what entity it was. Like, was it, like, the actual
• 36:19
  Speaker 1: war god? beat shilopachli or was it some other minor
• 36:23
  Speaker 1: god or was it the god of the dead you
• 36:28
  Speaker 1: know who i who knows like i'm like okay so
• 36:31
  Speaker 1: we're actually dealing with some kind of aztec entity yeah
• 36:35
  Speaker 1: like some sort of entity from aztec uh from the
• 36:38
  Speaker 1: aztec mints like okay i'm here for this And then
• 36:44
  Speaker 1: it switches back to the modern day, and the story
• 36:47
  Speaker 1: now follows a woman named Carmen Sanchez and her two daughters,
• 36:51
  Speaker 1: Izel and Luna. So Carmen is a Mexican-American architect who
• 36:58
  Speaker 1: has been feeling like she has become separated from her culture.
• 37:03
  Speaker 1: She's lost touch with her Mexican culture. She was born
• 37:06
  Speaker 1: in Mexico. She was raised in America. And while her
• 37:09
  Speaker 1: mother was... uh, also from Mexico and, uh, you know,
• 37:16
  Speaker 1: braced her and helped her make sure that she has
• 37:19
  Speaker 1: strong connection to her, her cultural heritage as Carmen had
• 37:24
  Speaker 1: entered the, uh, entered her professional life as an architect.
• 37:29
  Speaker 1: She felt like she had to really give up and
• 37:32
  Speaker 1: hide much of her Mexican, uh, her Mexican heritage because
• 37:36
  Speaker 1: due to that, uh, due to like the nationalistic, uh,
• 37:39
  Speaker 1: nationalistic culture, uh, of like, you know, the American workforce.
• 37:43
  Speaker 1: All right. So she felt like she had to really
• 37:45
  Speaker 1: like separate herself from her Mexican culture to appeal to the,
• 37:49
  Speaker 1: to the American, more American nationalists, like architect men that she's,
• 37:53
  Speaker 1: that she works for. But the story, so the story
• 37:57
  Speaker 1: goes is like, she gets her, so she's given an
• 37:59
  Speaker 1: assignment to head the, to direct the renovations of an
• 38:05
  Speaker 1: old spanish abbey in mexico so the abbey was being
• 38:10
  Speaker 1: was being decommissioned by the catholic church and they had
• 38:14
  Speaker 1: sold it to the to a private firm so the
• 38:16
  Speaker 1: abbey can be converted into a luxury.
• 38:18
  Speaker 6: Hotel um so like there's still like some things that
• 38:21
  Speaker 6: they have to preserve because it's it is a historical
• 38:23
  Speaker 6: heritage site but it they're allowing it to be converted
• 38:27
  Speaker 6: into a luxury hotel um.
• 38:29
  Speaker 1: Carmen is given, uh, is put in charge of the renovations.
• 38:33
  Speaker 1: So she goes to Mexico and she decides to bring
• 38:35
  Speaker 1: her two daughters with her. Um, so not, not only
• 38:38
  Speaker 1: as a way for her to, uh, reconnect to her culture,
• 38:41
  Speaker 1: but also so her daughters can learn more about their
• 38:44
  Speaker 1: culture as well. But each of her daughters have like
• 38:47
  Speaker 1: different reactions to this. Like her oldest daughter, Ezell is
• 38:51
  Speaker 1: your typical, is your typical moody teenager. Uh, doesn't really
• 38:55
  Speaker 1: want anything to do with her Mexican heritage. Like she's like,
• 38:58
  Speaker 1: She's so thoroughly... You could say she's so thoroughly indoctrinated
• 39:03
  Speaker 1: by American culture that she doesn't really want anything to
• 39:06
  Speaker 1: do with Mexican culture because it's mainly due to prejudice
• 39:11
  Speaker 1: because she feels like she wouldn't be able to fit
• 39:15
  Speaker 1: in if she holds onto such a a strong connection
• 39:19
  Speaker 1: to her Mexican culture. Isel is more interested in things
• 39:25
  Speaker 1: like theater, and she was upset that she has to
• 39:27
  Speaker 1: spend her summer in Mexico with her mom instead of
• 39:30
  Speaker 1: spending it with her friends at some theater camp. And
• 39:33
  Speaker 1: she was also afraid that she might lose touch with
• 39:36
  Speaker 1: her friends while she's in Mexico because they didn't go
• 39:40
  Speaker 1: to the same camp together for theater. And then there's
• 39:45
  Speaker 1: her youngest daughter, Luna. Luna is quite the opposite. She's
• 39:49
  Speaker 1: very inquisitive. She's fascinated by Mexican culture. She loves exploring
• 39:56
  Speaker 1: the local markets, talking to different people, practicing her Spanish,
• 40:00
  Speaker 1: learning the different Mexican cuisines and ingredients. At one point,
• 40:06
  Speaker 1: they're talking about this type of Mexican ingredient, which is
• 40:13
  Speaker 1: basically a fungus that grows off of Like, it's an
• 40:18
  Speaker 1: edible fungus. But when they were talking about it, I
• 40:21
  Speaker 1: was like, it's... I know, like, corn is called elote,
• 40:24
  Speaker 1: but there's, like, a different... There's a different thing. It's, like,
• 40:27
  Speaker 1: a little something. I forgot the name of it. But
• 40:30
  Speaker 1: when they described it and I looked it up, I
• 40:32
  Speaker 1: was like, oh, miss me with that shit. Because it's corn...
• 40:36
  Speaker 1: It's a corn fungus. It's a fungus that grows on corns.
• 40:39
  Speaker 1: And it's perfectly edible. Right? But I'm just like, oh,
• 40:44
  Speaker 1: miss me with that.
• 40:45
  Speaker 2: Yeah.
• 40:47
  Speaker 1: Because personally, I don't like corn. And I definitely don't
• 40:51
  Speaker 1: want to eat a fungus that grows off of corn.
• 40:53
  Speaker 1: But anyway, she's fascinated with all. She loves it. She
• 40:56
  Speaker 1: loves it. And Carmen tries to reintroduce both her daughters
• 41:04
  Speaker 1: to the Mexican culture. But she's also dealing with her
• 41:08
  Speaker 1: own struggles. One, she's dealing with fears, like the wants
• 41:13
  Speaker 1: and violence that has been going on throughout Mexico, mainly...
• 41:17
  Speaker 1: surrounding young women like everywhere they they go like whenever
• 41:20
  Speaker 1: they're in public or at these markets they see all
• 41:23
  Speaker 1: these flyers of missing of like like missing people mainly
• 41:26
  Speaker 1: missing young women and also they see they are always
• 41:30
  Speaker 1: seeing on the local news about like violence against women
• 41:34
  Speaker 1: you know like another woman was kidnapped or one woman
• 41:37
  Speaker 1: was or one woman was brutally murdered and there's also
• 41:40
  Speaker 1: like all this like struggle with like local militias and
• 41:44
  Speaker 1: things like that like popping up throughout Mexico and how
• 41:48
  Speaker 1: they're especially violent against, against young women. So Carmen has,
• 41:56
  Speaker 1: so Carmen doesn't want to let her daughters out of
• 41:57
  Speaker 1: her sight. And whenever she's not at home, she forces
• 42:00
  Speaker 1: her two daughters to stay home at their, to stay
• 42:03
  Speaker 1: within their Airbnb, not to leave unsupervised. And she just
• 42:07
  Speaker 1: makes sure to keep a close eye on both of them.
• 42:09
  Speaker 1: And she, But then aside from that, she's also dealing
• 42:16
  Speaker 1: with misogynism in her own way. Because even though she
• 42:20
  Speaker 1: was put in charge of the renovations of the Abbey,
• 42:23
  Speaker 1: the local foreman and his crew don't really respect her.
• 42:27
  Speaker 1: And the foreman especially is constantly being very argumentative with her.
• 42:32
  Speaker 1: He's constantly undermining her. Every decision she makes about the renovation...
• 42:39
  Speaker 1: is met with pushback from this guy. At one point, though,
• 42:43
  Speaker 1: it does come to your head because she had ordered
• 42:47
  Speaker 1: a special type of material, like some tiles for the renovation.
• 42:51
  Speaker 1: But when she gets the tiles, she realizes, one, these
• 42:53
  Speaker 1: are not the tiles that she ordered because she ordered
• 42:55
  Speaker 1: a special type of custom-made tile of a higher quality material.
• 42:59
  Speaker 1: And the tile that she ended up getting was cheaper
• 43:02
  Speaker 1: quality and not matching the overall theme of what the
• 43:04
  Speaker 1: renovations required. And when she confronted the foreman about this,
• 43:08
  Speaker 1: he admitted that he had ordered a cheaper version of
• 43:11
  Speaker 1: the tile because this would work better. It would make
• 43:15
  Speaker 1: things go a lot faster. He made up all these
• 43:17
  Speaker 1: excuses on why this would be better. And when she
• 43:20
  Speaker 1: confronted him on this, he kept making excuses like, oh, well,
• 43:25
  Speaker 1: don't worry about it. This is just how we do
• 43:26
  Speaker 1: things around here. But again, she calls him out like,
• 43:29
  Speaker 1: this is not how we do things, right? we're trying
• 43:33
  Speaker 1: to build a luxury hotel. We're trying to make this
• 43:36
  Speaker 1: into something that would appeal to to different clientele and
• 43:43
  Speaker 1: if we're using these cheap materials there then it's going
• 43:46
  Speaker 1: to be very obvious it's going to be very obvious
• 43:48
  Speaker 1: you know like she tells basically like she doesn't like
• 43:50
  Speaker 1: really like call them out on like you know why
• 43:52
  Speaker 1: the why like you know we need this for like
• 43:54
  Speaker 1: you know the american clientele but rather calls them out
• 43:57
  Speaker 1: for undermining her and also calls them out for basically
• 44:01
  Speaker 1: pocketing the money that the firm give had given this
• 44:04
  Speaker 1: guy for for ordering the tiles because what he did
• 44:08
  Speaker 1: was he ordered a cheaper tile and pocketed the rest
• 44:11
  Speaker 1: of the money but he tried to brush it off
• 44:13
  Speaker 1: like that's what we all do here like this is
• 44:15
  Speaker 1: normal and she's like that's not normal that's illegal um
• 44:19
  Speaker 1: so she basically has to put her foot down and
• 44:22
  Speaker 1: she puts them and she like and she she puts
• 44:25
  Speaker 1: her foot down and she uh establishes like you know
• 44:32
  Speaker 1: She has to pull the I'm the boss card and
• 44:35
  Speaker 1: forces him to send the tile back to order the
• 44:37
  Speaker 1: right tile using the money that was part of the budget. Right.
