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Prequel to The Princess and the Goblin - Wicked: For Good Fan Reaction · This Film is Lit

• 0:10
  Speaker A: On this week's prequel episode, we follow up on our Wicked for good listener polls and preview the Princess and the Goblin. Hello and welcome back to another prequel episode of this film. Is it the podcast where we talk about movies that are based on books? Plenty to talk about this week. We're gonna jump right in like we always do to our patron shoutouts. I put up with you because your father and mother were our finest patrons. That's why. One new patron this week. Newberry Medal award winner. That's the two dollar, our lowest patron tier. But you do get early access ad free and. And early access to with what we're reading.
• 0:51
  Speaker B: Yes.
• 0:51
  Speaker A: And watching. But our new Newbery medal award winning patron is Amanda. And I'm going to guess on this last name, but check Smith. I think that's my guess. Let us know how I did. But check Smith because I don't think it's pronounced how it looks to my American eyes. But it's an interesting. I've never seen. I don't know if it's a real last name to be fair, but it's an interesting last name if it is like your actual last name because it looks like a combination of like Czech or something. Eastern Europe. Like not Eastern European, but like. And then with Smith at the end in a way that is very. I'm just. I don't know, I've never seen a name that looks like that. Very fascinating. So let us know how I did on pronouncing it. As always, we would like to thank our Academy Award winning patrons and they are. Amanda, Nicole Goble, Harpo Rat, Nathan Mathilde Cottonwood, Steve Ben Wilcox, Teresa Schwartz, Ian from Wine Country, Kelly Napier, Gretch Justgratch. Shelby says the new Spidey movie is great enrichment for my enclosure and that darn skag. Thank you all very much for your continued support. I have heard the new Spider man movie is good from everybody.
• 2:07
  Speaker B: Yeah, yeah, I have heard that.
• 2:08
  Speaker A: Pretty much everybody I've heard has said it's pretty good. So it's good to hear. I don't know if I'll see it or not, but I'm. Cause I feel like we need to watch the other ones first. Yeah, yeah, you all very much for your continued support. Time to see what the people had to say about Wicked for good.
• 2:27
  Speaker B: Yeah, well, you know, that's just like your opinion, man on Patreon. We had three votes for the book and one for the movie. Eric said did not expect a rope callback. Loved that. This was an interesting summer series for me. I tried to read the book in middle school, that was probably a bad idea. Got to a description of Elphaba's pubic hair and put the book down. Never to pick it back pretty far
• 2:55
  Speaker A: then cuz that's about halfway through.
• 2:58
  Speaker B: Good to learn that I was way too young to grasp anything the book was trying to do and to finally find out what happened. I voted for the book because while it seemed to have interesting things going on, the movie sounds like an absolute mess. Yes, our next comment was from Shelby who said I definitely liked the movie more than you did and it's not the first one, but having read the book now I see what the musical was working with.
• 3:23
  Speaker A: I mean that is true.
• 3:24
  Speaker B: Yeah, that is a fair point. There's a few great songs, mainly no Good Deed and For Good, but I quite like March of the Witch Hunters too.
• 3:34
  Speaker A: Yeah, it's fine. Those are my favorite two songs. My issue was this that I think they did a bad job visually with them in the movie. Not that the songs are bad or even like the recording.
• 3:44
  Speaker B: I like no Good Deeds.
• 3:46
  Speaker A: Yeah, I think no Good Deed's great,
• 3:47
  Speaker B: but I think the visuals came out very silly.
• 3:50
  Speaker A: Not a fan of it. How it looked Same for yeah, I love forgot. It's like I said, I cried listening to that song the first time I heard it and it still makes me tear up very often.
• 3:59
  Speaker B: So Bach as the Tin man is the best thing in this movie. He's terrifying.
• 4:07
  Speaker A: Terrifying. Interesting descriptor of him, I guess in like a uncanny valley ish sort of way. Maybe. I don't know because even then I wouldn't say. Yeah, I did not.
• 4:18
  Speaker B: I mean I thought the makeup was fine. I didn't think it was like incredible or anything.
• 4:23
  Speaker A: I didn't think the makeup was like incredible. I also didn't find it particularly like creepy in the way like for instance, the. The wheelie guys in Return to Oz are. You know what I mean? I didn't even find it particularly creepy. But you know that obviously that's very subjective.
• 4:38
  Speaker B: Musical. Spongebob kills it. I wish he came back in the finale, but maybe less is more. I hate how neatly the movie ties everything up after Elphaba's dead. They point out that nothing Elphaba says or will make people hate the wizard, but all it takes is her dying and everything's magically.
• 4:57
  Speaker A: Yeah, they do kind of just hand wave away like how everybody decides the wizards evil now.
• 5:04
  Speaker B: I guess I don't know that they do. He just leaves.
• 5:07
  Speaker A: That's what I mean. Well, yes but, like, so, like, why? Yeah, I feel like it is kind of under baked. Remember now? Why? Like, he ends up leaving? Because Glinda, I'm talking about the musical in the movie here, not in the book.
• 5:22
  Speaker B: She tells him to.
• 5:24
  Speaker A: Yeah, but he just. And he just is like, okay.
• 5:27
  Speaker B: I feel like he's over it at that point.
• 5:28
  Speaker A: Yeah. It's also tied to, like, his grief and I guess guilt.
• 5:34
  Speaker B: Yeah. Regret what happened with.
• 5:37
  Speaker A: What happened with Elphaba because he did not know she was his daughter. Like, that's part of it.
• 5:41
  Speaker B: But, yeah, Fearro's extended family was interesting to learn about in the book, I guess, minus the kids. I liked the idea of Elphaba craving forgiveness and never getting it, then discovering at the end that Dorothy wants the same from her.
• 5:54
  Speaker A: Yeah, I did think that. I didn't really mention it in the episode, but I did like that kind of revelation that, oh, Dorothy also is seeking forgiveness for killing her sister.
• 6:04
  Speaker B: Right. It's the movie again for a couple of songs. And the scary Tin Man.
• 6:10
  Speaker A: Fair enough. I'm not gonna debate anybody who picks either movie or book here. Yeah, like I said, I was so kind of either way on it that. Yeah.
• 6:19
  Speaker B: Other thoughts. Man, this movie never really had a chance last year once K Pop Demon Hunters showed up and curb stomped the competition as the musical. Is it kaiju? Kaiju of 2025, musically, wicked for Good has a couple standouts. K Pop Demon Hunters has this is what it sounds like. Golden, How It's Done and your idol, All Bangers. To say nothing of the popularity of Free Takedown and Soda Pop. I'm still hearing songs from that soundtrac on the radio over a year later.