• 44:42
  Speaker 1: So this pisses the foreman off. And he does something
• 44:45
  Speaker 1: that does event that does actually cost Carmen her job.
• 44:49
  Speaker 1: But her job as the as the director of the
• 44:52
  Speaker 1: renovation is not her like actual job on the farm,
• 44:54
  Speaker 1: but just she loses her position as the as director
• 44:58
  Speaker 1: and But if anything, this is going to come back
• 45:00
  Speaker 1: to bite the dude in the ass later, but we'll
• 45:02
  Speaker 1: get to that in just a minute. Going back to
• 45:07
  Speaker 1: the girls, the girls and Carmen begin to notice strange
• 45:10
  Speaker 1: occurrences happening around them. Aside from the wants and violence
• 45:15
  Speaker 1: that they see on the news, they start noticing strange occurrences.
• 45:20
  Speaker 1: At one point, Carmen is invited to a cookout to
• 45:23
  Speaker 1: the foreman's house. This is before the confrontation. And while
• 45:27
  Speaker 1: they're at the cookout, her daughter, Luna, sees an old woman, like,
• 45:31
  Speaker 1: calling to her. Like, she notices there's, like, an old
• 45:33
  Speaker 1: woman that keeps waving at her over. So when Carmen, like,
• 45:36
  Speaker 1: follows the old woman, so when Luna follows the old woman,
• 45:39
  Speaker 1: she ends up in an old shed. And when she
• 45:41
  Speaker 1: sees the old woman again, the old woman is clearly, like, she's, like,
• 45:45
  Speaker 1: this old, like, decrepit woman. She's wearing, like, these weird, strange, like, black, like,
• 45:50
  Speaker 1: she's wearing a black head covering and, like, old traditional looking, like, dress, right?
• 45:57
  Speaker 1: like now addressed and uh the old woman begins to
• 46:01
  Speaker 1: chance and uh in like uh not a little and
• 46:05
  Speaker 1: basically it's implied that she casts some kind of spell
• 46:08
  Speaker 1: over luna but later when luna but luna manages to
• 46:13
  Speaker 1: get away from the old lady and but then when
• 46:15
  Speaker 1: she like leaves and she looks back at the shed
• 46:17
  Speaker 1: where she got lured into she can't remember exactly what
• 46:19
  Speaker 1: happens And, but then later on Luna keeps seeing the
• 46:24
  Speaker 1: exact same old woman and even is Ellen Carmen see
• 46:27
  Speaker 1: her a few times. And every time they see her,
• 46:29
  Speaker 1: they notice that she's like, she's always looking in their
• 46:32
  Speaker 1: direction and she keeps like, looks like she's chanting something.
• 46:36
  Speaker 1: Like they can't understand what she's saying, but it's starting
• 46:38
  Speaker 1: to freak her out. But every time Carmen, the few
• 46:41
  Speaker 1: times Carmen tries to confront the woman, she disappears.
• 46:46
  Speaker 3: That's suspicious. That's weird.
• 46:50
  Speaker 1: Yeah. At one point, when Carmen comes home, she notices
• 46:53
  Speaker 1: that the front door was wide open and the door
• 46:56
  Speaker 1: like unlocked and wide open. And when she goes inside
• 46:58
  Speaker 1: and calls her daughters, her daughters are there, but they're like,
• 47:02
  Speaker 1: we didn't leave the front door open. And as Carmen
• 47:05
  Speaker 1: investigates it, she investigates more. She notices on her kitchen
• 47:08
  Speaker 1: counter is a like a weird jaded, like a weird
• 47:13
  Speaker 1: jade bracelet. Like someone left this strange jade bracelet in
• 47:17
  Speaker 1: her house. Doesn't know what it is, doesn't know what
• 47:19
  Speaker 1: it means, but she still thinks that's really suspicious. Now,
• 47:24
  Speaker 1: in this part of the story, we are introduced to
• 47:27
  Speaker 1: another character named Yoltsi. Now, Yoltsi is one of the Nalwa.
• 47:35
  Speaker 1: She herself is more directly descended from the indigenous peoples,
• 47:39
  Speaker 1: and she has a much stronger connection to her culture.
• 47:42
  Speaker 1: And what makes her unique is that she is a seer.
• 47:45
  Speaker 1: She's a bit of like a seer. She can... She's
• 47:47
  Speaker 1: always been able to see things that other people can see.
• 47:52
  Speaker 1: She can see strange entities. She can even see into
• 47:56
  Speaker 1: people's spirits. To her, every living person has this aura
• 48:02
  Speaker 1: about them, and she's always associated with their soul, their spirit.
• 48:07
  Speaker 1: And whenever she sees it, she can always tell what
• 48:10
  Speaker 1: kind of person they are, what kind of emotions they
• 48:13
  Speaker 1: may be dealing with, or what their intentions may be.
• 48:17
  Speaker 1: And aside from that, she's always also been able to
• 48:19
  Speaker 1: see the spirits of the dead. And whenever she realized
• 48:25
  Speaker 1: that these entities she's seeing are dead spirits, she realized
• 48:30
  Speaker 1: that they're dead because they don't have that aura, that
• 48:33
  Speaker 1: glow about them. And also no one else can see them.
• 48:38
  Speaker 1: So Yoltsy, she was minding, she, the reason why she, like,
• 48:41
  Speaker 1: she begins taking an interest in Carmen and her daughters,
• 48:44
  Speaker 1: particularly Luna, because while they were, while the three of
• 48:47
  Speaker 1: them were wandering the local market, Yoltsy notices them, and
• 48:51
  Speaker 1: she particularly notices Luna. Because Luna herself has this strange
• 48:56
  Speaker 1: glow about her, like, she's very, she's brighter, and Yoltsy
• 48:59
  Speaker 1: can tell, like, this brightness, this bright light that comes
• 49:02
  Speaker 1: from Luna is, like, it's, it shows that she's very innocent.
• 49:08
  Speaker 1: very pure, but Yolte begins to fear for Luna because
• 49:12
  Speaker 1: she realizes that this can attract certain dark forces. Because
• 49:17
  Speaker 1: because you'll see has always been able has always been
• 49:19
  Speaker 1: able to sense the sort of under this undercurrent that
• 49:23
  Speaker 1: uh that saturates the land of mexico like this dark
• 49:27
  Speaker 1: negative energy this of like pain anger suffering right and
• 49:32
  Speaker 1: that's and this negative influences all this negative energy has
• 49:36
  Speaker 1: all she's attributed to like influencing all the violence that
• 49:39
  Speaker 1: happens in mexico and she begins to fear that something
• 49:43
  Speaker 1: that this might attract like luna's innocence might attract the
• 49:47
  Speaker 1: attention of these dark forces and it does because later
• 49:52
  Speaker 1: while following the while keeping an eye on the on
• 49:55
  Speaker 1: luna and her and her mother in the market you'll
• 49:59
  Speaker 1: see notices an entity following them And it's slowly getting
• 50:05
  Speaker 1: closer to Luna. And when she first sees the entity,
• 50:08
  Speaker 1: it pretty much looks like that same novel woman, that
• 50:13
  Speaker 1: same old woman that Carmen and Luna and Ezell had seen.
• 50:18
  Speaker 1: The one that every time they see her, she's like chanting.
• 50:23
  Speaker 1: She's like chanting or mumbling some kind of prayer. But
• 50:27
  Speaker 1: the entity notices Yolzi can see her. And when it
• 50:30
  Speaker 1: turns its attention to Yolzi, its appearance begins to change.
• 50:34
  Speaker 1: It goes from looking like a decrepit old woman to
• 50:37
  Speaker 1: looking like this fierce skeletal creature. All right. With like
• 50:43
  Speaker 1: clawed hands, grotesque, like a skeletal face with flesh, like
• 50:50
  Speaker 1: falling off of it. And when, when this entity takes
• 50:55
  Speaker 1: notes of her, takes note of her, this swarm of
• 50:59
  Speaker 1: black butterflies begin to appear. And the butterflies, as it
• 51:02
  Speaker 1: turns out, they are tangible because the butterflies swarm over
• 51:06
  Speaker 1: the market and they actually end up injuring people. Like
• 51:10
  Speaker 1: some people get injured. They get some people have to
• 51:13
  Speaker 1: go to the hospital because as it turns out, the butterflies,
• 51:17
  Speaker 1: these black butterflies, their wings are made of obsidian. And
• 51:21
  Speaker 1: think about obsidian is obsidian is one of the sharpest
• 51:24
  Speaker 1: substance in the world. Doctors have been using obsidian scalpels
• 51:28
  Speaker 1: for years because of how sharp they are and how
• 51:31
  Speaker 1: cleanly they can cut through skin. And when I got
• 51:38
  Speaker 1: to this part in the story, I was like, I wonder...
• 51:42
  Speaker 1: That's suspicious. That's weird. I wonder, because the thing is
• 51:50
  Speaker 1: that there's this particular... There are particular entities that exist
• 51:55
  Speaker 1: within Aztec mythology. One particular figure that's associated with black
• 52:02
  Speaker 1: obsidian butterflies, and that is the goddess Itzpapalotl. Itzpapalotl is
• 52:07
  Speaker 1: known as the obsidian butterfly, not because she has black
• 52:12
  Speaker 1: butterfly wings, but she has butterfly wings made out of
• 52:14
  Speaker 1: the glass obsidian. So it's Papa little is also is
• 52:19
  Speaker 1: not only, uh, she's not only like this goddess of war,
• 52:22
  Speaker 1: but she's also this, uh, she's also the rule, uh,
• 52:25
  Speaker 1: the ruler of this, uh, realm called, uh, Tomoachan. Uh,
• 52:29
  Speaker 1: so Tomoachan is like a pair is like, it's like
• 52:32
  Speaker 1: a paradise, but it's also a place where humans were created.
• 52:35
  Speaker 1: And also where like the souls of, uh, infants who
• 52:39
  Speaker 1: die young and women who die in childbirth, uh, that's
• 52:42
  Speaker 1: where their spirits go in the afterlife. Uh, now, Ys
• 52:47
  Speaker 1: Pampalotl is also the leader of a group of demonic
• 52:52
  Speaker 1: entities called Sitsamime. Sitsamime, loosely translated, refers to creatures called
• 53:01
  Speaker 1: star demons. So Sitsamime are these cosmic demons that dwell
• 53:06
  Speaker 1: deep within the night sky, the starry abyss. And usually
• 53:12
  Speaker 1: they wait for moments of cosmic weaknesses. So basically solar
• 53:17
  Speaker 1: eclipse and other similar celestial events, whenever these events happen,
• 53:22
  Speaker 1: they use that as an opportunity to descend upon humanity
• 53:26
  Speaker 1: and devour them. So there are these, so the thing
• 53:29
  Speaker 1: about the Sita Mime, I want to point out is
• 53:31
  Speaker 1: that the Sita Mime are, you know, these, they're these skeletal,
• 53:37
  Speaker 1: they're these fierce skeletal female warriors, right? And depending on
• 53:45
  Speaker 1: the imagery that you find for them, like if you
• 53:48
  Speaker 1: look at really old Aztec imagery of the Sitsamime, you'll
• 53:55
  Speaker 1: see that they're these fierce skeletal warriors, right? Female warriors.
• 53:59
  Speaker 1: But one image that I keep coming across is an
• 54:01
  Speaker 1: image of them with a snake coming out of their coochie.
• 54:07
  Speaker 3: That honestly, when we the first time I've heard that, Yeah,
• 54:11
  Speaker 3: but I mean.
• 54:11
  Speaker 1: In the book, we don't really see that image of
• 54:13
  Speaker 1: a snake coming out of a star demon's fuji. But
• 54:19
  Speaker 1: when I saw these images, like when I was reading
• 54:21
  Speaker 1: this book and I got to this part where we
• 54:23
  Speaker 1: see that creature, we see this entity, like Yolty sees
• 54:27
  Speaker 1: the entity and then it summons the swarm of black butterflies.
• 54:31
  Speaker 1: I was like, is this a star demon?
• 54:36
  Speaker 3: A star demon? In my presence?
• 54:38
  Speaker 2: Yes.
• 54:40
  Speaker 1: It's giving star demon. It's giving star demon. And guess what?
• 54:43
  Speaker 1: It gave star demon. It's giving, you.
• 54:46
  Speaker 3: Know what it's giving? It's giving me when I thought
• 54:48
  Speaker 3: when you finally figure out something, you're like, oh my God,
• 54:51
  Speaker 3: is this it? Is this what I think it is?
• 54:53
  Speaker 3: And it was, you're like, holy shit. I'm smartical particle.
• 54:58
  Speaker 1: Like, oh my God. It's just, it's a fucking star demon.
• 55:01
  Speaker 1: So later, so later on, like the, you'll see investigates
• 55:05
  Speaker 1: it further. And she, like, using her sight and her
• 55:08
  Speaker 1: connection to her ancestors, she does realize that it is
• 55:11
  Speaker 1: a Sitsamime. Or the creature is a Sitsamite. So, like,
• 55:16
  Speaker 1: Sitsamime is the plural term for the star demons, and
• 55:19
  Speaker 1: then Sitsamite is the singular term. So she realizes that,
• 55:23
  Speaker 1: Yolti does realize that the entity that is now trying
• 55:28
  Speaker 1: to get close to Luna is a star demon. It's
• 55:32
  Speaker 1: a Sitsamite. And the thing is that the thing is, though,
• 55:36
  Speaker 1: like Yolti has never met or interacted with Carmen and
• 55:39
  Speaker 1: Luna before. So she didn't really know how to really
• 55:42
  Speaker 1: approach them to to try to warn them. But the
• 55:45
  Speaker 1: thing is, is that one of the foremans that work
• 55:48
  Speaker 1: on that currently works on the renovation project is actually
• 55:52
  Speaker 1: is actually a friend of hers. And he's also a fellow.
• 55:56
  Speaker 1: He's also a fellow Nala. He's not as like in
• 56:00
  Speaker 1: touch with his Nala heritage. But still, he's an old friend.
• 56:05
  Speaker 1: His name is Quahitli. And she approaches Quahitli, tells him
• 56:10
  Speaker 1: what she's been seeing. And like he approaches a more
• 56:14
  Speaker 1: agnostic approach. She hasn't, he has a more agnostic approach to, uh,
• 56:18
  Speaker 1: like to Yolty's visions. Like he knows, he believes that
• 56:21
  Speaker 1: she does see these things, but he's not like a believer.
• 56:24
  Speaker 1: Like she is like, he feels like he believes that
• 56:27
  Speaker 1: there's more, uh, a more rational explanation for what she sees,
• 56:31
  Speaker 1: but he believes her. He believes that there is something
• 56:33
  Speaker 1: like a dark force trying to get close to, uh, Luna, uh,
• 56:40
  Speaker 1: He does suggest trying to approach Carmen a certain way,
• 56:44
  Speaker 1: but when Yolte does, this puts Carmen off. It's very
• 56:47
  Speaker 1: off-putting to Carmen. She thinks that Yolte is trying to
• 56:50
  Speaker 1: do something, maybe try to hurt her daughters and basically
• 56:55
  Speaker 1: threatens to call the police. After this confrontation, though, an
• 56:59
  Speaker 1: accident happens at the abbey. So one of the scaffolds
• 57:04
  Speaker 1: in the abbey ends up collapsing. And when it collapsed,
• 57:09
  Speaker 1: it actually causes a section of the wall to cave inward.
• 57:16
  Speaker 1: So after making sure that everybody is safe, suspiciously, the
• 57:21
  Speaker 1: foreman that Carmen had confronted is nowhere to be seen.
• 57:25
  Speaker 1: He's not even on site that day. Suspiciously. That's suspicious.
• 57:31
  Speaker 3: That's... Weird.
• 57:34
  Speaker 1: So after ensuring that everyone is safe, no one was hurt,
• 57:39
  Speaker 1: that's when they noticed that a section of the wall
• 57:40
  Speaker 1: had collapsed. And when they investigated, they realized that there
• 57:46
  Speaker 1: was a hidden room on the other side of the wall.
• 57:49
  Speaker 1: And inside the room, they find various different old Aztec artifacts.
• 57:54
  Speaker 1: Almost like the previous owners of the abbey, like former
• 57:58
  Speaker 1: occupants of the abbey, had deliberately hidden these artifacts as
• 58:03
  Speaker 1: a way to suppress them or to hide them and
• 58:06
  Speaker 1: uh when this collapsed um carmen and luna and her
• 58:11
  Speaker 1: sister iselle had comes to the abbey for a visit
• 58:14
  Speaker 1: so when the uh so just as the scaffolding collapsed
• 58:17
  Speaker 1: they were there too uh and while they're looking through
• 58:20
  Speaker 1: the uh through the different artifacts they find one artifact
• 58:25
  Speaker 1: that looks suspiciously like a pinata it's a clay pinata
• 58:30
  Speaker 1: has it's in the form of a grotesque snarling face.
• 58:34
  Speaker 1: And as they're examining the artifacts, they realize like, these are,
• 58:37
  Speaker 1: these are old Aztec artifacts. And Carmen realizes that like, okay, well,
• 58:45
  Speaker 1: since we discovered this is, we've made a discovery. We
• 58:47
  Speaker 1: may have to report it to the concert, the national
• 58:51
  Speaker 1: conservation society, right. We, uh, you know, anthropology societies. But
• 58:55
  Speaker 1: the thing is that, um, Priests, so like she also
• 58:59
  Speaker 1: works with a, so part of the renovation is they
• 59:01
  Speaker 1: also have to work with a liaison from the Catholic Church.
• 59:05
  Speaker 1: The priest, he's been very friendly with Carmen and her daughters.
• 59:10
  Speaker 1: So he's been very helpful to them. But when he
• 59:14
  Speaker 1: sees the artifacts and then when also some of the
• 59:17
  Speaker 1: other foremen see the artifacts, they're like, we should just
• 59:21
  Speaker 1: go ahead and fix the wall and put everything back
• 59:24
  Speaker 1: and not report it. And Carmen's really baffled by this.
• 59:28
  Speaker 1: She's like, what? We have to report this. These need
• 59:31
  Speaker 1: to be safely removed. And they're all like, no, because
• 59:35
  Speaker 1: if we do that, the whole renovation project is going
• 59:40
  Speaker 1: to be put on hold for months, if not years,
• 59:44
  Speaker 1: while the Preservation Society completely goes over everything, catalogs everything.
• 59:49
  Speaker 1: They're not going to.
• 59:52
  Speaker 1: Come in and just take the artifacts and leave. They're
• 59:54
  Speaker 1: going to carefully sort through the artifacts, make sure that
• 59:57
  Speaker 1: they're safely preserved, and then transport it away. And then
• 1:00:01
  Speaker 1: at that point, they can continue with the renovations. But
• 1:00:05
  Speaker 1: that could at least delay the renovations by six months. So.