• 6:51
  Speaker A: Not to mention, from what I've heard, I have not seen K Pop Demon Hunters. Yeah, from what I've heard, it's just a better movie too. Like. Yeah, it's just a better.
• 6:58
  Speaker B: That is also people like what I have heard.
• 7:01
  Speaker A: Like, even just, you know, music aside. But yes, I think it's also fair that they weren't playing no good deed on top 40 music stations like they were with Soda Pop and Golden and all that.
• 7:11
  Speaker B: Well, and correct me if I'm wrong, but I believe some stuff from the first Wicked movie got some radio play.
• 7:18
  Speaker A: Maybe. Yeah, I think. I think maybe. I don't know for sure, but I wouldn't be surprised.
• 7:22
  Speaker B: Okay, continuing with Shelby's comment, deep breaths. Okay. I need to talk about Nessa's disability in the book. Correct me if I'm wrong, but as far as I know, Nessa was Born without arms, but otherwise she's physically fine. I don't remember the book ever saying she has problems with her legs or her balance or chronic pain or something. And yet the book constantly tells us that Nessa needs help standing or sitting every time she does it in a scene.
• 7:49
  Speaker A: So, yeah, I, I, you're right that there we never get an explicit mention of her having trouble with balance or anything like that. I, I kind of, I guess inferred that because they mentioned she needs help getting up and getting down, that she did have some sort of other issue. But I guess that's not, maybe not fair of me to assume that that's. Yeah. Because why.
• 8:11
  Speaker B: Yeah, I think you could also infer that she's been kind of coddled for a while.
• 8:20
  Speaker A: I think that is also. You're supposed to read into that. Cause that is obviously a huge part of why Elphaba kind of resents her, is that she is the favorite and she has been coddled and gotten everything she ever wanted. And that part of that is because she is disabled, which already has its own inherent issues in terms of how you handle depicting that. But, yeah, I would agree with that. But my point was that, like, I kind of like, assumed like, that she did have balance issues. But you're right that the book never actually says that. I just assumed that because the book said she needed help getting, like, doing stuff like, yeah. And do like getting up, whatever, and that she needed that help. So I was like, oh, well, she must have some other. Because I was like, well, obviously it's not just not having arms because you can do that. But to your point, Shelby, it may just be that McGuire was maybe being a little bit reductive as to what somebody without arms can do and just saying, oh, somebody without arms obviously would need help doing these things even if they didn't have additional disabilities of some sort.
• 9:22
  Speaker B: Now, I don't know anyone personally with this disability. I have no experience with it. However, I have watched stories about people without arms who've learned ways to live without them. I understand there's no one size fits all here, but the book made me crazy when it kept insisting that, that Nessa couldn't possibly sit down or stand up by herself because she has no arms. Are there only beanbag chairs in Oz?
• 9:44
  Speaker A: Yeah, no, and that's, that's a, Like I said, to a fair point, because it, it, yeah, it doesn't really make a lot of sense unless. And again, I think maybe what you're he's going for is that she has Been so.
• 9:57
  Speaker B: Yeah.
• 9:57
  Speaker A: Weighted on him.
• 9:58
  Speaker B: Yeah. That she's had always had somebody there to do everything for her.
• 10:02
  Speaker A: Yes.
• 10:02
  Speaker B: Which again isn't. Is an inference on, you know, that's not explicitly spelled out in the text. But yes.
• 10:09
  Speaker A: And you could also argue, like I said, that there's maybe, maybe not the greatest idea to depict the one disabled per. Well, I guess it's not the one disabled person but the primary disabled character who has a very visible disability as somebody who also benefits from a ton of privilege of being doted on and like. Because the usual experience for people with disabilities is very often the opposite of that is not having people who do everything like, who are very, you know, I don't want to say it's obviously very dependent on. But like, I think you could argue that like oh well, you know, having her be part of her character, be that she gets weighted on hand and foot because of her disability and that turns her into kind of like a self absorbed person is an interesting choice to make for a disabled character. Like it's maybe, I'm not even saying you can't do it. I think there's maybe something there to explore, but it does feel you have to explore it with a lot of tact and a lot of like research and like probably reaching out to people with disabilities to talk about it in a way if you're going to do it well. And I think it's probably fair to say that maybe he didn't do it super well. I don't know.
• 11:22
  Speaker B: I finally did a cursory search online and found a woman born without arms who can prepare food, do her makeup and drive a car. Again, just because she can doesn't mean everyone without arms can do it. But it really made me feel like the author didn't do their research on this disability at all. And I hate to say that that doesn't surprise me for 1995 though.
• 11:42
  Speaker A: Yeah.
• 11:43
  Speaker B: And then it gets worse because her shoes get magicked by Glinda and Nessa basically gets an assisted device so she doesn't need help sitting and standing anymore. And it makes her too independent. The power goes to her head. It makes her move creepy now like a serpent. I hate it. As far as I've heard, the movie does a good job respecting Nessa's disability. So it was striking.
• 12:05
  Speaker A: It definitely does a better job, I would think. And again, it's different because they change how it works and stuff like that. And yeah, I think the power going to her head thing that ties into what I'm talking about of like the reason the power goes to her head. And she is implied that this is part of what kind of causes her authoritarian turn is having this, you know, the ability, these shoes or whatever. Part of that is tied into the fact that she had this upbringing where she was right, given everything.
• 12:35
  Speaker B: Never told no.
• 12:35
  Speaker A: Never told no. And yeah, so it is. It's all kind of wrapped up in a. In a messy ball.
• 12:41
  Speaker B: It was wild to me that in the book Glinda and Nessa turn out to be magic users while Elphaba mostly fails into it. I always thought it was a given that Glinda's magic was fake like the wizards, seeing as she represents him in the original story. Thank God Nanny returns in the second half of this book. This poor woman was forced to raise three generations of this crazy family. Is it me or was Fiero giving too much eye contact in as long
• 13:08
  Speaker A: as you're mine Couldn't tell you did not notice.
• 13:13
  Speaker B: I have also, like, I've already memory wiped them.
• 13:15
  Speaker A: Yeah, I remember very little about the movie.
• 13:18
  Speaker B: So forgettable.
• 13:19
  Speaker A: It was very forgettable, in my opinion.
• 13:22
  Speaker B: I really enjoyed all the reels people made when this movie came out about trapped Dorothy listening to Glinda and Elphaba's beautiful love song and then immediately running out with a bucket of water.
• 13:32
  Speaker A: I didn't think about that because yeah, she's in the trapdoor. Not at that point yet. Is a little silly.
• 13:38
  Speaker B: This movie is the most blatant case of for sake, just be a throuple I've ever seen. Sure, Glinda and Fiera both prefer Elphaba, but you three are making a problem where there isn't one. Stop it.
• 13:51
  Speaker A: Yes, there. 100%. This is one of those where it's like, okay, well, Fiero loves Elphaba. Elphaba loves Fiero. Glinda loves Elphaba. Elphaba loves Glinda. Glinda loves Fiero. Fo like meh. You're almost there. You can make it be fine. You could figure it out.
• 14:10
  Speaker B: Our next comment was from Kelly Napier, who said the book. Although I agree with what you said about the book seeming to lose focus in the second half, I will say that in the movie I didn't mind Glinda's bubble song as the stage version of the musical lacked a song just for Glinda, considering the focus of the play is on both characters.
• 14:32
  Speaker A: Yeah, I. I like the song.
• 14:34
  Speaker B: Yeah, I like the song. I think I'm. I think our problem was less the song itself and more just like that. This part of the story was screaming for another, like, big number, upbeat number, and instead they inserted two slow ballad emotional numbers.
• 14:52
  Speaker A: That. That's my issue. It's not what it is. I'm fine with it being there. I just think if they're gonna add those two songs or even that song, then they should have added another one that I don't know. Yeah, no problem with the song at all. Like I said, I actually really like what it does for her character and explaining her motivations. And the song itself is fine. It's. And again, it's one of the more visually interesting moments in the whole movie.
• 15:12
  Speaker B: Yeah.
• 15:13
  Speaker A: With how they shoot it and, like, the digital effects going in on the mirrors. It's. Yeah, it's literally just that. That's the two songs you put in. I think you missed an opportunity.
• 15:23
  Speaker B: Our next comment was from Nathan, who said, I will go fairly easily with the book, but I didn't hate the movie. It was, to me, of a piece with the first film. I don't really like the music, but it looks cool on screen and is entertaining enough to keep my attention interesting. Low praise, baby. But I didn't think the first film set a particularly high bar to reach.
• 15:46
  Speaker A: I. I don't think the first film's a masterpiece of musical cinema, but compared to this movie, I. Visually, I. I genuinely feel a little crazy saying that they're not that distant like, that they'd, like. I don't know how you could watch the first movie and watch Defying or Popular or what is this feeling and like, those musical numbers and then compare that to any musical number in this and be like. Yeah, they're, like, comparably, like, engaging in terms of visuals and choreography and just any. Like, again, the biggest number in this is no good deed. And it's mostly just Elphaba by herself hopping around in a brown environment with CG monkeys flying around.
• 16:31
  Speaker B: Yeah. And CG flames.
• 16:33
  Speaker A: And CG flames. And like a wind machine blowing on her. And. And it. It. In a set that I cannot stress enough I sent you. This is literally almost identical to the set. Like, the. The. The aesthetic of it is very, very similar to, like, Lincoln Parks in the music video that came out in 2006 or whatever, 2003. I don't even know what year. And it's just. Yeah, it's just. And that's like the number in this one.
• 17:00
  Speaker B: Yeah.
• 17:01
  Speaker A: And comparing that to Defying Gravity with her up in the sky, even. And like all the rest of the elements of that. Or again, the big. The big choreography number. Or, oh, my God, I didn't even mention dancing through Life in the library with the clocks. And that's like a practical, physical set. And there's like all these dancers didn't. We're doing interesting things with the camera. I just. I've only seen it once, but I can't think. There's not a single visual musical moment in this movie that, like. I remember that, like, stuck out to me as, like, oh, that's cool.
• 17:31
  Speaker B: I think the thing to me is that the first movie, it felt like everybody was excited to be making it.
• 17:37
  Speaker A: Yes.
• 17:38
  Speaker B: And this movie, it felt like nobody was excited to be making is.
• 17:43
  Speaker A: And it almost. And I honestly do sometimes wonder if that is true to some things because there is that element of like, well, we really love all this stuff because there are people just like us. I'm sure they also feel similarly about the second act of Wicked that most people do. And so they may not just have been as excited, which again, is why it's like, well, then why didn't you make it more exciting? You had that up. I don't know. It's just. Yeah.
• 18:06
  Speaker B: My major complaint about the second half is the importance of Fiyero and his relationship with Elphaba. I feel like the first movie is all about the friendship and love between Glinda and Elphaba. Then Fiyero is the true love she ends up with. I know Fiyero and Elphaba are supposed to. Are supposed to be in romantic love, but it never came across as strongly. And it. It feels frustrating to make her happy ever after with a guy who seemed like her second choice. I mean, you don't need to tell me.
• 18:35
  Speaker A: You don't have to convince me that Elphaba and Glinda should have ended up together.
• 18:39
  Speaker B: So much ink has been spilled on this since 2004.
• 18:44
  Speaker A: Yeah.
• 18:46
  Speaker B: I also don't like the effort made to explain the backstory of Dorothy's crew.
• 18:50
  Speaker A: It is. Yeah.
• 18:51
  Speaker B: Yeah.
• 18:52
  Speaker A: It's pretty clumsy.
• 18:52
  Speaker B: Pretty clumsy. I feel like I understand what they wanted to do with that, but, you know. Yeah. It's kind of weird that we get a Tin Man, Scarecrow and Cowardly lion, but especially in the case of the first two, they aren't really anything like their characters. In the wizard of Oz, the Tin man is not homicidally angry at the witch and the scarecrow is not in love with her. I know the movie isn't really interested in lining up with the play. I think we mean.
• 19:21
  Speaker A: I think you mean the first, like the original.
• 19:22
  Speaker B: Original movie or Even the original books. But it feels like they tried for tie ins here that are missed. I completely agree.
• 19:30
  Speaker A: And that has always been an issue that you kind of just have to.
• 19:34
  Speaker B: Yeah, you kind of have to. Like, it's.
• 19:35
  Speaker A: Yeah, sure, it's close enough to work if you don't squint, like, because, like,
• 19:40
  Speaker B: again, like, I understand what they were going for and, like, why they wanted to do that. But, yeah, if you think about it too hard, it all falls apart, really.
• 19:49
  Speaker A: Work.
• 19:50
  Speaker B: And then Nathan's last comment here is, Kitty makes a couple appearances. Which adorable monster decided they had something to say about Wicked?