• 1:00:16
  Speaker 1: Carmen's baffled by this, and especially she's even more shocked
• 1:00:21
  Speaker 1: that the priest was also suggesting doing that. Father Verón
• 1:00:31
  Speaker 1: would also suggest just covering it up, but he's like,
• 1:00:34
  Speaker 1: this is actually pretty normal. There are a lot of
• 1:00:37
  Speaker 1: sites throughout Mexico with similar discoveries, but we just end
• 1:00:42
  Speaker 1: up we just end up covering it up or just
• 1:00:49
  Speaker 1: putting them back where we found them and sealing them
• 1:00:52
  Speaker 1: up again. Because then if the Preservation Society or Anthropology
• 1:00:57
  Speaker 1: Society discover these things, they're just going to completely take
• 1:01:00
  Speaker 1: over and they're going to put all these projects back,
• 1:01:03
  Speaker 1: delay all these projects by months, if not years, while
• 1:01:06
  Speaker 1: they preserve everything. So Carmen doesn't really have much of
• 1:01:09
  Speaker 1: a choice. Even though she wants to report them, everyone
• 1:01:12
  Speaker 1: else is pretty much standing against her. So she's like,
• 1:01:14
  Speaker 1: all right, you know what, just... do whatever I'm already
• 1:01:18
  Speaker 1: stressed out. And I know this is going to have consequences.
• 1:01:20
  Speaker 1: This accident is going to have consequences. Also, where the
• 1:01:23
  Speaker 1: fuck is the foreman? Like, why isn't he here? So it, well,
• 1:01:27
  Speaker 1: it was never like, it was never confirmed, but it's
• 1:01:32
  Speaker 1: strongly implied that the foreman deliberately caused the, uh, he
• 1:01:37
  Speaker 1: deliberately caused the accident and, uh, He deliberately sabotaged the renovations,
• 1:01:49
  Speaker 1: causing the scaffolding to collapse. And because this had happened,
• 1:01:54
  Speaker 1: this is like going back to, this kind of goes
• 1:01:57
  Speaker 1: into how even in today's day and age, misogyny is
• 1:02:02
  Speaker 1: still very prevalent in the workplace, especially for women in
• 1:02:05
  Speaker 1: positions of leadership. Because women often, here in America at least,
• 1:02:10
  Speaker 1: they often have to really constantly like put their best
• 1:02:13
  Speaker 1: foot forward. They can't make mistakes because what they do oftentimes,
• 1:02:17
  Speaker 1: like if they make a mistake or if they're like,
• 1:02:19
  Speaker 1: you know, they're struggling, they can be labeled as difficult
• 1:02:21
  Speaker 1: to emotional or, you know, something else that basically paints
• 1:02:25
  Speaker 1: them in a bad light, like paints them in a
• 1:02:27
  Speaker 1: light that basically says that, Oh, well they're not cut
• 1:02:29
  Speaker 1: out for being in this position of leadership. We should just,
• 1:02:35
  Speaker 1: you know, we should just put them down. Yeah. No,
• 1:02:39
  Speaker 1: not really. But I will say in America, while we've
• 1:02:45
  Speaker 1: made strides to accommodate, to include, and to give women
• 1:02:54
  Speaker 1: equal positions of power and leadership, oftentimes they still face
• 1:02:58
  Speaker 1: this kind of prejudice. And in Mexico, especially during this
• 1:03:03
  Speaker 1: particular scene, she's facing misogyny in the form of none
• 1:03:07
  Speaker 1: of the foremen will listen to her, especially this one
• 1:03:09
  Speaker 1: foreman that caused the accident. And they're constantly trying to
• 1:03:12
  Speaker 1: undermine her or they're ignoring her directions. And she's constantly
• 1:03:17
  Speaker 1: having to fight and argue with them. And these arguments
• 1:03:21
  Speaker 1: are causing more delays than they're actually getting the work done. And,
• 1:03:26
  Speaker 1: of course, she gets no support from the firm that
• 1:03:29
  Speaker 1: she works for because they're just like, no, you can
• 1:03:31
  Speaker 1: do it. Like, no, you got to figure it out.
• 1:03:34
  Speaker 1: You got to figure it out. Just like, bro, she's
• 1:03:38
  Speaker 1: dealing with old-fashioned, misogynistic men who don't want to listen
• 1:03:44
  Speaker 1: to her and basically are just shrugging her off and
• 1:03:49
  Speaker 1: doing their own thing. Well, now because of this, they've
• 1:03:53
  Speaker 1: basically delayed the renovation. And when everything gets reported to
• 1:03:56
  Speaker 1: her firm, the firm actually decides to replace her with
• 1:04:01
  Speaker 1: somebody else. They send her the notice saying that, listen,
• 1:04:06
  Speaker 1: we know it's not your fault. We know you're doing everything.
• 1:04:08
  Speaker 1: But because of this occurrence, we think we should send
• 1:04:12
  Speaker 1: somebody else to take over and get the renovations back
• 1:04:16
  Speaker 1: on track. so she does end up packing up everything
• 1:04:21
  Speaker 1: and taking her daughters back to the States. But before the,
• 1:04:25
  Speaker 1: before the alcove is, is paved back over, she notices
• 1:04:33
  Speaker 1: that her youngest daughter was nowhere to be found. And
• 1:04:37
  Speaker 1: after panicking a little bit, they realized that her daughter,
• 1:04:39
  Speaker 1: that Luna was in the alcove with all the artifacts
• 1:04:44
  Speaker 1: and Luna had become especially drawn to to the clay
• 1:04:48
  Speaker 1: pinata and uh what and unbeknownst to carmen luna ends
• 1:04:55
  Speaker 1: up hiding the pinata in her bag and takes it
• 1:04:59
  Speaker 1: with her like something about the pinata attracted like was
• 1:05:04
  Speaker 1: just influencing uh luna and compelled her to take it
• 1:05:09
  Speaker 1: with her yeah so Sadly, Carmen and her two daughters
• 1:05:17
  Speaker 1: have to leave Mexico. Though Carmen, actually, while she is
• 1:05:21
  Speaker 1: concerned for her career because this is going to be
• 1:05:23
  Speaker 1: a bit of a black mark on her career, she's
• 1:05:28
  Speaker 1: more relieved than anything else that they're leaving Mexico. Because
• 1:05:33
  Speaker 1: the stress of it all was getting to her and
• 1:05:35
  Speaker 1: her own anxieties concerning just the missing girls. And, you know,
• 1:05:40
  Speaker 1: fear for her own daughter's protection. She realized it's like,
• 1:05:43
  Speaker 1: you know, it's probably good. It's probably for the best.
• 1:05:47
  Speaker 1: All right. I'm scared for my daughters. I think it's
• 1:05:52
  Speaker 1: time for us to go home. So she does end
• 1:05:53
  Speaker 1: up taking she packs up. She takes her daughters home
• 1:05:56
  Speaker 1: before she leaves, though, quietly does reintroduce her to Yoltsy
• 1:06:00
  Speaker 1: because and Yoltsy manages to explain herself a little bit better.
• 1:06:04
  Speaker 1: but still Carmen, like despite the fact that Carmen is like,
• 1:06:07
  Speaker 1: she has been experiencing like some strange occurrences with the
• 1:06:10
  Speaker 1: sightings of that strange lady and also the strange behavior
• 1:06:14
  Speaker 1: of her youngest daughter. She's still not convinced. And just
• 1:06:18
  Speaker 1: says that I'm just going to like, yeah, no, I'm done.
• 1:06:23
  Speaker 1: So she goes back to America and her daughter, she
• 1:06:26
  Speaker 1: and her daughters more or less go back to normal,
• 1:06:28
  Speaker 1: to their normal routines that her daughters are set to
• 1:06:32
  Speaker 1: go back to start school again. Uh, they live with
• 1:06:35
  Speaker 1: their grandmother too. So they live with, uh, with Carmen's mom.
• 1:06:38
  Speaker 1: So her mom is like a huge help. Um, and
• 1:06:42
  Speaker 1: the thing is after when they get home and, uh,
• 1:06:44
  Speaker 1: Carmen tells her mother what happened, uh, her mother's like, well,
• 1:06:47
  Speaker 1: what's going to happen with your job? And Carmen's like,
• 1:06:49
  Speaker 1: I don't know if I'll even have a job after this. Cause,
• 1:06:54
  Speaker 1: so I'm going to, I do want to say that
• 1:06:56
  Speaker 1: the four men that caused the accident in the first place, uh, Um,
• 1:07:00
  Speaker 1: he pretty much shot himself in the foot with this
• 1:07:02
  Speaker 1: because the person they replaced him with is basically a
• 1:07:05
  Speaker 1: racist white dude. So, you know, dude, you were better
• 1:07:09
  Speaker 1: off with the Mexican American lady who actually can relate
• 1:07:12
  Speaker 1: to you, who can actually speak your language and relate
• 1:07:14
  Speaker 1: to your culture and is actually considerate of the Mexican
• 1:07:17
  Speaker 1: culture and the significance of the Abbey. Right. But instead,
• 1:07:22
  Speaker 1: you pushed her out, and now she's replaced with a
• 1:07:25
  Speaker 1: dude who does not give two shits about Mexican culture
• 1:07:27
  Speaker 1: and only cares about getting the job done here. It
• 1:07:29
  Speaker 1: doesn't matter how many toes he steps on, how insensitive
• 1:07:35
  Speaker 1: he is, he's going to get the job done. And
• 1:07:39
  Speaker 1: so I'm just like, well, that's your own damn fault.
• 1:07:43
  Speaker 1: All right. Like, okay, cool. Well, guess what? You now
• 1:07:46
  Speaker 1: have a man working on the project, but this man
• 1:07:49
  Speaker 1: is a total cunt. So... job period yeah good job
• 1:07:56
  Speaker 1: uh you'll see back in uh back in mexico you'll
• 1:08:00
  Speaker 1: see she starts having strange like the visions are starting
• 1:08:04
  Speaker 1: to get worse for her and unfortunately for you'll see
• 1:08:08
  Speaker 1: the visions get so intense that she can't really tell
• 1:08:10
  Speaker 1: what's real anymore and now whenever she looks at whenever
• 1:08:14
  Speaker 1: she looks at other people she notices that she can
• 1:08:16
  Speaker 1: see everything about them like not just them but she
• 1:08:19
  Speaker 1: can see the faces of their ancestors. And whenever they
• 1:08:22
  Speaker 1: try talking to her, she realizes she can't understand what
• 1:08:25
  Speaker 1: they're saying anymore. And she ends up like having somewhat
• 1:08:28
  Speaker 1: of a mental breakdown and she ends up running to
• 1:08:32
  Speaker 1: Klahitli's house and hiding there. When he comes home and
• 1:08:36
  Speaker 1: finds that she had broken in, he was worried about
• 1:08:38
  Speaker 1: her and asks her what's going on. He can't understand
• 1:08:41
  Speaker 1: him at first, but then when he switches to Nalatl,
• 1:08:43
  Speaker 1: that's when she could finally understand him. And when she
• 1:08:46
  Speaker 1: looks at him, she still sees like, She sees not
• 1:08:49
  Speaker 1: only his face, but the faces of his ancestors. But
• 1:08:52
  Speaker 1: now she's able to understand and more clearly she explains
• 1:08:54
  Speaker 1: that the visions are getting worse. And she fears at
• 1:08:57
  Speaker 1: the end that whatever entity was uh stalking luna and
• 1:09:02
  Speaker 1: now she's more certain that it's the seats of mime
• 1:09:04
  Speaker 1: but it's the seats of metal uh it's followed them
• 1:09:07
  Speaker 1: to the u.s and she's and she's scared for their
• 1:09:10
  Speaker 1: safety And if she doesn't do anything, something bad's going
• 1:09:13
  Speaker 1: to happen. Because all of the visions we've seen, it's
• 1:09:16
  Speaker 1: leading to some sort of major event that's going to
• 1:09:19
  Speaker 1: cause this evil to finally physically enter our world. And
• 1:09:26
  Speaker 1: she tells him that she needs to go to America
• 1:09:28
  Speaker 1: to warn Carmen and to help Luna. So Quahitli, he
• 1:09:34
  Speaker 1: can't really dissuade Yoltsi from doing this. So he decides, okay, fine,
• 1:09:39
  Speaker 1: I'll take you to, I'll help you get to the
• 1:09:41
  Speaker 1: border and cross. At first, it's, like, while he is
• 1:09:44
  Speaker 1: kind of, like, digging his feet in a bit, like, saying, like,
• 1:09:48
  Speaker 1: all right, I'm not gonna... Like, I'm just going to
• 1:09:51
  Speaker 1: take you to the bus stop. Well, he takes her
• 1:09:53
  Speaker 1: to the bus stop. But then he realizes, like, because
• 1:09:55
  Speaker 1: of her condition, she can't understand. She, for some reason,
• 1:09:57
  Speaker 1: can't understand anything anyone else is saying. Like, they speak
• 1:10:00
  Speaker 1: to her in English or Spanish. She can't understand them.
• 1:10:03
  Speaker 1: And she can only really understand Pahitli because he's speaking.
• 1:10:06
  Speaker 1: Because he can also speak Nahuatl. He can also speak Nahuatl.
• 1:10:11
  Speaker 1: And he's like, all right, fine. I'll just take you
• 1:10:15
  Speaker 1: straight to the border. Whatever. I'll take you to the border.
• 1:10:17
  Speaker 1: I can't let you go on your own. So they
• 1:10:19
  Speaker 1: get to the border. Yoltsy had contacted her brother in
• 1:10:23
  Speaker 1: the States, and he had gotten her in contact with
• 1:10:25
  Speaker 1: a coyote. And this coyote manages to get them both
• 1:10:31
  Speaker 1: through into the U.S., through a tunnel that goes under
• 1:10:37
  Speaker 1: the border. The problem is, though, this coyote ended up
• 1:10:41
  Speaker 1: being even shadier than expected because his coyote runs were
• 1:10:50
  Speaker 1: a scam. It was like he manages to get them
• 1:10:53
  Speaker 1: into the US, but on the other side, the cartel
• 1:10:57
  Speaker 1: on the American side of the border would catch the
• 1:11:02
  Speaker 1: people crossing the border through the Coyote Tunnel and force
• 1:11:06
  Speaker 1: them into indentured servitude, basically turn them into slaves. Oh, Lord. Yeah. Yeah.
• 1:11:12
  Speaker 1: quietly and you'll see do manage to escape because quietly
• 1:11:17
  Speaker 1: ends up fighting the cartels and get and manages to
• 1:11:20
  Speaker 1: grab one of their guns and shoot them. Fortunately, they
• 1:11:23
  Speaker 1: shoot back and quietly get shot. Now quietly and you'll
• 1:11:27
  Speaker 1: see managed to steal one of their trucks and escape,
• 1:11:30
  Speaker 1: but the truck had gotten shot too. So it ends
• 1:11:32
  Speaker 1: up breaking down. And unfortunately quietly ends up dying because
• 1:11:35
  Speaker 1: of the, of his wounds. Um, Yoltsy manages to escape.
• 1:11:40
  Speaker 1: She's forced to leave his body behind, but she manages
• 1:11:43
  Speaker 1: to escape. But now, though, she seems to have entered
• 1:11:46
  Speaker 1: this sort of... Now that she's getting closer to her destination,
• 1:11:49
  Speaker 1: the spirits of her ancestor and the spirits of her
• 1:11:52
  Speaker 1: people begin to appear more commonly around her, and they
• 1:11:56
  Speaker 1: start guiding her. And at one point, when the cartel
• 1:11:59
  Speaker 1: are chasing after her, the spirits somehow manage to hide her.
• 1:12:03
  Speaker 1: They manage to keep her from being seen by the cartels.
• 1:12:06
  Speaker 1: So the spirits... guide her, and they help her get
• 1:12:09
  Speaker 1: the rest of the way from the border all the
• 1:12:13
  Speaker 1: way over to the East Coast, because Carmen lives in
• 1:12:15
  Speaker 1: New York. So Yolte manages to make her way all
• 1:12:21
  Speaker 1: the way across the U.S. before finally reaching New York. Now,
• 1:12:26
  Speaker 1: while this is all happening, Carmen and her family are
• 1:12:29
  Speaker 1: beginning to experience more and more strange occurrences. Carmen is
• 1:12:33
  Speaker 1: basically relegated to Is it relegated or delegated?
• 1:12:42
  Speaker 3: Delegated? Delegated, I think?
• 1:12:46
  Speaker 1: Maybe. English is hard. English is hard, y'all. Anyway, and
• 1:12:52
  Speaker 1: I'm college educated too, but art degree.
• 1:12:56
  Speaker 3: I mean, same.
• 1:13:01
  Speaker 1: But anyway, so Carmen is basically put on desk duty.
• 1:13:05
  Speaker 1: Like she still has her job, but it seems like she,
• 1:13:07
  Speaker 1: there's a part of her that feels like her career
• 1:13:09
  Speaker 1: is not going to go anywhere. Um, her daughter, they're
• 1:13:12
  Speaker 1: throwing school again and her mom has like, they gotten
• 1:13:14
  Speaker 1: back into their normal routine, but they began noticing that, uh,
• 1:13:18
  Speaker 1: that Luna's behavior has become different. Like her, her, there's
• 1:13:23
  Speaker 1: been a major change in her behavior. She's no longer,
• 1:13:25
  Speaker 1: you know, very bright. She's no longer like a very
• 1:13:29
  Speaker 1: open and talkative. Like she usually is. Cause like she'll
• 1:13:32
  Speaker 1: talk a mile a minute. Yeah. she'll be talking a
• 1:13:36
  Speaker 1: mile a minute but now they notice she's quieter she's
• 1:13:39
  Speaker 1: more like kind of like turning into her older sister
• 1:13:43
  Speaker 1: more moody more like you know anti-social and her grandmother
• 1:13:49
  Speaker 1: tries to like you know try is trying to like
• 1:13:51
  Speaker 1: help take over and take some of the pressure off
• 1:13:54
  Speaker 1: of her daughter by uh by watching over the girls
• 1:13:59
  Speaker 1: um but when uh but at one point when Luna
• 1:14:03
  Speaker 1: is in her room because she's become very shut in
• 1:14:05
  Speaker 1: in her room. Her grandmother comes up to, tries coming
• 1:14:07
  Speaker 1: up to her room. And when she opens her bedroom door,
• 1:14:10
  Speaker 1: she sees Luna chanting over the pinata. And then when
• 1:14:17
  Speaker 1: she sees this, he's like, what's going on? The Sita
• 1:14:21
  Speaker 1: Mito appears before her, scaring the fuck out of her.
• 1:14:25
  Speaker 1: And when she like, when she staggers back from her
• 1:14:27
  Speaker 1: granddaughter's room, she also sees the image of this big ass,
• 1:14:31
  Speaker 1: black cricket, like grasshopper that scares her even further. And
• 1:14:36
  Speaker 1: when she stumbles away from it, she ends up falling
• 1:14:39
  Speaker 1: down the stairs of her house and cracks her head
• 1:14:43
  Speaker 1: open at the bottom of the, of the stairs. Thankfully,
• 1:14:46
  Speaker 1: thankfully the Aboli, uh, Abuela lives, she lives, but she,
• 1:14:52
  Speaker 1: because she ends up living, um, Carmen ends up coming
• 1:14:55
  Speaker 1: home in time and finding her mother on the floor
• 1:14:58
  Speaker 1: and rushes her to the hospital and, They had to
• 1:15:01
  Speaker 1: they tell her her mother suffers a concussion and is
• 1:15:03
  Speaker 1: possibly suffering from some form of like like minor brain injury.