• 19:58
  Speaker A: Well, I don't know if you've been hearing him for the last few minutes or not, but I believe that was
• 20:01
  Speaker B: probably Grindelwald because he tends to be
• 20:04
  Speaker A: a little more vocal, especially while we're recording. Yeah, there. Yeah. I don't know. Again, I don't know if you heard that or not, if it got cut off by the mic, but.
• 20:14
  Speaker B: All right. Over on Facebook, we had one vote for the book and a comment from Dan, who said, second half of the book. I prefer the book's darker tone.
• 20:26
  Speaker A: It's fair.
• 20:27
  Speaker B: And we had another comment from Nathan, who said, I find the power set of Madame Morrible in Wicked for good to be confusing at best. She goes from being able to control the weather in her immediate surroundings to being able to start a tornado in Kansas, grab a house there, and throw it directly at Nessarose. Just the very ability to affect our world at all seems like pretty crazy strong magic in a world where the divide is clearly very magical in nature. It's a crazy power inflation that doesn't have any real justification in the story beyond she always could but never needed to. That doesn't feel right because there are so many times where her powers could have been used. Like when Elphaba escaped a storm with targeted tornadoes could have really helped. It just feels like the script needs her powers to be super strong this one time, and that is frustrating from a storytelling perspective. Yeah.
• 21:22
  Speaker A: I mean, I don't necessarily disagree. I also. It's not something that really sticks out to me. I tend to not have super strong feelings about, like, power level. Like, how can she do that thing that we've never. As long as it doesn't feel super outlandish, which I understand that this one kind of. But I'm like, yeah, she's a sorceress. She can summon a tornado. I don't know. I think you could. It is that once you nail it down to the specifics of like, well, she did it in Kansas, which I've always never thought this made a whole lot of sense to me. It's like the tornado. She seems to summon it in their world.
• 21:55
  Speaker B: Right.
• 21:55
  Speaker A: In the movie.
• 21:56
  Speaker B: And I. I have always kind of like headcanoned that she didn't like, she wasn't trying to pick up a house.
• 22:05
  Speaker A: Yes.
• 22:05
  Speaker B: Like, she was just trying to send a tornado. And it's somehow.
• 22:08
  Speaker A: Somehow like bled through the edges of the magical divide between the universe.
• 22:13
  Speaker B: Accidentally picked up a house.
• 22:15
  Speaker A: That is also the way I kind of interpret it. It's not like she summoned it because in the movie at least the way when we see her summon it, it's. It's being. It's created in Oz. Yes, seemingly. And I think the only other thing you could argue is that maybe she's not creating it in Oz, but that she is summoning it. Like it already exists in.
• 22:37
  Speaker B: And she's like, pulling it through. Yes.
• 22:38
  Speaker A: In Kansas and she's pulling it through. Which would make sense for how it hit her house because. Which would make. Also make more sense with the original movie, because in the original movie she sees it coming for a while before it hits the house and picks her up and whatever.
• 22:52
  Speaker B: Yeah.
• 22:52
  Speaker A: And so that would match more is that actually she's not creating it in
• 22:57
  Speaker B: Oz, she's just like, she's luring it in.
• 23:01
  Speaker A: But that also. I'm not sure visually that matches with what we see in the movie, but I also don't really remember. It's a little bit messy. I don't disagree. But it's also one of those things where I'm like, whatever, she's a sorcerer. She can do that. I guess. Fine.
• 23:14
  Speaker B: Over on Instagram, we had two votes for the book and three for the movie. And another comment from Nathan, who said in my headcanon of the movie slash play, Dorothy is in on the plan to fake Elphaba's death. She kind of needs to be, since she would see that the melting was fake otherwise. And I think she would definitely be game if Scarecrow Fiero explained what the Wicked Witch was really like.
• 23:41
  Speaker A: I. I actually like that.
• 23:42
  Speaker B: I like that too, because.
• 23:43
  Speaker A: And I've thought that. Because I think we had another comment about it might even be Nathan.
• 23:48
  Speaker B: I think that might be me. Miko.
• 23:50
  Speaker A: Miko. Yeah, about like the. The scene where she gets melted.
• 23:54
  Speaker B: Yeah.
• 23:54
  Speaker A: Dorothy is there. Doesn't really make a lot of sense.
• 23:57
  Speaker B: Right.
• 23:58
  Speaker A: Like, practically. Like, why? Because. Again. But like, because of how the door opens and all that. Now we'll get to it. When we get to Miko's comment. But I have always felt that way. I'm like the trapdoor thing, at least as it's portrayed in the musical and in the movie, usually because of how they have to do a trapdoor for a stage or whatever.
• 24:15
  Speaker B: Right.
• 24:15
  Speaker A: Doesn't like it's a door that open up. Doesn't really make a lot of sense in terms of how it looks like she's melting versus like, clearly opening a door and climbing into it. Whatever. It's fine. Again, that's one of those, like, nah, don't think about it. Whatever. But if. Yeah, if. If her being in on it.
• 24:33
  Speaker B: Right. And I do think that there's like, textual. Like there's a textual opening for that with the Fiero having been with Dorothy the entire time.
• 24:44
  Speaker A: Yeah.
• 24:48
  Speaker B: Over on Threads, we didn't have any comments or votes for the book or the movie, but we did have one voter who couldn't decide between the two.
• 24:58
  Speaker A: Fair.
• 24:59
  Speaker B: And then on Blue sky, we had a comment from Nathan who said, Madame Morable's downfall in the movie is my favorite bit from the movie. She repeats the lines Glenda. Glinda. Glinda repeats the lines Madame Morrible said to her when she was allowed to learn magic, but made it about Madame Morrible's ability to do well in prison. It's clever and cathartic, though I wonder if a magician of Madame Morrible's power can be held in prison for long.
• 25:27
  Speaker A: Yeah, I don't know. I'm trying to remember what that line was now because I remember that moment actually hit me a little different personally. But I would have to go back and see the line to see if I was overreacting to that line. Well, I can't find it because all of the quotes on IMDb are simply from the trailer and that part is not in the trailer because nobody cared enough to go back and add actual quotes from the movie. Whatever the line is, she says something to her as like a turner at play of like, oh, maybe you can do well in prison. Do you remember what she says? No. My point. I only mention this because I remember feeling in the movie that I didn't love that joke because I felt like it kind of traded on reactionary and bad instincts about how we feel about people in prison. Basically, it felt a little bit like you. I don't. I kind of like hope you get raped in prison.
• 26:24
  Speaker B: Yeah.