• 1:15:10
  Speaker 1: So like it's just a concussion and like cerebral swelling.
• 1:15:15
  Speaker 1: So they put her in a coma and they put
• 1:15:17
  Speaker 1: her in an induced coma just to allow her brain
• 1:15:21
  Speaker 1: to heal. And eventually she'll come out of it on
• 1:15:24
  Speaker 1: her own. This coma lasts for weeks. And in the
• 1:15:28
  Speaker 1: entire time, Luna's behavior is becoming more and more antisocial, weird.
• 1:15:34
  Speaker 1: She's more aggressive. And they're starting to notice more and
• 1:15:38
  Speaker 1: more of these occurrences. They'll see swarms of these black butterflies.
• 1:15:43
  Speaker 1: And at one point, Luna's behavior begins to become more
• 1:15:49
  Speaker 1: toxic and spills out while she's at school. At one point,
• 1:15:52
  Speaker 1: she's in the middle of a lesson and her teacher's
• 1:15:55
  Speaker 1: talking about, you know, the native peoples. And Luna basically
• 1:15:59
  Speaker 1: calls her out like, what do you know? Like, what
• 1:16:01
  Speaker 1: do you know, Gringa, about the native people? All right. Like,
• 1:16:04
  Speaker 1: basically calls her calls her out and calls the whole
• 1:16:07
  Speaker 1: system out for teaching like this watered down version of history,
• 1:16:10
  Speaker 1: you know, completely excluding the fact that. the you know
• 1:16:15
  Speaker 1: that the colonials uh murdered and pushed out native people
• 1:16:20
  Speaker 1: like her name like native peoples call you know basically
• 1:16:23
  Speaker 1: calls the teacher out being very disruptive and the teacher
• 1:16:27
  Speaker 1: like is forced to take her to the office for
• 1:16:29
  Speaker 1: being disruptive and and disrespectful but you know when she's
• 1:16:32
  Speaker 1: she grabs luna by the uh by the wrist and
• 1:16:35
  Speaker 1: like it's leading her to the office but the thing
• 1:16:37
  Speaker 1: is the entity that's possessing luna causes the teacher to
• 1:16:41
  Speaker 1: see a very vivid and terrifying uh like vision of
• 1:16:46
  Speaker 1: like basically like the basically the entity killing her right
• 1:16:50
  Speaker 1: like doing unspeakable things to her and this freaks the
• 1:16:53
  Speaker 1: teacher out so much that her grip on luna's arm
• 1:16:56
  Speaker 1: like tightens so much that she ends up bruising luna
• 1:17:00
  Speaker 1: and like she's having like a full-on freak out in
• 1:17:02
  Speaker 1: the middle of the hallway and luna freaks out this
• 1:17:03
  Speaker 1: kind of snaps luna out of it too temporarily and
• 1:17:06
  Speaker 1: she's freaking out like why like i'm sorry i didn't
• 1:17:08
  Speaker 1: mean to like Like, I'm sorry, I didn't mean to
• 1:17:10
  Speaker 1: speak out. Damn, you don't have to, like, grab my
• 1:17:13
  Speaker 1: arm that hard. And when the teacher comes to and
• 1:17:15
  Speaker 1: looks at, like, Luna's arm, she realizes that she was
• 1:17:19
  Speaker 1: holding Luna so tightly that she bruised Luna's arm. And
• 1:17:24
  Speaker 1: Carmen gets called into the office. And now, like, Carmen is, like,
• 1:17:27
  Speaker 1: pissed because her daughter is acting out. And then also
• 1:17:30
  Speaker 1: her daughter's teacher hurt her daughter. So, like, Luna's sent
• 1:17:35
  Speaker 1: home for the rest of the day. And the teacher
• 1:17:40
  Speaker 1: ends up getting put on administrative leave because of what happens.
• 1:17:45
  Speaker 1: Luna is sent back to school the next day. But
• 1:17:47
  Speaker 1: this time, the thing is that Isel has begun noticing
• 1:17:52
  Speaker 1: Luna's behavior too. And she's also beginning to feel some
• 1:17:54
  Speaker 1: guilt because she hasn't been standing up for her sister
• 1:17:59
  Speaker 1: or really being helpful to her sister. And she realized
• 1:18:03
  Speaker 1: that she's been ignoring her sister and her family in
• 1:18:06
  Speaker 1: general for her new boyfriend. And because when they came
• 1:18:09
  Speaker 1: back to America, like she got she connected with one
• 1:18:12
  Speaker 1: of the boys at her school because her friends basically
• 1:18:15
  Speaker 1: ditched her at this point because they didn't she didn't
• 1:18:17
  Speaker 1: go to the camp with her. They didn't go to
• 1:18:19
  Speaker 1: the camp together. So she's spending more time with her
• 1:18:22
  Speaker 1: new boyfriend and she realizes that she's been ignoring her sister.
• 1:18:25
  Speaker 1: So after the whole incident with the teacher, Isel tries
• 1:18:29
  Speaker 1: to be more supportive to her sister and more like
• 1:18:31
  Speaker 1: taking an active role in her sister's life. Because she
• 1:18:34
  Speaker 1: also noticed that Luna is being bullied by these three
• 1:18:37
  Speaker 1: older boys. So the next day when they all go
• 1:18:40
  Speaker 1: to school together, she tries to stick with her sister
• 1:18:41
  Speaker 1: a little bit more. And when she notices the bullies
• 1:18:44
  Speaker 1: all trying like you know ganging up on her sister
• 1:18:46
  Speaker 1: that izelle confronts the boys and even izelle's new boyfriend
• 1:18:51
  Speaker 1: josh confronts the boys too and um well uh the
• 1:19:01
  Speaker 1: confrontation turns physical the boys end up uh like one
• 1:19:05
  Speaker 1: of the boys end up punching uh josh uh izelle's
• 1:19:09
  Speaker 1: boyfriend josh And this sends Luna over the edge. So
• 1:19:12
  Speaker 1: she ends up jumping one of the boys. This 11
• 1:19:15
  Speaker 1: year old girl jumps a 15 year old boy, like 14,
• 1:19:17
  Speaker 1: 15 year old boy and starts like scratching and biting
• 1:19:20
  Speaker 1: and like slapping at him. So much to the point
• 1:19:22
  Speaker 1: where like he eventually like pushes her off and like
• 1:19:25
  Speaker 1: kicks her, bruising her. So Luna ends up getting suspended
• 1:19:31
  Speaker 1: while the boys themselves don't like don't really face any punishment.
• 1:19:35
  Speaker 1: But like before Luna's like during the fight, before Luna
• 1:19:38
  Speaker 1: gets expelled, she says like she tells them something cryptic
• 1:19:41
  Speaker 1: that she hopes that they all choke on their own blood. Right.
• 1:19:46
  Speaker 1: So overnight, Carmen is pissed that her daughter got suspended.
• 1:19:52
  Speaker 1: And she basically says, well, you're going to like we're
• 1:19:56
  Speaker 1: going to have to do something overnight. All three of
• 1:20:00
  Speaker 1: those boys that she ends up that had been picking
• 1:20:05
  Speaker 1: on her. All three of them end up dying brutally.
• 1:20:10
  Speaker 1: The first boy, he was out with he was just
• 1:20:13
  Speaker 1: like he was out in like a warehouse district when
• 1:20:16
  Speaker 1: he starts noticing some strange like like something strange following him.
• 1:20:21
  Speaker 1: So he ends up deciding like, all right, I'm going home.
• 1:20:23
  Speaker 1: But as he's trying to go home, he's noticing the
• 1:20:25
  Speaker 1: streets are changing. Like the usual turn he takes keeps
• 1:20:28
  Speaker 1: taking him back in a circle and he eventually starts running.
• 1:20:31
  Speaker 1: And every time he looks behind him, he could see
• 1:20:34
  Speaker 1: the seats of measles. following him and it's getting closer.
• 1:20:37
  Speaker 3: Oh no, ma'am.
• 1:20:41
  Speaker 1: Uh, eventually he manages to get, uh, get to his
• 1:20:44
  Speaker 1: house and he like, he, he goes through the back
• 1:20:47
  Speaker 1: door and slams the door. Problem is that the seats
• 1:20:51
  Speaker 1: of Moodle is causing him to hallucinate and even causes
• 1:20:54
  Speaker 1: a bunch of like butterflies to, uh, fly around him
• 1:20:58
  Speaker 1: and obscure his vision. So the thing is the house
• 1:21:01
  Speaker 1: that he thought was his house was not his house.
• 1:21:04
  Speaker 1: And the house he actually entered was a house of
• 1:21:06
  Speaker 1: a person who believed in standing his ground. So as
• 1:21:11
  Speaker 1: soon as he broke, so he basically broke into somebody
• 1:21:13
  Speaker 1: else's house by mistake. And the homeowner was the kind
• 1:21:17
  Speaker 1: of person that shot first and ask question later ends
• 1:21:20
  Speaker 1: up shooting the boy, assuming that he was breaking in.
• 1:21:25
  Speaker 1: So that boy gets shot and dies on the spot.
• 1:21:29
  Speaker 1: The second boy was, uh, was in his house playing
• 1:21:33
  Speaker 1: games on his computer. And he also starts seeing images
• 1:21:37
  Speaker 1: of the, of the creature. And when, uh, of the, uh,
• 1:21:42
  Speaker 1: the seats of meat. And, uh, while he's distracted, like
• 1:21:46
  Speaker 1: he's also smoking a cigarette. And when he sees it
• 1:21:48
  Speaker 1: and it scares him, he ends up dropping the cigarette on, um,
• 1:21:52
  Speaker 1: the old carpet that he that's in his room, which
• 1:21:54
  Speaker 1: happens to be that type of carpet made out of
• 1:21:56
  Speaker 1: a special material. That's not flame retardant. So his entire
• 1:22:00
  Speaker 1: bedroom gets goes up in flame. And because of the
• 1:22:03
  Speaker 1: seats of mutuals influence, the flame burns even hotter than usual.
• 1:22:08
  Speaker 3: So hot.
• 1:22:09
  Speaker 1: In fact, that there is nothing left of the boy,
• 1:22:11
  Speaker 1: not even dental, not even enough remains to identify him
• 1:22:15
  Speaker 1: by dental rent, by dental records.
• 1:22:18
  Speaker 3: Oh my God.
• 1:22:20
  Speaker 1: Yeah. So he gets roasted alive. And then the third
• 1:22:23
  Speaker 1: boy dies. The third boy is just driving around in
• 1:22:26
  Speaker 1: his Jeep. He's doing what dumb, delinquent kids would young
• 1:22:30
  Speaker 1: men do. He's just speeding around town, driving through warehouse districts.
• 1:22:34
  Speaker 1: And then as he decides to start driving home, the
• 1:22:39
  Speaker 1: seat's a middle, appears in his back seat. He sees it,
• 1:22:42
  Speaker 1: freaks out, and he's trying to get away. But then
• 1:22:46
  Speaker 1: the butterflies appear and start flying around him, biting him,
• 1:22:51
  Speaker 1: blocking his view. And it also makes him hallucinate. So
• 1:22:54
  Speaker 1: what he thought was his exit wasn't actually his exit,
• 1:22:57
  Speaker 1: but a closed off ramp. So when he goes through it,
• 1:23:00
  Speaker 1: he ends up sending his... He's going at full speed
• 1:23:04
  Speaker 1: when he goes through this exit. And it ends up
• 1:23:06
  Speaker 1: causing his Jeep to fly through the air. This is
• 1:23:09
  Speaker 1: a Jeep without a roof and doors, by the way.
• 1:23:14
  Speaker 1: He ends up hitting a guardrail. And the guardrail, when
• 1:23:18
  Speaker 1: it does that, it causes his Jeep to flip. And
• 1:23:21
  Speaker 1: when it flips, it catapults him out of the Jeep.
• 1:23:25
  Speaker 1: And he hits one of those, you know, like some
• 1:23:28
  Speaker 1: roads ends with like a like a like a guardrail fence.
• 1:23:33
  Speaker 1: Like when you reach the end of some roads, there's
• 1:23:34
  Speaker 1: like a guardrail there that blocks you from going any further. Well,
• 1:23:39
  Speaker 1: he hits it and gets bisected.
• 1:23:42
  Speaker 3: Oh, no, ma'am.
• 1:23:45
  Speaker 1: Yeah. So schools canceled the next day.
• 1:23:47
  Speaker 3: I would say so.
• 1:23:51
  Speaker 1: Yeah. School's canceled the next day. Carmen is like, like
• 1:23:54
  Speaker 1: everyone's freaking out. Luna's like, kind of like very nonchalant
• 1:23:58
  Speaker 1: about it. And she continues to hide in her bedroom. Yeah.
• 1:24:03
  Speaker 1: She continues to hide in her bedroom. Carmen's like, kind
• 1:24:05
  Speaker 1: of is just going through it right now. Her mom is,
• 1:24:07
  Speaker 1: her job's on the line. Her mom's in the hospital
• 1:24:09
  Speaker 1: in a coma. Her daughter is like possessed. And she,
• 1:24:13
  Speaker 1: so what does she do to like, uh, kind of
• 1:24:15
  Speaker 1: take the edge off? She climbs up on the, she
• 1:24:17
  Speaker 1: goes up to her roof. Cause like, uh, there's part
• 1:24:21
  Speaker 1: of her rooftop where you can like climb out on
• 1:24:23
  Speaker 1: it and just sit.
• 1:24:24
  Speaker 2: Right.
• 1:24:25
  Speaker 1: And she decides to like drink a little bit of
• 1:24:27
  Speaker 1: tequila and smoke a blunt. But when she does that, uh,
• 1:24:31
  Speaker 1: actually doing that, the seats of middle appears and creates
• 1:24:34
  Speaker 1: a form of butterflies around her that spooks her. And
• 1:24:37
  Speaker 1: she almost falls off the roof, but she manages to
• 1:24:39
  Speaker 1: catch herself and climb back in. Um, even Carmen is
• 1:24:43
  Speaker 1: experiencing like these kinds of visions and she's often trying
• 1:24:47
  Speaker 1: to escape the house with her boyfriend. Um, And at
• 1:24:53
  Speaker 1: one point, she and her boyfriend get into an accident
• 1:24:55
  Speaker 1: and her boyfriend is seriously injured. And so now Carmen
• 1:25:01
  Speaker 1: is like dealing with all this crap, like, oh, my God. Now,
• 1:25:04
  Speaker 1: like my now my daughter's in the my daughter is
• 1:25:08
  Speaker 1: in the hospital. Her boyfriend's in the hospital and she dies.
• 1:25:11
  Speaker 1: She eventually gets a call from Father Verone back in Mexico. He's,
• 1:25:16
  Speaker 1: you know, just calling to check up on her. And
• 1:25:18
  Speaker 1: she tells him what, like, everything that's going on. And
• 1:25:21
  Speaker 1: she expresses to him her fears about, you know, what
• 1:25:27
  Speaker 1: she had heard from Yolsi and how there might be
• 1:25:30
  Speaker 1: some sort of demonic entity that's trying to possess her daughter.
• 1:25:34
  Speaker 1: So Father Verone decides to do research on his own,
• 1:25:36
  Speaker 1: and while he does look into old church archival records,
• 1:25:40
  Speaker 1: he does find some references of the particular abbey and
• 1:25:44
  Speaker 1: how there were some artifacts that were hidden there, but
• 1:25:47
  Speaker 1: it was very obvious that the whole thing was swept
• 1:25:50
  Speaker 1: under the rug, like someone was trying to hide it.
• 1:25:56
  Speaker 1: So he wasn't able to find anything helpful, but he
• 1:25:59
  Speaker 1: decides that Harmon needs him, has hurt Her daughter's life
• 1:26:04
  Speaker 1: is on the line, and there's obviously some kind of
• 1:26:07
  Speaker 1: demonic entity that is trying to hurt them. So he
• 1:26:11
  Speaker 1: tells her what he found, which isn't really much, and
• 1:26:14
  Speaker 1: tells her that he's coming to America, and he's going
• 1:26:16
  Speaker 1: to help her, and he's going to help perform an exorcism,
• 1:26:19
  Speaker 1: because at this point, that's probably going to be the
• 1:26:21
  Speaker 1: best thing to help. Unfortunately for him, he only makes
• 1:26:27
  Speaker 1: it as far as his hotel in New York, as
• 1:26:29
  Speaker 1: checking into his hotel in New York before the Sita
• 1:26:33
  Speaker 1: Mithil begins appearing before him, freaking him out. And he
• 1:26:38
  Speaker 1: begins hallucinating. It causes him to hallucinate. It causes him
• 1:26:44
  Speaker 1: to freak out. And the police is called to his room.
• 1:26:46
  Speaker 1: And when the police enter his room, he's freaking out.
• 1:26:49
  Speaker 1: He's throwing shit. This causes the policeman to... It spooks
• 1:26:55
  Speaker 1: a policeman, and he shoots Father Barone.
• 1:27:00
  Speaker 2: Damn.
• 1:27:01
  Speaker 1: So, yeah, Carmen learned, like, had already learned that Father
• 1:27:06
  Speaker 1: Verone had arrived in America, so she and Isel decide
• 1:27:11
  Speaker 1: to go pick him up from the hotel. They show
• 1:27:15
  Speaker 1: up at the hotel, ask the receptionist, hey, what room
• 1:27:17
  Speaker 1: is Father Verone in? And the lady's like, oh, yeah,
• 1:27:24
  Speaker 1: he's dead. What? So now they're all freaking out. Like,
• 1:27:29
  Speaker 1: what are we going to do? Because as they're driving
• 1:27:31
  Speaker 1: back to the house, they're seeing more and more physical
• 1:27:35
  Speaker 1: apparitions appear, like swarms of the black butterflies, grasshoppers flying everywhere.
• 1:27:40
  Speaker 1: The Sita Mitzel keeps appearing in random places, and they're
• 1:27:45
  Speaker 1: both afraid to go home. But they decide, you know what?
• 1:27:51
  Speaker 1: We need to go home, and we need to confront
• 1:27:55
  Speaker 1: Luna and figure out what's going on. So they do that.
• 1:27:59
  Speaker 1: They go back to the house. They go into to
• 1:28:02
  Speaker 1: Luna's room. And when they open the door to Luna's room,
• 1:28:06
  Speaker 1: they see Luna floating above her bed. And she's like
• 1:28:09
  Speaker 1: chanting in Nawa. And they see the pinata on her
• 1:28:14
  Speaker 1: on her night table. And they can see that it's
• 1:28:16
  Speaker 1: no longer like it doesn't look no longer look like
• 1:28:19
  Speaker 1: a clay pot. It looks like a living, pulsing heart.