• 26:25
  Speaker A: Was like the. The. What it was felt to me like it was trading on that style of humor. She obviously doesn't say anything like that.
• 26:31
  Speaker B: Right.
• 26:32
  Speaker A: But the implication and like, why it's funny. I felt like was kind of playing on the, like, haha, isn't it funny when horrible things happen to people in prison? Prison, yeah, was. And now I'm not saying that that's what it is or that you're wrong for thinking it's a cathartic whatever. I'm not. I just. I'm being way too. I'm being your friend who's too woke here. I'm just. I just. I remember having that thought in the movie and I would have to go back and remember what the exact line was to see again how justified my reading of it as that is or, you know, whatever. But I do remember having that feeling like I don't love that joke for that reason.
• 27:08
  Speaker B: All right. Over on Goodreads, we had two votes for the book and zero for the movie. And our final comment from Nathan, who said, I'm far less negative about the second half of the book than y'. All. I think it has its low points, which are everything involving Fiyero. He's not interesting at all. And I am zero percent invested in his affair with Elphaba. There is enough of the rebellion plot to keep me invested, though.
• 27:34
  Speaker A: Interesting. That was the Fiero stuff, was some of my. The.
• 27:39
  Speaker B: I thought it was more interesting than the.
• 27:41
  Speaker A: Yeah, but not just the Fiero stuff. Also the revolution, like the rebellion plot, because that was all tied together.
• 27:46
  Speaker B: Right.
• 27:47
  Speaker A: Like, that part of the book was the most interesting to me. Both their relationship, but also. And like his involvement in it. And I liked their philosophical discussions, I thought were interesting enough. Like, I thought they were kind of. Kind of fun. And then that mixed in with. And then this catching up about what everybody was up to. It's when the book felt the most connected to the first half of the book to me. And so that's why I liked it.
• 28:10
  Speaker B: Generally, I don't think the second half is really that distinct from the first
• 28:14
  Speaker A: half, based on what I just said. I disagree.
• 28:17
  Speaker B: There is a kind of confusing time jump that advances things while completely dropping a bunch of threads in the first half. So that sort of thing isn't new.
• 28:27
  Speaker A: Oh, you're saying that it happens in the first half where they jump forward and drop threads? Kind of. But like, I assume you're talking about the jump from Elphaba's childhood to shiz
• 28:39
  Speaker B: age or whatever, which I guess, arguably there's just a jump between each section.
• 28:44
  Speaker A: Yeah, there's a jump between each section of the book. Yeah. My issue Isn't. Yeah, and that's true, but it feels more. It still, for whatever reason, felt more connected to me of like, we're seeing Elphaba's childhood, how that informs who she is. And then we're seeing her at shiz with all these characters. And then again, we do. It does stay with Elphaba the whole time. It's not like it's. I don't know, for whatever reason, it just. I think. And a big part of it was tonally, I think was less so, that it's like, oh, this doesn't feel connected in terms of, like, how it's structured or whatever, but just like, tonally and like, honestly, it's just boring. I just found the second half boring in terms of how interesting it was to read. I liked the characters in the first half of the book. I didn't like the characters in the second half of the book that much.
• 29:34
  Speaker B: I still feel like this book is a mix of several different books. There's a separate book that could be made about Elphaba the failed freedom fighter and Elphaba's descent into madness. I feel like this book suffers from trying to cram, like four different stories into one book. But I don't think that is more true in the second half. I don't particularly like the school. I don't particularly find the school part of the story more interesting than any of the other parts. So I wasn't frustrated that the themes from that part get dropped. I did like the story of her childhood, so I was frustrated when it so abruptly decided dropped to move on. I find them both to be examples of a choppy narrative throughout the book.
• 30:16
  Speaker A: I mean, it definitely intentionally has a choppy narrative. Like we are doing little vignettes of her life.
• 30:22
  Speaker B: Right.
• 30:23
  Speaker A: I guess it does just boil down to subjectively, which of those vignettes you find the most interesting? I found both of the ones in the first two chapter interesting. And like half of one in the second or in the first two chapters. In the first. Yeah, two sections in the first half of the book. I found all of that interesting. I found 10% of the second half of the book interesting.
• 30:43
  Speaker B: So I also think y' all named so many interesting things in better in the book that I think are what makes this book so fascinating. It's willing to take on different themes and ideas. Maybe too many, but it still tries. I think that is what elevates it. Over the movie or the musical.
• 31:01
  Speaker A: I mean, I agree with that and that's why we picked it.
• 31:03
  Speaker B: Yeah.
• 31:03
  Speaker A: Over the Movie of the musicals because it is doing other interesting stuff. I just. Yeah, I don't think it's super effective at doing it.
• 31:13
  Speaker B: And our last comment is from Mikko, who said, as I didn't really care for the first movie that much. The drop in quality also didn't feel that great. Great. But the movie isn't good. Vanessa Rose storyline is unbelievably clunky. She somehow manages to read the grimory enough to catch cast a botched spell, immediately regrets it, and successfully lies to Bach that Alphabet caused it and then just appears in the Munchkin Village to get squished.
• 31:42
  Speaker A: Yeah. And you also have to assume. I always confused by that. I guess he, like, gets memory wiped somehow. He was in the room when she started casting the spell. I guess the idea is that he kind of like. Like during the transformation or whatever.
• 31:56
  Speaker B: Maybe he was having a hard time paying attention.
• 31:58
  Speaker A: Yeah, I guess because I was like. Because she's like, no, Alphabet did it. It's like. But you. He saw you do it. Like, what are you talking about? He was there.
• 32:08
  Speaker B: And the songs are even more forgettable than in part one, even to my untrained ears.
• 32:13
  Speaker A: Yes, that. I mean, that's. Yeah.
• 32:15
  Speaker B: I didn't care for how the movie handled Dorothy. I get that this isn't her story, but she felt like the Terminator just emotionlessly walking through Oz to kill the witch.
• 32:24
  Speaker A: It doesn't help that she's. Many of the times we see her in the movie is like, clearly just a CG model. Like, from a distance with all of the other characters that are all CG models walking.
• 32:35
  Speaker B: The reason to not involve Dorothy more might have been some copyright thing, but I have wished her to be more of a character and not just a plot device.
• 32:44
  Speaker A: I don't think the choice has anything to do with copyright. I don't think.
• 32:47
  Speaker B: Yeah, I mean, they say her name maybe in some. So, yeah, I don't know.
• 32:53
  Speaker A: I know. I'm pretty sure the choice. Definitely not in the book because they say her name all the time. Like.