• 1:28:23
  Speaker 1: It's like something made of flesh. They see that it's
• 1:28:27
  Speaker 1: causing her room to pulsate and physically change. So they're like, okay,
• 1:28:32
  Speaker 1: we need to get this thing out of here and
• 1:28:34
  Speaker 1: destroy it. like we need to like hop to it
• 1:28:38
  Speaker 1: they try to do that but then the sits and
• 1:28:40
  Speaker 1: meets all appears and pushes them out and they both
• 1:28:43
  Speaker 1: begin that it starts attacking them both with like you
• 1:28:48
  Speaker 1: know swarms of the butterflies big-ass crickets appear they're freaking
• 1:28:52
  Speaker 1: out they're trying to like get away from everything and
• 1:28:56
  Speaker 1: it's at this moment that you'll see finally arrives and
• 1:28:59
  Speaker 1: She arrived. And the thing is, the old C had, um,
• 1:29:02
  Speaker 1: one thing that was keeping the seats of needle from
• 1:29:04
  Speaker 1: attacking or influencing the old C was that the old C, uh,
• 1:29:09
  Speaker 1: she had remembered a lullaby that was saying to her
• 1:29:12
  Speaker 1: by her own mother and grandmother. Uh, it wasn't in
• 1:29:16
  Speaker 1: this lullaby. It happened to be like a prayer, more
• 1:29:18
  Speaker 1: of like a prayer that kept, that kept away like
• 1:29:22
  Speaker 1: evil spirits. So as she was singing it to herself,
• 1:29:25
  Speaker 1: she began singing it, uh, to, and she began singing it.
• 1:29:29
  Speaker 1: And this kept the Seats of Mule at bay. And
• 1:29:32
  Speaker 1: he and Carmen and Nizel were able to finally get
• 1:29:35
  Speaker 1: into the room. They pulled Luno away and managed to
• 1:29:43
  Speaker 1: get the pinata. Before they were able to get the pinata,
• 1:29:47
  Speaker 1: they got some furniture and made a fire in the backyard.
• 1:29:51
  Speaker 1: And they're like, all right, we need to get the...
• 1:29:54
  Speaker 1: we need to get the pinata and we need to
• 1:29:56
  Speaker 1: throw it into the fire to destroy it because that's
• 1:29:58
  Speaker 1: the only thing that's going to keep the that's going
• 1:30:00
  Speaker 1: to get rid of the the seats of Mitzel at
• 1:30:04
  Speaker 1: this point so they managed to get the get back
• 1:30:07
  Speaker 1: into the room the seats of Mitzel is really fighting
• 1:30:10
  Speaker 1: back and when they enter the room again they see
• 1:30:12
  Speaker 1: now that the pinata had opened a portal so they
• 1:30:18
  Speaker 1: can see like swarms of seats of Mitzel beginning to
• 1:30:21
  Speaker 1: rush towards the portal about to come through Ezell manages
• 1:30:26
  Speaker 1: to grab the piñata and she runs back out into
• 1:30:30
  Speaker 1: the backyard and she destroys it in the fire. And
• 1:30:33
  Speaker 1: once the fire completely burns it, Sita Meadle disappears and
• 1:30:38
  Speaker 1: the portal closes and everything goes back to normal. All
• 1:30:49
  Speaker 1: of the apparitions disappear and the seat to needle itself
• 1:30:54
  Speaker 1: is banished back to is just is banished. It turned
• 1:30:58
  Speaker 1: out the seats of needle was a spirit of a
• 1:31:01
  Speaker 1: novel woman that was hunted and brutally murdered by the Spanish,
• 1:31:06
  Speaker 1: by the Spanish conquest. It's applied that this old woman
• 1:31:10
  Speaker 1: was the same little girl that it, that had escaped
• 1:31:14
  Speaker 1: from the Abbey at the beginning of the book. They
• 1:31:16
  Speaker 1: don't really say it directly, but it's implied that she's
• 1:31:19
  Speaker 1: the same little girl that, And she managed to survive
• 1:31:22
  Speaker 1: and avoid the Spanish conquistadors for years and years before
• 1:31:29
  Speaker 1: finally being captured in her old age. And just before
• 1:31:34
  Speaker 1: they execute her, she ends up putting a curse on
• 1:31:39
  Speaker 1: all of Mexico, basically saying it's just cursing the country,
• 1:31:44
  Speaker 1: this new world with violence and terror. And that, and
• 1:31:48
  Speaker 1: she basically promises that eventually she's going to come back and,
• 1:31:51
  Speaker 1: you know, and destroy everything. Like bring down like all
• 1:31:57
  Speaker 1: the pain and sorrow that they caused on them, uh,
• 1:32:00
  Speaker 1: on their descendants. So, uh, you'll see after destroying the, uh,
• 1:32:06
  Speaker 1: after destroying the pinata, uh, you'll see manages to put
• 1:32:09
  Speaker 1: the spirit to rest and like everything goes back to normal.
• 1:32:14
  Speaker 1: I mean, the house is trashed because of the fact
• 1:32:17
  Speaker 1: that they were being thrown around. Like, all three women
• 1:32:20
  Speaker 1: were being thrown around. Luna goes back to normal. She, like, she's,
• 1:32:24
  Speaker 1: you know, understandably traumatized. And she was, like, she was
• 1:32:28
  Speaker 1: aware of what was going on, but she wasn't in
• 1:32:30
  Speaker 1: the driver's seat. What a Sita.
• 1:32:34
  Speaker 3: Damn.
• 1:32:34
  Speaker 1: So, yeah, after the, after the Sita Miso is banished,
• 1:32:43
  Speaker 1: They get a notification from the hospital saying that Isil's
• 1:32:50
  Speaker 1: boyfriend is now out of the waterworks. He's recovering better.
• 1:33:00
  Speaker 1: Carmen's mother, she had already come out of her coma,
• 1:33:03
  Speaker 1: but she was in this kind of loopy state. She
• 1:33:06
  Speaker 1: wasn't fully coherent. But after she... After the... the seats
• 1:33:12
  Speaker 1: of needle was, uh, was banished. Uh, the doctors informed
• 1:33:15
  Speaker 1: Carmen that her mother has now is starting to like
• 1:33:19
  Speaker 1: regain her coherency and she's more like, she's more present and,
• 1:33:26
  Speaker 1: you know, and she looks like she's ready to come home.
• 1:33:29
  Speaker 1: So like this, so this is pretty much where the
• 1:33:31
  Speaker 1: story ends. And, uh, there's a lot that I didn't
• 1:33:35
  Speaker 1: really get a chance to go over. And, uh, it's,
• 1:33:39
  Speaker 1: in a way it's kind of a sad ending. Cause
• 1:33:41
  Speaker 1: you realize like, the seats of needle was born out of,
• 1:33:45
  Speaker 1: you know, it was born out of the colonial trauma
• 1:33:49
  Speaker 1: and just the anger and pain caused by the conquest.
• 1:33:54
  Speaker 2: Yeah.
• 1:33:54
  Speaker 1: And yeah. And it's also like really highlights how her
• 1:34:01
  Speaker 1: culture was erased by the Spanish. And that a lot
• 1:34:06
  Speaker 1: of this part of this reason why the, there was
• 1:34:08
  Speaker 1: so much violence in Mexico is, was caused by all
• 1:34:13
  Speaker 1: that lingering pain and suffering that the Nawa people experienced
• 1:34:17
  Speaker 1: during the conquest. Yeah. But overall it was a, it
• 1:34:23
  Speaker 1: was a really good story. I was loving it. I
• 1:34:25
  Speaker 1: love the fact that this was like, like, you know,
• 1:34:28
  Speaker 1: an Aztec, it was following like these Aztec figures and, uh,
• 1:34:33
  Speaker 1: it was just, it was overall, it was different. And
• 1:34:36
  Speaker 1: I also liked how, um, The solution wasn't an exorcism,
• 1:34:41
  Speaker 1: per se. Because now, a lot of Hollywood movies concerning possessions,
• 1:34:49
  Speaker 1: the solution was, oh, you have to exorcise the spirit, right?
• 1:34:53
  Speaker 1: Exorcise the demon possessing the child. But the thing is
• 1:34:57
  Speaker 1: that an exorcism... They highlight how an exorcism from a
• 1:35:00
  Speaker 1: religion that caused all this pain is not going to work.
• 1:35:03
  Speaker 3: Yeah.
• 1:35:05
  Speaker 1: Because this demon does not... It is not privy. It
• 1:35:13
  Speaker 1: does not answer to the Catholic faith or the Christian God.
• 1:35:19
  Speaker 1: It's a completely different animal. And an exorcism isn't going
• 1:35:23
  Speaker 1: to help. That's why I killed the priest right off
• 1:35:25
  Speaker 1: the bat. Because it's like, what are you going to do?
• 1:35:31
  Speaker 3: Literally, what are you going to do?
• 1:35:33
  Speaker 1: Like, what are you going to do? Yeah. So that
• 1:35:37
  Speaker 1: was Piñata by... leopold goat and uh i definitely would
• 1:35:43
  Speaker 1: say give it a read it was like i enjoyed
• 1:35:47
  Speaker 1: it uh like i definitely enjoyed it uh i didn't
• 1:35:49
  Speaker 1: think it was i was going to enjoy it that
• 1:35:51
  Speaker 1: much because sometimes like because when it comes to like
• 1:35:53
  Speaker 1: these kind of stories they're pretty hit or miss for
• 1:35:55
  Speaker 1: me but i it was definitely a hit for me
• 1:35:58
  Speaker 1: so um i would say give it a read and
• 1:36:02
  Speaker 1: i think you'll like i'll think you like how it's
• 1:36:04
  Speaker 1: something different because that's what i enjoyed it was like
• 1:36:06
  Speaker 1: it was definitely different Uh, that is it for, uh,
• 1:36:09
  Speaker 1: for pinata. Uh, we still have what, like two more
• 1:36:12
  Speaker 1: books to review for the month of October for spoopy season. Yep.
• 1:36:16
  Speaker 3: We still have two more books.
• 1:36:18
  Speaker 1: Yep. Next book we're going to be reviewing is another
• 1:36:20
  Speaker 1: book I read called below. And this, and this story
• 1:36:24
  Speaker 1: is going to be about the moth man.
• 1:36:26
  Speaker 3: I just next time I talk about the moth man
• 1:36:30
  Speaker 3: until then.
• 1:36:31
  Speaker 2: Bye.