• 32:57
  Speaker B: Right. Well, because the original Oz books are very much public domain. I don't know about the 1939 movie. I don't think that's public domain.
• 33:07
  Speaker A: I have no idea. But my point was in the book, because she doesn't have that much more of a role in the book than she does in the movie. Like, she. She has a couple more lines.
• 33:15
  Speaker B: Yeah. We actually talk to her a little
• 33:17
  Speaker A: bit, whereas we don't in the movie and the musical. But so it's not that different in the book already. And the book did not make that choice because of copyright. The book made that choice because it's not her story and it's not. She's not really relevant. Super relevant to what's going on other than at the end when she comes in as this. And I think the whole point was kind of playing around with the idea of like having the not titular character, but the main protagonist in this other story being this very minor bit player in our protagonist's life. But a very important and crucial one is, I thought, I think, probably just something that he found compelling as an author. And then I think the movie and musical took that a little bit even further of like, we don't really want the focus to be on Dorothy. If you. Especially in the musical, if we cast a Dorothy who's like giving lines and saying stuff and. And. And is like interacting in ways that like. Like a little bit how we see in the book that it really pulls. The audience already has a relationship and an affection for Dorothy. And so giving her any time in the musical or the movie to like, be Dorothy would I think, distract the audience from the.
• 34:28
  Speaker B: Yeah, it would pull focus.
• 34:29
  Speaker A: Yeah. And so I think that's what the choice is or why that choice was made.
• 34:34
  Speaker B: And a final random nitpick. How did Elphaba fake her death? The trapdoor she emerges from is absolutely massive and even opens outwards.
• 34:43
  Speaker A: Yes. As we touched on it makes is
• 34:45
  Speaker B: a practical, you know, necessity for when you're doing it as a stage show.
• 34:49
  Speaker A: That's how they do it in the movie.
• 34:51
  Speaker B: Absolutely. Could have done. Done something different.
• 34:54
  Speaker A: Interesting. Yeah. And I think maybe you could do some sort of thing, like maybe there's a. Which we don't see. But you could have a thing where like, so the big door that they open when they climb out at the end. But maybe it could have a little like sliding hatch in it or something that she like drops down into or. Yeah, it doesn't really make a lot of sense.
• 35:12
  Speaker B: The second half of the book was disconnected from the first and didn't really pay off. I found the first half somewhat interesting. So discarding so much going to the second half made it twice as tedious.
• 35:23
  Speaker A: Yes.
• 35:24
  Speaker B: Had the episode not been late, I wouldn't have finished the book in time. Then you're welcome.
• 35:29
  Speaker A: Guess why the episode was late? Because we were struggling.
• 35:33
  Speaker B: We were both struggling through Keamo Ko. I wouldn't have finished the book in time. The Kiyamoko sections took forever to slog through.
• 35:40
  Speaker A: That's why the Episode was late.
• 35:43
  Speaker B: In the movie, everything happens in a day. But the book has the opposite problem as everything takes ages. Based on it, you'd think Dorothy spent years in Oz before reaching Alphabet.
• 35:53
  Speaker A: You actually would. It is kind of confusing like how long Dorothy has been in Oz in the book.
• 35:58
  Speaker B: This is not really the book's fault, but I expected it to be a sidequel to the Wonderful wizard of Oz where we see the same things from a different perspective, recontextualizing it. But during the alphaba Dorothy confrontation, it became clear that the book was just rewriting things.
• 36:14
  Speaker A: Yeah, I think it is trying to be closer to what the book does or the original one wizard of Oz does than the movie or the musical is obviously like it's trying to again, as we talked about in the episode, more closely like because we see where she sends out the dogs and the crows and the bees and all that sort of stuff. Like it's trying to more closely match the events as described in the Wonderful wizard of Oz. But it's not down to like perfect, like identical. Like their conversations are not the same and stuff like that.
• 36:48
  Speaker B: I didn't care for either version, but I'll say the book is better for having some interesting bits. I'd not read it again, nor would I, but someone could make me give the movie another go.
• 36:58
  Speaker A: Okay, interesting. So you picked the book, but you say you might watch the movie. It's honestly the same. I would never read the book again.
• 37:03
  Speaker B: Yeah, I would never read the book again.
• 37:05
  Speaker A: And.
• 37:05
  Speaker B: But I don't know that I would like choose the movie. But like if I was hanging out
• 37:10
  Speaker A: with friends and they were like wicked
• 37:12
  Speaker B: for good on, I'd be like, yeah, whatever, sure.
• 37:15
  Speaker A: Can we watch the first one? Is what I would say. Like, what if we put the first one on?
• 37:19
  Speaker B: The live singing thing kept really bugging me so I went snooping while every source really pushed the idea that all the singing was done live. And I'm not denying that they recorded and used a lot of live audio even during flying sequences. There's some rare mentions of pre recorded singing in videos promoting the mixing tools they use.
• 37:39
  Speaker A: This surprises me 0% because if you know anything about movies.
• 37:43
  Speaker B: Yes. There's no way this is a quote from. From something we would both say when he turns there. Do we have to use the pre record? Because what's the live like?
• 37:54
  Speaker A: Obviously.
• 37:54
  Speaker B: Oh, let's listen to the live. Oh, I think we can use that moment of live. Scouring the behind the scenes material also makes the quality drop even weirder because they Shot both movies at the same time. Yeah. Also, thanks a lot, Goodreads, for not allowing links outside the site to give proper sources. Goodreads kind of sucks in a lot of ways.
• 38:14
  Speaker A: Yeah. But to the music thing or to the live singing thing, that's exactly what I would have envisioned, is that, yes, they recorded it all live. Now, what you hear in the movie, how much of that is the live
• 38:25
  Speaker B: recording is very debatable and probably less of the live recording than they would want you to believe.
• 38:34
  Speaker A: Yeah, yeah. Like, there are moments where. Like, during. For good. That's part. Maybe part of the reason they filmed that the way they did is that they. I would believe that, like, the entirety of that basically was them singing it in, like, that one take or whatever, you know, handful of takes. But, like, I would believe that almost all of. For good, if not all of it is live, sung from the recording of what you're seeing on the screen.
• 38:58
  Speaker B: Because they were just standing there, not doing.
• 38:59
  Speaker A: They were standing on a tiny soundstage. Not doing. Doing anything. Yes. And so 100. And you can even tell it feels more real in that moment. But, yeah, but when you're talking about, like, the stuff with the movie, it's like, again, I. I believe they recorded it all and they sang it all, but it's just. There's just. If you know how movies work, there's just no way that it's all what you're hearing in the movie is what was recorded live as they were doing. All of it just doesn't make any sense.
• 39:24
  Speaker B: So our winner this week was the book, with eight votes to four for the movie and our one listener who couldn't decide.
• 39:33
  Speaker A: All right, thank you all very much for your comments. We love hearing what you have to say about the stuff we watch. Katie, it's time now to preview the Princess and the Goblin. The book. The King's arrived. It's the king. It's the king. It's the king. In a time long ago, in a place beyond your dreams.
• 39:53
  Speaker B: Father.
• 39:53
  Speaker A: Father. Lived the beloved daughter of a noble king. The sun beamed bright on this happy land until they discovered that something lurked down below.
• 40:07
  Speaker B: Goblins. Everyone knows about the goblins and their pets.
• 40:11
  Speaker A: We should take revenge.
• 40:14
  Speaker B: The Princess and the Goblin is a children's fantasy novel by Scottish author George MacDonald. The novel was first published as a serial in Good Words for the Young. Good Words for the Youngster. Victorian Era.
• 40:30
  Speaker A: Yeah, no, I know. It's great.
• 40:32
  Speaker B: So between November of 1870 and June of 1871, I had no idea this was that old? Yes, along with illustrations by Pre Raphaelite artist Arthur Hughes. In a letter MacDonald wrote to his wife, he stated, quote, I know it is as good a work of the kind as I can do, and I think it will be the most complete thing I have done. All right. Unfortunately, sales of Good Words for the Young began to slow, and this story kind of took the blame for it. I don't know, maybe they should have worked on the title of that publication because it's kind of boring.
• 41:10
  Speaker A: Yeah.
• 41:11
  Speaker B: But McDonald's publisher stated that the story had too much of a fairy element in it. Too much of the fairy element. So I, for whatever reason, they decided to blame the vat on the.
• 41:24
  Speaker A: You said your book's too gay.
• 41:28
  Speaker B: It was then published separately in novel form in December of 1871, although the official publication date is listed as 1872. There is a sequel called the Princess and Curtie.
• 41:43
  Speaker A: Kurt, Is that a name?
• 41:44
  Speaker B: Yes, that's the other main character aside from the titular princess, and that was published in 1883. Getting into Some, like, critic stuff, author Ann Thaxter Eaton wrote in A Critical History of Children's Literature that the Princess and the Goblin and its sequel both, quote, quietly suggest in every incident ideas of courage and honor. Jeffrey Holdaway in the New Zealand Art Monthly said that both books start out as, quote, normal fairy tales, but slowly become stranger. Author Douglas Anderson has suggested that Tolkien's depiction of goblins within his legendarium were heavily influenced by the goblins in the Princess and the Goblin.
• 42:33
  Speaker A: Okay.
• 42:34
  Speaker B: And the books are also referenced by C.S. lewis in his novel that Hideous Strength, which is one of his adult novels.
• 42:41
  Speaker A: I believe I said I never heard of.
• 42:43
  Speaker B: Yeah, I've never heard. I had never heard of that one either, either. In the introduction to A biography of George MacDonald, author G.K. chesterton wrote, quote, of all the stories I have read, including even all the novels of the same novelist, it remains the most real, the most realistic in the exact sense of the phrase, the most like life. It is called the Princess and the Goblin. And finally, aside from the film that we will be discussing, the Princess and the Goblin has also been adapted for the stage multiple times, including as a Ballet in 2012. It was also adapted as an episode of Shirley Temple's storybook in 1961 and as part of animator Jay Ward's Fractured Fairy Tales series in the 60s.
• 43:30
  Speaker A: Oh, very cool. All right, well, now we know a little bit about the book. It's time to learn about the Princess and the Goblin, the film. Now, this brave and beautiful princess you
• 43:41
  Speaker B: didn't tell me you were a princess. You didn't tell me.
• 43:44
  Speaker A: Has met a boy who knows the goblin secrets.
• 43:48
  Speaker B: There's one thing they can't stand. It's a song. See?
• 43:53
  Speaker A: And together they'll share a remarkable underworld adventure. Get him. Don't have a lot of notes here because there wasn't a whole lot to find. But we do have some stuff to talk about. The Princess and the goblin is a 1991 film directed by Joseph Gems. Gems. Gems. He's Hungarian. So I'm not exactly sure how to pronounce. Pronounce that last name. Known for directing tiny heroes. Willie the Sparrow and a film called Heroic Times that I specific. So most people have never heard of any of these.
• 44:22
  Speaker B: Yeah.
• 44:23
  Speaker A: Like a kind of obscure Hungarian director from the 80s and 90s. But I need everybody listening to this episode to go look up the trailer for heroic times 19 like 80 something. Just look up Joseph Gems or Geems. So J O Z S E F G M E S is his name and then add Heroic Times on YouTube. Watch the trailer for this movie. It looks incredible.
• 44:54
  Speaker B: Okay.
• 44:54
  Speaker A: It is an animated. I believe it might not have words. Might literally just be an completely animated film. It is some of the most gorgeous animation I have literally ever seen in my life and I've never heard of it.
• 45:07
  Speaker B: Okay.
• 45:08
  Speaker A: It's right crazy. I. I'm going to show it to you as soon as we're done recording this again. I don't. It's like an hour and 20 minutes long. The trailer did not have any dialogue in it. So I. And I didn't do any more read. I literally just watched like a couple minutes of the trailer. Apparently I think it either just got a 4k re release or is getting a 4k re or release soon. So look out for that. But holy cow. If you're into animation and like art and it's. I was like how have I never heard of. How is nobody talking about this? It's crazy looking. Anyways. Heroic Times. Joseph Geames. The film was written by Robin Leon or Lyons. I'm not exactly sure. She's British. So probably Lyons known for Super Ted. These are all TV shows that she was mainly a tv like a kids TV show writer. Super Ted Ramald, the Reindeer, Hilltop Hospital. These are all like animated kids shows from Beautiful like British TV and I think specifically Welsh tv because we'll get into that here in a second. The film stars Jos Ackland, Claire Bloom, Roy Kinnear, Sally Ann Marsh, Rick Mile, Peggy Mount, Peter Murray, Victor Spinetti Molly Sugden, Frank Rosalaar Green. Sorry. Frank Rosala Green. William Hootkins, Maxine Howe, Steve Lyons and Robin Lyons. These are all British and Welsh actors.
• 46:27
  Speaker B: Hootkins is an incredible, incredible name.
• 46:29
  Speaker A: The only person I recognize or no Claire Bloom, I recogn she's a pretty well known British actress. She was in. I recognized her from Doctor who she plays the character's name is the woman. And I'm fairly certain from looking at her and I didn't double check this by clicking on the episodes. I'm fairly certain in the End of Time episodes, the ones where David Tennant, where they build the portal and bring the Time Lords through. This is like in the David Tennant episodes. I'm pretty sure she plays the woman who is one of the Weeping Angels, but isn't a Weeping angel yet. And it's implied as his mom.
• 47:02
  Speaker B: Interesting.
• 47:03
  Speaker A: I think that Claire Bloom plays that She's a very well known famous actress. Anyways. And then Roy Kinnear. People have seen him in stuff, but he plays in Willy Wonka. He plays what's her name's dad, the girl who's the really obnoxious.
• 47:19
  Speaker B: Oh, Veruca Salt's dad.
• 47:20
  Speaker A: Veruca Salt's dad.
• 47:21
  Speaker B: Okay. That's Roy Kinner. Yeah. All right.
• 47:23
  Speaker A: Those are like the two people I recognized. And I believe this is Roy Kinnear's final role. It said the film has a 76 audience score on Rotten Tomatoes and only two critic reviews which were both rotten. One from like 1999 and one from like 2005. It doesn't have a Metacritic score and it has a 6.7 out of 10 on IMDb. It made 2.1 million against a budget of 10 million. Yeah, not great. So this was Whale's first animated feature film and it was the 25th animated feature film produced in Hungary. It was co production between Welsh television station S4C Hunger, Hungary's Pannonia and Japan's NHK. So like three different networks, production companies across three different countries and continents or no. Getting into some reviews, Halliwell's Film Guide deemed it, quote, un. An uninteresting animated feature with a dull fairy tale plot dully executed and quite quote the New York Times wrote, quote, if the Princess and the Goblin is mildly diverting children's fair. Its characters are not sharply focused visually or verbally. In a cinema that teams with terrifying monsters, the goblins appear to be ineffectual and unminacing even when they are on the war path. End quote. Rita Kempley writing for the Washington Post, said the movie set a standard far beneath that of Aladdin. Basically just saying there's no Aladdin comparing it. Very negative. This was, I thought, interesting. In a desperate attempt to counter bad reviews, Hemdale, as several movie critics, I know Himdale's like a production, I don't know, a producer or something asked several movie critics to view the film with their children and asked those children for their comments on the film and these were subsequently included in its newspaper promotion. Mentioned in the advertisements were Michael Medved's daughter Sarah and Bob Campbell's 4 year old daughter who said it got 91 stars.
• 49:19
  Speaker B: Nice.
• 49:20
  Speaker A: The Princess and the Goblin, though, did receive the seal of approval from the Dove foundation and the Film Advisory Board's Award of Excellence. It also won the Children's Best Children's Film award at the Fort Lauderdale International Film Festival, which I thought was interesting, but that was all I had. There really wasn't much to find about this movie. So as always, you can do us a favor by heading over to Facebook, Instagram, Threads, Blue Sky, Goodreads, any of those places. We'd love to hear from you. You can also help us out by heading over to Apple, Podcasts, podcasts, Spotify, wherever you listen to us, drop us a five star review, write us a nice little. Or drop us a five star rating and drop write us a nice little review that helps us out. Good. Support us at Patreon.com ThisFilmIsLit Support us there. Get access to bonus content starting at the $5 a month level. We just put out yesterday a bonus episode that's a little bit late from last month on. The movie Only Lovers Left Alive. Highly recommend checking out both that movie and our episode on. I thought it was really interesting discussion, really fascinating movie. Would love to hear. Some other people will talk about it in our comment section or just engage, you know, listen to us talk about it. But very, very interesting movie and episode. Katie, where can people watch the Princess and the Goblin?
• 50:27
  Speaker B: Well, you can check with your local library or local video rental store if you still have one. I don't know what the odds are. Very low for this one. Probably pretty low.
• 50:37
  Speaker A: Library maybe. I don't know if there was ever a DVD release or anything.
• 50:40
  Speaker B: Well, I just bought the dvd.
• 50:41
  Speaker A: Oh you did? Okay, so there was a release.
• 50:43
  Speaker B: My birthday present to myself.
• 50:44
  Speaker A: So the library may have it.
• 50:47
  Speaker B: This movie isn't streaming anywhere that we know of. At least not in the U.S. not like officially. Yeah, it might be streaming on platforms elsewhere, but it is in Hungary maybe. Yeah Maybe. Or in Wales.
• 51:00
  Speaker A: Wales.
• 51:00
  Speaker B: Yeah. But it is available in its entirety on the Internet Archive, and I did share the link for that on our social media posts announcing the episode. I'll continue to share that you also.
• 51:11
  Speaker A: I also found a YouTube. There's two different versions on YouTube. I watched both of them. One of them says remaster. One of them just says, like, hd. They both look pretty similar. I thought the one that didn't say remaster looked a little better, actually, in my opinion. But they very similar. They're both pretty good quality. So.
• 51:28
  Speaker B: So. But if you find it somewhere or if it's streaming elsewhere in your country, feel free to drop that info in the comments for other people. I'm extremely hype about this. This is my birthday episode. And this is my. The Princess and the Goblin is my weird VHS that nobody else seems to have.
• 51:50
  Speaker A: Okay.
• 51:51
  Speaker B: When I was growing up, and obviously other people have seen. We've already gotten, like, a handful.
• 51:55
  Speaker A: I was about to say we got. We're already getting reaction. You better be. People better follow through and listen to the episode. That's all I'm gonna say. Not just come into the comments and be, like, so excited for this.
• 52:05
  Speaker B: But I'm very excited because I liked this movie a lot when I was a kid.
• 52:09
  Speaker A: Interesting.
• 52:10
  Speaker B: Okay.
• 52:10
  Speaker A: I literally never heard of it, so I'm excited to see.
• 52:12
  Speaker B: I'm. I'm not promising that it's gonna be amazing, but I liked it a lot when I was a kid. And I used to, like, play Princess and the Goblin. Like, play pretend.
• 52:25
  Speaker A: Yeah.
• 52:26
  Speaker B: Yeah. And you'll see when we watch it, you'll understand.
• 52:30
  Speaker A: All right. I can't wait. Come back in one week's time. We're talking about the Princess and the Goblin. Until that time, guys, gals, not battery pals. And everybody else keep reading books, watching
• 52:40
  Speaker B: movies, and keep being awesome.